Paramount Conversations/Surrender (Reprise) - Andrew Lloyd Webber, Original Broadway Cast Of Sunset Boulevard, Alan Campbell

Well

Hello, Mr. Gillis

Where have you been

Keeping yourself?

Someone’s

Been doing it for me

And meanwhile «Blind Windows»

Is stuck on the shelf

You said

We’d work together

New Year’s crisis

What can I say?

Always

Full of excuses

Promise I’ll call you

Later today

You said that last time

Betty, I won’t let you down

I guess I’ll just have to trust you

(BETTY smiles at him and hurries on. During this exchange, SHELDRAKE has

entered.

HE stops having caught sight of the Isotta.

HE tries to catch MAX’s

attention, but MAX deliberately ignores him.

Finally, SHELDRAKE plants himself

unavoidably in front of him.)

You’re Miss Desmond’s German shepherd.

I’m the one who’s been calling.

The name is Sheldrake, A couple of weeks ago, I was looking out of my office

window and I saw you driving on to the lot.

And I said, «that's exactly the car

I’ve been looking for».

Great for my new Crosby picture.

So, I made some

inquiries and I’ve been calling for two weeks.

Doesn’t she ever answer the

phone?

It’s so perfect.

You can’t find that kind of quality outside of a museum.

We’re willing to pay a hundred dollars a week

It’s outrageous

You insult her

How can you be so cruel?

I forbid you to approach her

You’re insane

Go away.

Go away!

(SHELDRAKE hurries off. In the studio, DEMILLE has been attempting to set up

his shot.

Now, however, unable to ignore the crowd surrounding NORMA,

he steps down and approaches her;

NORMA turns to him, radiant.)

Did you see

How they all came

Crowding around?

They still love me

And soon we’ll be

Breaking new ground

Brave pioneers

Those were the days

Just like before

We had such fun

We gave the world

New ways to dream

We always found

New ways to dream

(The red light goes on and the studio bell shrills. VICTOR MATURE and HEDY

LAMARR arrive to take the place of their identically costumed STAND-INS.)

Let’s have a good long talk one day

The old team will be back in business

Sorry, my next shot’s ready

Mr. Gillis!

What’s the matter, Max?

I just found out the reason for all those phone calls from Paramount.

It’s not Madame they want.

It’s her car

Oh, my God

(DEMILLE and NORMA have reached the doorway of the studio.)

Now, you remember, don’t you?

I don’t work before 10 or after 4:

30 in the afternoon

It isn’t entirely my decision, Norma, New York must be consulted

That’s fine.

You ask any exhibitor in the country.

I’m not forgotten

Of course you’re not

(DEMILLE and NORMA embrace)

Goodbye, young fellow.

We’ll see what we can do

I’m not worried.

It’s so wonderful to be back

(SHE turns and sweeps regally away towards her car, the door of which MAX is

holding open.

DEMILLE waves goodbye to her;

then, as the Isotta drives off,

he shakes his head, disturbed, and moves, preoccupied, back towards the studio

doorway.

HEATHER is waiting for him.

BETTY rushes out of the soundstage.)

Was that really Norma Desmond?

It was

She must be about a million years old

I hate to think where that puts me.

I could be her father

Oh, I’m sorry, Mr. DeMille

(The shot is ready, and everyone is waiting on DEMILLE’s orders,

but he pauses for a moment, in pensive mood, his hand on the back of his chair.

If you could have seen

Her at seventeen

When all of her dreams were new

Beautiful and strong

Before it all went wrong

She’s never known the meaning of

Surrender

Never known the meaning of

Surrender