- After more calls from the assistant (which Norma refuses to answer, in order to make DeMille wait), all three head down to Paramount in person. It's time for Norma's big moment.
- At first, a younger gate guard won't let Norma in because she doesn't have an appointment, but an older guard who remembers her courteously allows her to pass. Could be pity.
- Inside the studio, DeMille hears that Norma's coming and doesn't know what to tell her about her awful script. He explains to his assistant how celebrity has warped Norma's perception of… well, everything.
- While Norma goes into see DeMille, Joe stays behind with Max. DeMille and Norma reunite warmly, but Norma chastises him for not calling her in person. DeMille's confused when she mentions the assistant calling her.
- DeMille tells her to wait for a minute, and he heads off—finding out what the assistant wanted. It turns out, he wanted rent Norma's car for use in a movie. No one wanted to make her script. Oof.
- While he's gone, an electrician, Hog-Eye, turns the spotlight on Norma and she's surrounded and congratulated by admirers from the set of DeMille's current movie who remember her.
- DeMille comes back and almost tells Norma the truth—but can't when she is overcome with emotion and weeps at being back at the studio and at how she just wants to work again (though she still makes arrogant demands about her working hours).
- DeMille says he'll see what he can do. Meanwhile, Joe wanders over the reader's department and finds Betty, giving her some ideas about the script and listening to hers. He says she can have Dark Windows.
- Betty wants to work on it with him in the evenings, but he says it's impossible. She tells him she and Artie are engaged, and almost throws an apple at him before he leaves.
- Max has discovered the real reason they were calling—the car—but isn't going to say anything to Norma, though he tells Joe. DeMille says he'll try to help Norma as they exit the studio and say goodbye.
- In the car, Norma feels positive that they're going to make the movie—even though they clearly aren't.