One of the most affecting scenes in Sunset Boulevard (1950) begins when Norma Desmond's car pulls up at the gates of Paramount Studios. Norma (Gloria Swanson) is there to visit an old friend, director Cecil B. DeMille. The vehicle is driven by her retainer Max (Erich von Stroheim). By Norma's side sits her lover Joe Gillis (William Holden), a cynical screenwriter. Like Joe, we suspect that Norma's visit will not end well. Salome, the script she believes will serve as the perfect vehicle for her triumphant ‘return’, is terrible, despite Joe’s half-hearted edits. What's more, although still beautiful, Norma is fifty: too old to play a young seductress. We watch with the expectation that this encounter will fatally undermine her unrealistic expectations of reignited stardom.

Things get off to a rocky start when a young security guard fails to recognise Norma. However, his older colleague intervenes and respectfully waves them through. Norma grandly sweeps into DeMille's soundstage. Once on set, she is warmly greeted by her old friend. DeMille even ushers her into his director's chair, telling her to watch as he supervises a rehearsal (in fact, he’s checking to see who has been calling her on his behalf). As Norma settles into her temporary throne, she disdainfully pushes away a boom mike (a reminder that she blames the coming of sound for ending her career). Then, a lighting technician in the rafters trains his spotlight upon her. For a moment, Norma bathes in its incandescent glow, every inch the screen goddess. A ripple of excitement runs through the soundstage and she is soon surrounded by adoring onlookers. For an instant, her dreams of a glorious Hollywood homecoming almost seem a reality.

The spell is quickly broken. DeMille discreetly orders that the spotlight instead be pointed, ‘Where it's needed.’ Although he treats Norma with dignity, he obviously has no intention of working with her ever again. DeMille's career is still going strong, but his former protégée will never work in Hollywood again. When Norma is escorted outside, it is clear, as it has been throughout the film, that she is unwilling – or unable – to assimilate into her personal reality any information which conflicts with her own delusional fantasies.