Okay, here's my Sequences attempt. Opening Sequence: pgs. 1-5 Establishes George’s world as a successful silent film star of 1927. We meet Producer Zimmer from Kinograph Studios, dog, Jack, and George’s co-star Constance. Opening night of new film, it’s a hit. George arrogantly takes the limelight, grating Producer and Constance’s nerves. S1: pgs. 6-10 George meets Peppy during a paparazzi moment after premiere. Instead of fangirl behavior, Peppy shines, poses with George. Peppy’s gumption is next morning’s headline—WHO’S THAT GIRL?—instead of the new film. Meet George’s wife, Doris, she isn’t amused by headline, pics. Peppy is amused, lands her first break as a dancing extra at Kinograph Studios. Behind the scenes of George’s life with confidant Chauffeur signing George’s headshots for fans and running errands for George. On the set, Zimmer is upset by headline and lack of film press. George and Peppy have a tap dance meet-cute. Zimmer realizes who she it, fires her! Charming George exerts his star power, Zimmer backs down. S2: pgs. 10-12 George and Peppy have a dancing scene together, that George botches repeatedly. With each take, their chemistry increases. After, Peppy slips into George’s dressing room, writes a thank you on mirror. She has a sweet moment with George’s iconic tuxedo. George catches her, offers her a type of gift—he pencils in a beauty spot over her lip, telling her that now she has “something no one else has.” Almost a kiss, but Chauffeur enters with Doris’ peace-offering gift. Peppy leaves. S3: pg. 12 Montage: George’s awful married life and his daydreams of Peppy taking Doris’ place. Peppy watches her tiny roles get bigger and bigger. In a small office, Peppy signs with Kinograph. In Zimmer’s office with paparazzi, George signs a big contract. Zimmer’s smile is forced. Title card of 1929. S4: pgs. 13-18 George introduced to “talkies.” He rejects/mocks the technology. He has a nightmare that everything has sound, even Jack the dog can bark, except for him. Impotent, silent screams wake him. Next morning, George drives into Kinograph, he’s handed a newspaper with headline that Kinograph is giving up on silent films for talkies. Furious, George and Zimmer have a stand-off. Kinograph wants fresh faces, like Peppy. George vows to make his own silent film. As George descends the Kinograph staircase, Peppy ascends. Both are happy to see each other. Peppy is on her way up—she pushes her phone number to George asks him to call her, blows him a kiss; he catches. Not so happy at home, another fight with Doris, she harms Jack. S5: pg. 19 Montage: George begins filming—writes, directs, acts, signs checks. He’s a comedic natural behind the scenes, but in front of camera a cheesy dramatist. George discovers that his film “Tears of Love” and Peppy’s new comedy talking picture “Beauty Spot” will release on same day. S6: pgs. 20-25 During Peppy’s interview at a restaurant she offends George, “time for a youth takeover.” Peppy is immediately remorseful. On day of both film releases, stock market crash. George’s finances are ruined. Then his film bombs, while Peppy’s is a hit. Doris kicks him out of the house, rubs his nose in Peppy’s success. Peppy watches George’s film in nearly empty theater. She’s moved by Tears of Love, at end of film rushes to George to talk it over, but George is drunk and misunderstands her motives. Then Peppy’s date gives George a pointed “my dad loves you” compliment. Peppy leaves, angry at her date, not at George. Theater worker removes Tears of Love marquee words, leaves only “Tears.” S7: pgs. 26-29 Time lapse as Peppy sits in front of vanity mirror, puts on her make-up then the addition of make-up and hair assistants, 4 new movie posters, but she stays content/grounded. George is alone, a drunk that pawns his iconic tuxedo for money. Loyal Chauffeur finally relents and leaves George. George auctions his possessions, almost all goes to a male bidder—unknown to George, the bidder is Peppy’s butler. George gets drunk at a bar, Chauffeur finds him and takes him home. Sober, George goes to one of Peppy’s films, “Guardian Angel” with Jack the dog. George is absorbed with the film/Peppy; he laughs, cries with the rest of the full house audience. He isn’t recognized anymore, just a man with a dog. S8: pgs. 30-34 Back at his apartment George hits his low while watching his old films. Sets the film on fire, rescues one reel as smoke engulfs him. He is rescued by Jack and police officer. Peppy hears of accident while on set, leaves immediately to be by George’s side at hospital. Peppy discovers the film George clung to/rescued was the only film they worked on together—the initial dance scene. Peppy takes George to her house, so happy he’s alive and recovering. S9: pgs. 34-37 Peppy comes alive while talking and eating breakfast with George in bed. She’s infectious and invigorating. Peppy leaves for work, George takes a look around the place, but is discouraged from entering a mysterious room. On the set, Peppy adorably tries to blackmail Zimmer into giving George work. Zimmer caves to Peppy’s delight. Screenplay is delivered to George by Chauffeur—he explains that Peppy has always looked out for George. George discovers the truth about the auction, humiliated, he leaves Peppy’s home. S10: pgs. 38-41 George goes to his burned out apartment, attempts suicide. Peppy’s reckless driving forestalls George’s attempt. Peppy and George embrace, she declares her motives and her love. She has hope, George doesn’t. Peppy has an idea, George has “something no one else has.” Peppy dances, George half-heartedly joins… Ending Sequence: pg. 41 In Zimmer’s office George and Peppy dance a routine that is seen and heard. Zimmer is thrilled… On a gorgeous set George and Peppy dance their hearts out! It’s amazing! Director yells, “cut! Excellent!” then asks for one more—George smiles and speaks(!) “With pleasure!” While reading this 41 page, silent film script, I realized that there was a lot happening on just one page! Also, it reminded me of an anecdote Andrew Marlowe shared during the documentary "Tales from the Script" about a speech he wrote for Harrison Ford in "Air Force One." Mr. Ford came up to Mr. Marlowe and said, (I'm paraphrasing) "You wrote a great speech, but I'm not going to do it. I can express all of that with a look." In the documentary, Mr. Marlowe stated, "Which he absolutely could, and did." As writer and director, I think Mr. Hazanavicius was brilliant in his restrained dialogue and his ability to direct/trust the actors.