Scene 1:

ALICE’S DRAWING ROOM.
Day of a funeral in 1968.

Scene 2:

METRO PICTURES.
Set for an Argentine cantina in 1921.

Scene 3:

METRO PICTURES.
Cutting Room later that night.

Scene 4:

METRO PICTURES.
Rex’s Office the next day.

Scene 5:

A BEACH ON THE SOUTH SEAS.
A moonlit evening in 1922.

Scene 6:

METRO PICTURES.
Set for a Parisian salon in 1923

Scene 7:

DESERT IN TUNISIA.
A hot day later that year.

Scene 8:

MAYER’S OFFICE
AT MGM STUDIOS.
A January day in 1924.

Scene 9:

HARBOR TERMINAL
IN NEW YORK CITY.
Evening a few days later.

Scene 10:

COCOANUT GROVE NIGHTCLUB.
That same night.

Scene 11:

PROJECTED SEQUENCE.
A ruin in Pompeii, the Italian Coast,
a Balcony in Nice, a Roman villa,
a field outside Marseille.

Scene 12:

A ROMAN AMPHITHEATER.
A July sunset in 1924.

Scene 1:

MAYER’S OFFICE.
A year later.

Scene 2:

MGM STUDIOS.
Outdoor set for Ben-Hur the next morning.

Scene 3:

MOVIE PALACES IN CANNES AND L.A.
Premiere in December of 1925.

Scene 4:

CAFE LA BOHEME IN HOLLYWOOD.
Later that night.

Scene 5:

MAYER’S OFFICE.
The next morning.

Scene 6A:

FUNERAL PARLOR.
An August day in 1926.

Scene 6B:

ALICE’S BOUDOIR.
The same evening.

Scene 7:

MGM STUDIOS.
Darkened set in 1927.

Scene 8:

MAYER’S OFFICE.
A September day in 1933.

Scene 9:

‘PALACIO DE BELLAS ARTES’
IN MEXICO CITY.
8:00 in the evening.

Scene 10:

HOWE’S OFFICE AT PHOTOPLAY.
The next night.

Scene 11:

COURTYARD IN MARRAKECH.
A few days later,

Scene 12:

JOAN’S LIVING ROOM.
The next morning.

Scene 13:

HARBOR IN CHERBOURG, FRANCE.
A moonlit night in 1933.

Scene 14:

RAMÓN’S LIVING ROOM.
The eve of Halloween, 1968.

Scene 15:

ALICE’S DRAWING ROOM.
A few days later.

Unless otherwise indicated, all places are in Los Angeles. With quick changes in sets and locations, the use of projections à la the iconic films represented, is appropriate and encouraged. Two rotating curved risers can be used
for the scenes in the night clubs, amphitheater, Circus Maximus, movie theaters, and music hall.