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Sequence One's Opening Hook: A uniformed police officer with his radio squelching on and off enters the office. He is securing the building so nobody goes in or out until everything outside has been established safe.
Sequence One moves the story forward in the following manner: Although we see a brief moment of the violence with guns outside, neither Peter, Donna, Aaron nor Scott were aware of all the commotion until the officer walked in to ask for the receptionists cooperation by locking the front doors.
Sequence One's Ending Hook: One of the things I can't stand about radio commercials is when the main announcer introduces a product in a justified manner, then after he supposedly gets one's attention, he introduces himself. That and the rapid talk legalese at the end of commercials. I don't know why I should be so irritated by this. I guess it's because I envision somebody making small talk because he sees somebody attractive, then continues to lead the conversation as if hiding behind the alternate motive.
INT. OFFICE - CONTINUOUS
Pete finishes helping the client and returns to his cubicle. Everyone is gathered near the radio trying to listen to what the news is saying about what's going on outside.
Ever noticed a handsome young man or a pretty young woman and said to yourself" What a shame that they have such a spotty skin." Yet if you look a little closer, you might see that not everything is as it should be with them. Their hair is lack and greasy, their eyes are dull and their manner is lethargic. A diet wouldn't do them any harm.
Hi, my name is George Christodoulou...
I can't remember when the last time any excitement was going on around here to keep us awake.
Is that A.M.? Put it on A.M.
Yeah, I think that's a news station.
That's a commercial.
Did you know that there's a policeman in the lobby area? He's temporarily locked us down so nobody can go in or out.
I better get out there to see what's going on.
So, have they said anything about what's happening outside yet?
We don't even know if we're listening to a news station.
INSET: Alaskan Air radio commercial with these lines in it ... A man in a gorilla suit selling mattresses...
If there's anything besides a formal-introduction-after-pitch commercial that irritates me, it's a sit-n-sleep commercial, and this Alaskan Airline commerical always reminds me of that because of Larry's insidious guerilla tactics in every mattress ad he airs on the radio.
Ooh, I know what you mean. You're killing me Larry.
SFX: RADIO STATIC
When the news comes back on, nothing relating to their immediate area is being broadcast.
The antenna sucks in here.
Yeah. I wanted to run a cable through the ceiling, but I knew what the answer would be even before I ask if I could do it.
You should just do it. Nobody is going to know.
Okay. I'll bring my cables and tools tomorrow.
No really. Who's going to know?
First of all, how in the hell am I going to do all this without anybody becoming suspicious.
You have a key, right? Come at night.
My key doesn't give me access to that door.
What's that door?
The trap door leading to the roof is in there.
What about the latter outside.
Even if we manage to climb up, we have to run the cable into here. That means we need to have access to the roof and the office.
You're key lets you into the office. You climb up to the roof from outside.
Show me where to drill, Einstein.
Pete and Aaron unlock the door to the hatch and discreetly make their way to the roof.
Can I come?
Pete and Aaron freeze.
I'm just kidding. I won't tell.
Pete and Aaron continue.
Take your cell. I'll message you with play by play of Elsie's whereabouts.
The Conflict introduced in this Scene is between the following Characters: Emma, Donna