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ONE
Fade in:
INT. SUBWAY TRAIN - VERY EARLY MORNING
Close up of Simon James. His eyes are closed. It is difficult to tell whether he is asleep or not. Lights flash on his face.
Simon is in his late twenties. He is of average height and build. His hair colour and clothing are unremarkable. Although he is handsome, he is not overly so. In short, he is a thoroughly average man.
MAN
(out of shot)
You're in my place.
Simon opens his eyes. He looks up.
SIMON
Sorry?
Simon looks around the carriage. It is completely empty.
Perplexed, Simon gets up and stands by a hand rail. He looks at the man who, now behind a newspaper, exhales the final puff of smoke from his cigarette. The headline on the front says COLLAPSE! and is a story about financial crisis. Simon looks at his reflection in the glass window of the subway train. He looks ghostly and half formed.
Simon furtively peers into the next carriage along. We see a young woman, Hannah. Hannah is Simon's age. She is a little unkempt, but very pretty. She is standing by the divide between two carriages, cooling herself with the artificial breeze created by the train's movement. Her eyes are closed. Simon tries not to be seen by her in case she opens them.
The train stops and the door opens. He watches Hannah leave.
He makes to follow, but the door is blocked by two men standing either side of a trolley filled with office boxes and equipment.
Sorry .
Simon sees Hannah disappear off, but there's nothing he can do. The men are still loading the office equipment.
The train starts to make a beeping noise, but Simon still hasn't managed to leave the carriage.
INT. TRAIN /EXT. RAILWAY STATION PLATFORM - CONTINUOUS
Simon springs out, but the doors snap shut, trapping his briefcase.
The handle of the briefcase breaks off. The train moves away, taking the briefcase with it. Simon is left holding the handle.
He walks to the back of the station and throws the handle into a bin.
We cut to Simon walking out of the station and into a corridor that's directly off from the platform.
INT. OFFICE CORRIDOR - EARLY MORNING
Simon walks down a long corridor leading to the lobby of the office building.
INT. LOBBY - EARLY MORNING
Hannah is waiting by the elevator.
Simon smiles and quickens his pace a bit.
He takes out his card to swipe through the barrier, but it doesn't move.
A Guard sitting behind a desk calls out. He is watching a sci-fi series on TV. We see a close-up of a gun on the screen. The sci-fi detective holding it fires a ray at a man, who screams in pain for a long time before vaporising. We see the titles for the series.
GUARD
You.
Simon turns and looks at the Guard, surprised to be singled out. He looks a little nervous.
Me?
All visitors have to sign in.
I've worked here for seven years.
He shows the Guard his card.
I see you every day.
I don't work weekends.
It's therefore impossible for you to see me every day. I.D.
Oh. Yes. The funny thing is I don't have any. It's in my case. Which is in the door of the train, it got stuck .
You think that's funny?
No. It's not funny - it was actually more upsetting than -
The Guard cuts Simon off and pushes a form across the desk. The Guard taps the desk.
Simon frowns and signs the sheet. His is the first name.
The Guard takes the sheet and slides over to a computer where he punches in the details. Simon sees Hannah get into the elevator and watches the doors close.
He is given a day pass that says SIMON AMES - TEMPORARY VISITOR.
Oh, sorry. My name is Simon James. You left off the 'J' .
Simon trails off as he sees that the Guard is no longer paying attention to him. Simon looks at the TV show reflected in a mirror at the back of the Guard's station.
INT. ELEVATOR - EARLY MORNING
Simon rides up. He stands alone in the corner.
The light starts to flicker on and off. A fan hums noisily.
INT. OFFICE - EARLY MORNING
Simon makes his way to one of many cubicles in the middle of an office space.
His desk and cubicle are just slightly too small for him. Every cubicle has the same boxy computer. They are enormous and make loud whirring noises that fill the office.
They generate incredible heat, necessitating powerful fans above each person's desk. We hear the separate hum of ancient air conditioning.
Simon sits down at his desk. He switches on his fan and an overhead light. He adjusts himself in his too-small chair and removes his jacket.
It's very early. A cleaner hoovers in the background.
Simon boots up the computer. The hard drive strains.
Simon starts copying from a stack of grey cards with multiple choice letters and numbers on them:
1. A B C D E 2. A B C D E 3. A B C D E 4. A B C D E 5. A B C D E
'One letter on each line is circled with a differently coloured pen. Some have stamps over them. There is a reference number to the bottom right of each card, like AYO/170210/Cl:BIBI/1a.
He types proficiently on to a small, colour-coded keyboard.
He goes to a computer bank to collect a printout. They are similarly sized cards and they now show a colour chart, but with the same reference number on them.
INT. OFFICE - MORNING
He tilts his head up and surveys his half-dozen or so co-workers, who have since arrived. They're all men and much, much older than Simon. They type very slowly. There are quite a few empty desks.
Simon finishes up the card he is copying and moves to the next one. He has now completed copying an enormous batch.
INT. OFFICE - DAY
Simon stares off into the distance. We cut to:
Simon standing looking at a photograph of the office. He turns his head. In his point of view, the office is identical in every way to the photograph.
We see a small picture of the Colonel, a distinguished-looking gentleman in his sixties or seventies dressed like a member of the British royal family. The Colonel is stabbing a leaping tiger through the head with a sword.
Mr Papadopoulos enters. A compact, bustly man, he has thick eyebrows and his brown suit indicates that he is in management. He steams past Simon.
PAPADOPOULOS
Put your jacket on, son. This isn't a brothel. (To the room, walking through.) No shirking. This is the big push. Plenty to do. The Colonel is counting on each and every one of you. As am I.
Mr Papadopoulos continues to power through the office. Simon gives chase.
Mr Papadopoulos! Excuse me. Mr Papadopoulos! Actually Mr Papadopoulos, I'd finished up - in fact I've completed substantially more than my quota.
Simon runs over to his desk and brings back a folder of his work. He grabs his jacket and catches up with Papadopoulos.
INT. CORRIDOR FROM OFFICE - DAY
Simon and Papadopoulos walk out of the office towards the elevators.
I was taking a small inspiration break. I took my jacket off because it's so hot, not because I mistook the office for a brothel.
Excellent job! That's the type of initiative we need. How long have you been here, son? Just started, eh?
Yes, sir. Seven years ago.
Mr Papadopoulos and Simon exit frame. We pick them up.
INT. CORRIDOR OUTSIDE PAPADOPOULOS'S OFFICE
You know we've been pruning the dead wood. We've got to work double time now, making the big push. The Colonel refuses to carry any more passengers.
(indicating the folder)
Actually, I have some rather...
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