My (arbitrary) break out of the sequences. I originally had 9 sequences but consolidated them into 7. Whatever, my inclination is to package sequences that roughly approximate the length of "reels" they had to use in the early days of cinema because of the limitations of projection technology. Sequence #1 (pages 1-13): Setup: We are introduced to a sociopath, Lou, "pure primal id". Trigger Event: He comes upon the auto accident, watches free-lance video journalist Joe Broder in action. Action: Lou steals and pawns a bike to get his hands on a video cam and police scanner. Cliffhanger Question: Can Lou be a free-lance video journalist like Joe? Sequence #2 (pages 14-24): Setup: Lou learns the police radio codes, heads into the night. Action: After some initial failures, including being beat to a scene by Joe Broder, he gets a short clip of a man bleeding from gun wounds. He pitches the clip to TV news director Nina Romina, negotiates for more money than he can get, has to settle for what Nina offers. Nina tells him the kind of stories she wants, ones that are bloody, graphics. What bleeds leads because it boosts ratings. Cliffhanger Question: Can Lou get more -- and better -- bloody stories to sell to Nina? Sequence #3 (pages 25-39): Setup: Lou needs an assistant. He interviews, takes on Rick, who is like Lou in terms of Lou's original existential predicament, no economic prospects, but also a contrasting foil because he's a weak negotiator, settles for less than what he wants. Action: Their partnership gets off to a shakey start. Lou finally gets some exclusive clips by crossing the police tape, tresspassing a private residence. Nina buys his video. Watching his story lead on the news, the hype, gives Lou a major hit of dopamine: he's hooked on his new career. Cliffhanger Question: Where can he go with his new career? Sequence #4 (pages 40-56): This is a pivotal sequence. A lot happens and I could just as well split this sequence in two. But there is a logical beginning and ending to the primary issue in the two story threads involving Nina and Joe. And I found it well worth studying for how well Dan Gilory, the writer, interwines them for a cause-and-effect pay off. Setup: Lou's successful enough to buy a faster car, better equipment. Action-Part One: Not one to sweat over ethics, he moves a body at an accident scene to get a better camera shot. And in a reversal, he beats his major competition, Joe Broder, to the scene. He asks Nina to go out with him to dinner. She brushes him off; it would violate Nina's to never date anyone she works with. Joe Broder asks Lou to partner up with him. Lou brushes him off. Action-Part Two: Nina breaks her rule, goes go out to dinner with him. He pushes to "personalize" their professional relationship, leverages the fact she desperately needs the kind of stories he delivers to keep her job. His leverage over her is threatened when Joe beats him to a big story and Nina explodes in anger over a lesser story he brings her. Now the 2 story threads converge: Lou does what any 'normal' sociopath would do to salvage a rocky relationship and advance his career: he tampers with Joe's van so that it crashes, eliminating his rival. Cliffhanger Question: What will he do next to advance his professional and personal ambitions? (What won't he do?) Sequence #5 (pages 57-76) The longest sequence -- as written. But there's one unifying action: the residential murderers. Setup: Lou drives to a brush fire sweeping sweeping down on a residential neighborhood but doesn't shoot anything. Not enough graphic suffering to sell to Nina. Action: Instead, he responds to a radio call about a home invasion. He catches the murderers on tape as they leave, goes into the house, and shoots scenes of dead bodies. And tries to interview -- not rescue -- one victim before he dies. He edits out the shot of the murders fleeing, shows the rest to Nina back at the station. Nina sweeps aside the ethical issues because the story is just what she needs to boost ratings and her prospects during sweep week. A big moment for both Nina and Lou. Cliffhanger Question: "We're going to get a ton of heat from the police," says a reporter. Can Lou overcome "the ton of heat"? Sequence #6 (pages 77-97): This is another sequence I was initially inclined to split into two. Setup: Sure enough, police detectives come knocking. Lou's alibi is that he didn't see the murderers. He gives the detectives a copy of the video with the shot of the murderers deleted. Why? Action-Part One: Because he's going to track down the murderers himself, stage another big news scoop. But first he must overcome the resistance of his assistant, Rick, who's worried about the ethics, the danger --- and he wants a raise. Which Lou gives him, after Rick asks for less than what he needs and could have gotten. (Providing a contrast to Lou's negotiating m.o., asking for everything he wants, more than he can get.) Action-Part Two: Lou finds the murderers, follows them to a fast food joint, calls the police and captures the resulting gun fight and pursuit. At the final crash scene, he dodges the bullets from the surviving murderer so that Rick takes the hit. Lou records his death. Cliffhanger Question: What will be the (final) denouement of Lou's actions? Sequence #7 (pages 98-107): Setup: In spite of all the violence and bloodshed he has just witnessed, Lou is cool, confident, happy as he enters the station. Action: In a reversal, he doesn't have to haggle over money with Nina. The story leads, of course. The detectives show up to confiscate the tape as evidence but Nina won't give it to them without a court order. Lou is interviewed a detective who doesn't believe his alibi but doesn't have the evidence to charge him with a crime. Final Resolution: Lou is a successful and legit business man. He has expanded his business with a 2nd van and crew. They head out into the night.

Paul, excellent work and I am inclined to agree with you in terms of sequences 4, 5, and 6. Yes, each could be split up, but there is an overarching arc to each comprising a mini-story in full. Intriguing to note how they build in scope, violence, and moral - for lack of a better word - 'depravity'. Lou really goes down that 'slippery slope' leading to deeper and darker consequences. This structure as you've laid it out also points to something else: How Lou can be seen to start in a state of Disunity - a highly motivated and positive-minded individual who simply hasn't yet found an appropriate venue for his efforts - who once he discovers being a news hound for local TV media evolves into a monster. So in the end, he has reached a state of Unity, fully embracing the madness within. We see this incremental evolution stage by stage in the structure of the story's sequences. Once again kudos, Paul, for your analysis.