Morris dumps his sister’s memo atop the littered floor of the will call office of the Graphite County Opera House. Morris is steamed. Who does Noreen think she is, questioning if he receives and reads faxes? What kind of a backwater manager does she think he is? He’s further hacked off because he’s on the verge of pitching one of the most important shows ever to his sister. It involves repurposing commercials and the concept is destined to raise audience levels and revenue projections to an all-time high. Before Morris gets a good head of steam, he realizes there’s one aspect he should research before calling Noreen that may make the concept null and void. But he ignores these doubts and calls her anyway . . .