Seeing is Believing
Updated: Mar 1
I have had requests for lists of, photographs of, and maps of the places Michael Grant, et al, go to or to which they have gone. Similarly, readers can sometimes be confused creating their own mental image of the MG&A offices as the story unfolds in text. This blog post provides illustrations and descriptions to alleviate that potentiality.
For centuries, at least, fiction and non-fiction books have had illustrations. Somewhere in the (here undefined) modern era it became a meme not to or, more sinisterly, verboten to include an illustration, image, or photograph in the body of a novel.
In book #2 Judas Oracle, I included illustrations of maps on two pages before the ‘prologue’ to orient the reader to places and ‘tracks’ to those places about to play out in the book. In book #7 BOXMAN, in which I created the Michael Grant Margarita I included an image in the back of the book of the Michael Grant margarita “Official Purveyor” plaque presented to Desperados Mexican Restaurant when they put my drink on their menu. In book #8 The Sun Never Sets, it included several illustrations. Every Michael Grant book since then has had various illustrations include in the text/interior of the book.
The old saw: a picture is worth a thousand words, has worth but it is not entirely accurate. Indeed a picture or illustration can substitute for literally thousands of words. However an illustration can also provide the reader an enhanced experience, for invariably illustrations can provide more information to the reader than even detailed text can provide.
Thus I no longer hesitate to include illustrations where I believe they have reader-value. However the 6x9 print format’s limitations make some illustrations too small to be of detailed assistance to the character’s story.
When the series began, with book #1 Jamaica Moon, Michael Grant had a one-man office (Suite 303) in the Oil and Cattleman’s Executive Suites, which occupied Suite 300, on the 3rd floor of the O&C Building—perviously occupied by a now defunct bank.
Here is the floor plan of Michael’s Office, Suite 303 post Suite 302 renovation. This diagram is the updated version of the office’s original layout that I had created for myself.
The rest of the suites were occupied by several oil and cattlemen, their attorney Randol Prevotil, the O&C Executive Suites’ and O&C Building’s manager, Mrs. Anita Denise Billings, an accountant, Mr. Paul Jarvis, and the suite’s receptionist, Marnie Violante. Ms. Violante provided receptionist/secretarial duties for all the ‘Suite 300’ occupants.
As you may recall, Michael’s Suite 303 and Mr. Jarvis’ Suite 302 were virtually the same size and shared a common wall. Not particularly advantageous for security, but Michael made it work for many years.
[Spoiler Alert]: What no one knew at the time that Michael Grant, owned the O&C Building and the O&C boys were his employees looking after his oil and cattle investments, Randol was the O&C business and Michael’s personal attorney. This also meant that Mrs. Billings and Ms. Violante were also Michael’s employees.
After Michael made Tom Darrow EVP & Partner in MG&A it made sense for him to have an office next to Michael's. Unbeknownst to Mrs. Billings (the office manager who handled leases for the O&C Building) Michael bought out Mr. Jarvis’ lease of Suite 302 and relocated him elsewhere in the O&C Building. Starting with Buttermilk Skies, (book #8) Mrs. Billings supervised the buildout of Suites 303 & 302 with Michael’s blueprints and specifications. From the old Suite. 302 the plans took three feet and added them to the east end of Suite 303. Next, room was made for the joining kitchen and bathroom. A corner office for Tom was creating out of the remaining space.
In the years before and after the buildout Mrs. Billings was never aware, never noticed that Michael had ‘stolen’ several feet at the west end of his own suite to create a ‘secret room’ with a faux wall accessible behind via an electronic sliding wall panel.
Here is that updated floor plan which included a list of described items. Later in Buttermilk Skies, Tom takes Nance on a tour of the newly renovated Suite’s 302, 303 and what’s in between.
(Note: In Jamaica Moon Nancy K. Wiseman suffers a brutal attack and refused to be called 'Nancy' any longer, because her attacker constantly spoke her name. Thereafter she only answers to: 'Nance', pronounced like: 'dance'.)
In Buttermilk Skies [Chapter 18, 7:00pm Wednesday, September 28] through Tom and his wife, Nance Darrow’s eyes is the text version of what Tom’s office looked like in detail including a tour of the adjoining bath and kitchen areas, leading into Michael’s officer with a brief look-in.
7:00pm Wednesday, September 28
The Oil & Cattlemen's Building
Oil & Cattlemen's Executive Suites
"SHOULDN'T WE WAIT? Mic said the grand opening is tomorrow night…besides it's not like—"
"Shhhh." Tom Darrow put the key in the lock to, his brand new corner office, Suite 302.
“—you haven't seen it… you’re right next door to Michael.”
“Exactly. But, you’ll be the first. Actually, I haven’t seen it yet!”
“H, I thought you helped plan everythi—”
“I worked with Mic on the plans, he asked me what I wanted… and I’ve seen the final plans, but I haven’t seen it, in the flesh, since the buildout was completed.
"Like I said—he turned the key and pushed open the door—you're the first to see… Voilà!”
The smell of new carpet with a lingering hint of fresh paint rushed out the open door to greet them.
Tom stepped back. “Well, go in.”
The light from the foyer cast their shadows into the room, until the door closed pneumatically behind them.
"H, it's dark!"
"Of course, just a moment."
He slid the flat of his hand along the interior wall just inside the door. He was trying to remember which of the four flat panel-switches to push on. Even in the dark he closed his eyes, as if to aid his memory.
Touching and holding in the farthest panel engaged a whir from across the room. Long, floor-to-ceiling, overlapping louvers turned slowly in a ninety-degree arc, revealing the hidden corner and the view beyond.
“Oh, my! Look at that!” In the relatively dark room Nance made for the office’s corner where two large, floor-to-ceiling, 8’x8’, thick, glass plates converged into a seemingly seamless corner window connecting the east and south walls. The way the glazers had set the glass, the lateral sixteen feet of glass made it appear as if nothing was holding up that corner of the building.
Tom continued holding down the panel as the two separate wings of louvers, starting in the corner, pulled away from the corner and collected themselves against the windows' frames on the left and right, respectively.
Tom touched the third panel, the semi-darkness disappeared.
“Oh, H, turn off the lights… just for a moment and come here.”
Tom stood behind Nance looking over her head, his arms crossed just below her breast, his hands on her stomach. Outside, the night was lit with colored lighting, everywhere. Reds, blues, whites and purple shown from the nearby building signage. Three stories below white headlights in the northbound lanes would make you blink if you stared at them. Going the other way, in the nearer southbound lanes of Central Expressway the vehicle’s red taillight streamed south drawing your eye toward downtown Dallas. It’s skyline was marked with tall lighted buildings, chief among them the 71-story bank building on Main Street with its glowing green edges.
Self-consciously Nance put her hand on her husband's and patted him. "I won't have my slim waist much longer."
"Nonsense, it's only been three weeks since we found out."
Nance giggled, "H, I was four weeks along when I went to the doctor. I can see the changes already."
Tom let his hands slide to her hips. "Well, I can't tell—he cupped her buttocks—especially from back here!"
Nance playfully swung her arm backward and slapped his right hand. "Thomas Duncan Darrow…I'm surprised at you!"
"Hey, I'm a guy."
Nance turned and looked up at Tom and then went tiptoes to give him a kiss. “I know…and I love you for it. But—she slid her hand down and cupped him—don't let your, ahem, 'eye' here be roving while I'm pregnan—"
"Not a chance, Sweetie. What do ya think of this view?"
"Great, H. Having a view like this would be a good excuse to work late.”
“Not a chance," he repeated. "Stay here and I’ll get the lights and take us on the nickel tour.”
Tom zig-zagged around the furniture and turned on the light switch at the door. “There!”
“Oh, my? Tommy! Sweetie, H, this is wonderful.”
On the floor to his left was a large dark-gray square area rug with a large rectangular glass coffee table in the middle. On the east wall was a 3-cushion navy blue leather couch with glass end tables topped with lamps on each end. Perpendicular and completing an “L” was the other couch's twin. Its back followed the south border of the area rug and was ended with the same kind of glass end table and lamp. Completing the conversation pit, of sorts, on the rug’s west border were two navy blue leather club chairs facing the coffee table. On the north wall was a 60” flat screen TV.
On the wall to his right, in between two pocket door was a smaller, 42” flat screen TV.
“Come, H, come try out your chair.
Under the area rug and covering the rest of the office was deep pile carpeting in an inky blue color.
Tom stepped onto the carpeting. “Anything white is really gonna stand out on this carpet. It’s a dark blue as Michael’s is dark green. If it wasn’t for the cleaning crew vacuuming everyday, I would have picked something more utilitarian… Mic said the color reminded him of Sally. So, what could I say?"
“What do you think?”
“I like it. I think—she swung her arm in an arc—you’ll like living with it.”
“Tom slipped between the end of the ‘L’ shaped black lacquered desk and the second of his two lateral file cabinets, this one topped with a scanner and printer.
He pulled the chair away from the desk. As he did so his eyes swung left, he pointed. “Ah, I forgot there's a panel to control the lights right here, I didn't have to go all th…never mind. “
He tapped the back of his ergonomic chair. “It’s adjustable.” He sat down and pushed back against the black mesh back, fingered the arms on the graphic frame. He pulled his boots up underneath him and rested them on the graphite base with its five-legs on casters. “Would you believe Michael paid almost nine-hundred and fifty bucks for this chair! Well, that was retail, he probably got it for wholesale.”
Tom grabbed the edge of his desk and pulled. He swiveled around 360 degrees. “Damn comfortable chair! I think I sat in thirty or so tryin’ to make up my mind.”
He let his fingers tap the keys of the keyboard beneath his new iMac with 26” retinal display. “I’m gonna enjoy usin’ this.
“You ready to see the fun stuff?”
Nance was smiling. “Fun, is always good!”
Tom grabbed Nance’s hand and led her around his desk to the second and southmost of the two pocket doors in his west wall. He gave the door a sideward's push and the door receded into the wall. “Again, Voilà! The kitchen.”
“Tom you got a full kitchen here! Stovetop, oven, microwave, sink. Side by side refrigerator!” She turned to Tom, “With ice-maker, no doubt.”
“Yep, made with filtered water… none of that old water out-of-the-tap for Michael!”
Nance walked over to the sink, opened the overhead cabinets. “Guess you’ll be needing some glasses and—looking in the second cabinet—ah, the Scotch!”
Tom nodded, “The cupboard does look a little bear… that’s not my department.”
“And, your department is?”
Tom pointed to the three boxes on the butcher block. “The coffee makers! Michael got us a new 12-cup Mr. Coffee and one of those fancy French Press coffee expressers. Oh, and new Braun coffee grinder. Michael said he bring in some Coyote Blend from Taos and some Blue Mountain beans from Jamaica on Monday.”
Nance opened the fridge. “Well, you’re set for milk for your coffee and there’s enough chocolate chip cookie dough to keep you in M&Cs for a month.”
Tom poked his head around and saw at least two dozen half-pint milk carton and a similar number of cookie dough in plastic tubs. “Michael must have raided the wet bar before they took it out.”
“You’ve never seen it, wanna see Michael’s office.”
“I guess we can on our way out.”
“No, a partner’s perk,” He pushed the pocket door to the right of the kitchen table and water cooler with its 5 gallon bottle of Ozark on top.
The door receded. The light from the kitchen spilled out onto Michael’s green carpet. “It really is a beautiful green, I was thinking some ugly green… wait, this is the same as at the penthouse, isn’t it?”
“Yes, I don’t know which came first putting the carpeting in O&C or at the penthouse.”
Tom touched the wall switch, the room lit up. “Well, I see a few changes. That’s good.”
“Yeah. I didn’t want Michael spending all this money on the build out if he did do something for himself too. Of course he said that's why he was putting in the kitchen and shower—”
“We’ll get to that.” Tom pointed. “He used to have his desk, which used to be an old library table at an angle, all caddywhompus, but he liked it. I see he’s not put his desk directly in front of his rolltop.
“He used to have just two Chinese screens, he’s got two more, behind the new credenza… and he’s got a big 60” flat screen too! Good for Michael.”
Tom counted six chairs. “Ah, good, he’s gotten more chairs, we used to have go scramble’m up with we had out poker games in here.” Tom pointed to the large round table. “You turn over the top and it’s green felt on the other side. He grinned. “I never made any money with the smooth side up.”
Tom stepped past the round table and looked left where the wet bar used to be. “I see he’s got another flat screen up on this wall and lateral file cabinets here and behind the screen to the right of the office door.
“This way to the next surprise.”
Nance dropped Tom’s hand, and pointed. “What’s that big thing on the ceiling?”
“It’s a commercial grade smoke eliminator for when we smoke cigars.”
“What’s all that stuff on his roll-top?”
“The roll-top desk doesn’t quite go with the rest of the decor, library table, Chinese screens and all.”
“His wife, Elanna, gave it to him. It was their fifth anniversary, I think.”
“She gave him a desk for their anniversary?"
"A wooden desk…the fifth is 'wood', right?"
" That doesn’t sound very romantic?”
“To hear Mic tell it… it was. Seein’ as how when Michael raised the roll-top Elanna was curled up inside in some kind of barely there negligee.”
Nance's right eyebrow arched and nodded her head ever so slightly. “Well, that’s not just stuff on top. Who’s that girl? Elanna?”
“No.” Tom’s head lowered. “That beautiful young girl was Nikki Brinkman. She was Mic’s first missing person case. It didn’t end well. He found out she had been in the morgue for three months, victim of a hit-n-run after she’d been thrown out of her boyfriend’s car when she told him she was pregnant.”
“Michael thinks it was his fault she lay in the morgue all that time, it wuddn’t. I’ll tell ya the rest of that story some other time. Anyway, he keeps the picture up there as a reminder to himself… that’s where his pet phrase, “never again,” comes from. An’ see, the incense tray under the picture, that’s got Japanese kanas carved into the edge which are supposed to say, “never again.”
Nance was now standing in front of Mic’s roll-top. "She was a pretty girl… here eyes, it’s almost like she’s an old soul or something. What about these books and book ends?”
“I don’t remember who gave the books or bookends to him. Mic told me the leather bound set of six dictionaries had once belonged to Sam Houston. The Republic of France had presented them to Houston when he was President of the newly formed Republic of Texas. The bookends are six-inch square blocks of white limestone containing thousands of tiny fossils or relief’s of fossils. The stone was quarried around Austin.”
Holding the sixth book in place he picked up the square stone. “Man these are heavier than I remember. “As you can see--he quickly turned it and set it back in place--each of the stone’s facing sides is incised with a five-point star.
Standing beside Tom, Nance reached out for the shinny silver nicknack.
“Whoah, Sweetie, I would’t touch that one. Mic’s pretty touchy, even about talkin’ about that one.”
Her hand hovered near it. “What is it, a capitol dome or something?”
“Something like that. Mic says it’s a replica of the Sacred Heart Basilica in Paris.”
She quickly glanced at Tom. "The Sacré-Cœur?”
Nance couldn’t help herself. Her thumb and forefinger closed around the tip of the solid silver dome. “It’s heavier than I thou--”
A single bright clear note rang out. Nance almost dropped it, but caught it in her other hand. “There’s something inside…"
Horrified, Tom stood with his mouth opening and closing like a dying fish.
"…it’s a little tiny gold bell.” She turned it over in her hands. “And an even tinier little bell clapper… it hooks at the top… inside.…”
Oh my God, he’s never said anything about something being on the inside… damn, damn!
Tom came un-dumbfounded. He said with more force than he expected, “Put that back, now…” and add “please!” He was shaking his head. “This is not good.”
“Honey, H… it’s just a nicknack—”
“No, Sweetie. It’s not “just”, it something of great sentimental value to Michael! The cleaning crew as the strictest orders not to touch anything in or on the roll-top. I was really skating on thin ice to pick up the bookend.” Oh, man… oh man.
“I didn’t hurt it. I can wipe it off and he’ll never—”
“Know? Yes, he will.
“How, you can’t even see a—”
“I’ll tell’m that’s how. Michael’s very generous… he’s just made me EVP and his partner. He’s created a great office for me, connected to him—Tom waved his arm around the room—not for me to invade his privacy…”
“Tom, I’m sorry, I didn’t realize. I’ll apologize to Michael.
“There are some things you just don’t do. He’ll notice it was moved! He’ll notice your fingerprints!
“Nance, Honey, there’s nothing for you to apologize for. It’s on me. I’ll tell Michael.”
“Tell him… I’m very sorry.”
Tom was looking at his boots and shaking his head. “I will, Honey, I will. Guess we’d better skedaddle. Pull that pocket door to the kitchen to, would ya? We're goin’ this way.”
Tom walked around the low two draw lateral file cabinet and behind the Chinese screen that used to cover the space where the wet bar stood. Almost to the front wall, he pulled on another pocket door, touched the switch to turn off Michael’s lights and stepped into the marble floored bathroom, turning its lights on. He was followed by a somber Nance. He let her pass and closed the pocket door behind her.
“This is the bathroom. You know how I smell to high heaven after doin’ a dumpster dive, or some such. Well, now Michael or I can, instead of leaving work to go home and get cleaned up, we can do it here.” He touched two closets, one at a time. That’s mine and this one’s Mics. Not sure what we’re supposed to fill’m with.. Got a shower, toilet and lavatory.”
“Then this last pocket door leads back to my into my office… at least it did on the plans.” Tom tried a half-laugh to lighten the mood.”
He turned off the bathroom’s lights.
Back in his office. They looked at one another. “Sorry, I raised my voice a bit. I’ll smooth everything out… I’m starvin’ how about you?”
“H, I could really go for a hamburger and a beer.”
“Hamburger an’ a beer… So negatory on In-And-Out or Whataburger...which are on the way home, sorta. Beer? Beer?” Tom smiled, “We can either go to “Jack’s” on Skillman or go up the hill to Keller’s, haven’t been there in a while.”
“Sitting in the car at a drive-in, man, that’s been years. Let’s go to Keller’s. I heard they’re maybe closing?”
“I heard that too, we’ll have to ask.”
Nance nodded toward the huge painting on the east wall. “How did I miss that! Great colors! One of Michael’s?"
“Nope. A contemporary artist named, Voka. Calls his style. 'Spontaneous Realism'. Something Mic acquired recently. He told me 'it's too big for my place, so I hope you don't mind if I put it in your office'. I suspect he got it just for me, with the race car motif and all… I'm afraid to ask what it's worth.”
At the door Tom opened it, reached over and touched the light panels third switch the overheads went dark. Next he touched the four panel. A whir was followed by the blinds tracking back across the windows, collecting in the corner, and then turning ninety-degrees. When flat the view was gone and the room was black again.
Stepping out, when it closed he locked it. They walked across the green carpeted foyer of the Oil & Cattlemen’s Executive Suites. He nodded to his right. That’s where Marnie works, behind that, that whatever you call it.”
“I always wondered. She’s a good gal, always keeps track of you for me.” At the double glass doors Tom pushed the red button to release the magnetic door locks. “You know, that helps a lot knowing what’s happening…”
“Tom pushed the door open. He laughed, “Now if I could just keep track of you that well…” He laughed again, “Oh that’s right I can… I’ve got all your favorite shoe stores on speed dial.”
Her punch in the shoulder was not totally unexpected. Tom gave out with a mock, “Owe!”
Plus later [10:04am Monday, November 7] is a second description of Suite 302’s window surprise.
10:04am Monday, November 7
The Oil & Cattlemen's Building
Oil & Cattlemen's Executive Suites
Suite 302 - Tom's Office
“KIND OF NICE to sit in your office, for a change.”
Tom smiled from behind his L-shaped desk. "I can't complain! Which screen do you wanna watch."
“The big screen, of course.”
“Man, Nance would have freaked out if she'd seen this little trick. He poised his finger over the button on his desk. She only saw the motorized louvered blinds, which are impressive. And I didn't know this button was here why I gave her the private tour. Or, that matter, what it did… nobody told me.”
Michael chuckled, “I thought it would be more fun if you discovered it yourself… and if you didn't, then I'd show it to you.
“I shoulda had'm change out my window too. Blinds just don't make the room dark enough during the day to watch a screen that's facing a window.”
“Well, it seems like magic. I had to slap my own self so I don't just play with it all day. Here goes."
Tom pressed the button and instantly the two large 8'x8' foot plate glass windows that made up the corner of his office went black. Pushing the button sent a small electrical charge throughout the special layers of the windows and caused lithium ions in the electrochromic glass activate, effectively reflecting or blocking about ninety-eight percent of the suns rays.
In the now blackened room, Tom aimed his remote at the large flatscreen TV on his north wall.
Michael turned in one of Tom's swiveling client chairs toward the screen.
Then with Michael’s appointment as head of NA-FOG—filling the roll vacated by Nicholson “Sunny” Crawford, (aka Canada) who became the Agency’s Assistant Deputy Director of Operations in Langley—Michael committed to serious security upgrades to Suite 300.
In Murder at Betty Sue’s Café, (book #15 MABSC) Michael appointed Claude Fabrece—his long-time, former Army Ranger, Agency body guard, and live-in Chef—as his Chief of Security for home and work. Michael charged Claude with the Suite 300 security upgrade and buildout.
In MABSC Claude discusses the security buildout time-frame with Michael in his office with Tom Darrow. They discuss security countermeasures. Claude says:
4:41pm Thursday January 24
The Oil & Cattlemen's Building
Oil & Cattlemen's Executive Suites
“Boss, the build-out will be complete on Tuesday (Jan 29),” said Chef Claude Fabrece and Michael’s new Head of Security for home and office.”
“Assuming,” Tom added, “the punch list is completed on Monday (Jan 28).”
—anything else on the agenda, Claude.”
“For you? Boss?”
“No, Sir. Umm not unless you want the grand tour after the punch list is done on Monday.”
Any of you ‘close’ readers out there could either scratch your heads thinking: I don’t remember them going over the punch list on Mon Jan 28, or taking ‘the grand tour’ on Tue Jan 29. Other’s of you who might be running to your copy of MABSC and thumbing through to January 29 where you’ll see no mention of the build out details or Michael taking a grand tour.
After expending thirteen pages (in 6x9 format) and just over 3K words (in Buttermilk Skies) when Tom and Nance to take you on a tour of Suites 302/303 and in between--I didn’t want to do that again in the current novel. But I did want to visually acquaint readers with all the changes.
I feel by providing readers with this blog and it’s illustrations I won’t be taking away from the story-line. Of course if any of the characters decide they want to describe their surrounds... well I'll take down what they're saying. Thus interested readers can gain a better understanding MG&A offices by including the illustrations and descriptions here rather than in book #17 No… It’s Raining.
Here, then, is the ‘Author’s diagram (not including Suite 303 or 302) of the security updated floor plan for Suite 300 with its 10 (ten) Security Cams, followed by a detailed descriptions of what's where. (Note: the CAMS are numbered and their locations specifically detailed on the last image below.)
STAIRS & ELEVATORS
Arriving at Suite 300 can be accomplished in three way. You can come through the downstairs lobby and take the staircase—unfortunately, if that is your choice to doors of the stair case only open ‘in’ to enter the staircase from an upper floor, to accommodate persons going down. There are three elevators are usually operated by key access via security or maintenance personnel. Elevators 1 and 2 are pedestrian elevators and can be accessed in the lobby or from any floor’s interior vestibule. Additional each elevator has a rear entrance that allows authorized persons with access to the attached parking garage to take either Elevator 1 or 2 to their floor of choice. Note: the Freight elevator can also be access via the parking garage to facilitate large in coming or out going shipments as well as move-ins and move-outs.
Third Floor VESTIBULE
When any Elevator 1, 2, or 3 doors open its interior is under visual scrutiny from CCTV camera aimed directly at them. Stepping out of the any elevator puts the visitor in view of four Vestibule cameras: #7,8,9, & 10.
Stepping across the Vestibule to the door to Suite 300 the visitor will notice that the entire wall fronting the interior reception area is made of tempered, floor-to-ceiling, triple pane glass as is the over-sized pedestrian door.
SUITE 300 DOOR & WALL
The door is held in the locked position by three mag-locks that in a power failure go to a ‘fail-safe’ locked position which can be overcome by use of the biometric key pad on the glass wall’s interior. To enter Suite 300 a visitor without and authorized code must press the red button access button. Either by acknowledged by voice, through the two-way intercom, or visually The Reception Area attendant must use a keyed button to unlock the door for entrance.
Note 1: The front glass wall, like all the exterior windows (such as Tom’s corner windows) have refitted with electrically charged special layers between the panes. A push of a button causes lithium ions in the electrochromic glass to activate, effectively reflecting or blocking about ninety-eight percent of the suns rays. If privacy is required in the Reception Area the entire glass front wall can go dark or opaque. Note: The triple panes of the front glass wall (and door) are ballistic resistant and shatter proof.
Note 2: This door opens inward creating an immediate defilade behind and to the right of the open door.
Upon entering the reception area, to your immediate right is a three-section couch. To the left (once the door closes) are two chairs. Visitors can approach the front or side of the chest-high Reception Counter where they maybe directed to a specific office or asked to wait either on the couch or chairs until called. The Receptionist sits behind the counter at a desk from which the door mag-locks may be momentarily decoupled and by the press of a button ‘black-out’ the front glass wall. Additionally under the counter and facing the receptions is a bank of ten (10) 6”x6” CCTV monitors attached under the lip of the counter. Note: 1) The Receptionist is trained and armed with an automatic weapon to respond to an attempted breach. 2) The L-shaped Reception Counter is fully armored against projectiles and fragmentation devices.
The Reception Area is covered by cameras 1,2, & 3. (see full floor plan)
On the right, down from the visitor’s couch and across from the Receptionist is the pedestrian entrance to Suite 303, Michael Grant’s office. Just inside Micheal's office door, to the right as you step in, is a three foot pedestal (Doric column "F") with a replica of the Maltese Falcon on top.* This door (along with all the other interior doors and walls) is reinforced ballistically. It has a standard door knob and deadbolt locking devices. It also is fitted with mag-locks, activated either from inside Suite 303 or by the Receptionist or COS from his control board. *The replica of the 'Dingus' from the movie Casablanca is an ubiquitous accoutrement in many private investigators offices. Michael has a habit of touching the 'Dingus' when entering and or leaving his office.
Note: Suites 303 and 302 have multiple hidden cameras not on the Security Camera grid and not shown on the floor plan.
Down the hall from Suite 303 is the pedestrian door to Suite 302, Tom Darrow’s office. This door (along with all the other interior doors and walls) is reinforced ballistically. It has a standard door knob and deadbolt locking devices. It also is fitted with mag-locks, activated either from inside Suite 303 or by the Receptionist or COS from his control board.
Note: Its floor to ceiling plate-glass windows (SE corner) are ion charged, activated at either Mr. Darrow’s desk or on the wall plate inside left of the Suite door. These ion charged windows with their incased automated blinds became the model for all other exterior window in Suite 300.
BATHROOM & KITCHEN (on floor plan diagram they are 'stacked' Bathroom-top, Kitchen-below)
Each room is accessible to either Suite (303 or 302) by pocket doors, there are no locking devices on pocket doors. There are no cameras in either room. For convenience they placed here side-by-side.
This the office of Attorney Randol Prevotil. It has an ion infused glass door and window. With the door open or in translucent mode the occupant can sit behind his desk and can observe the glass door to the COS’s office (Room 308) across the hall.
This is an Associates office. It has an ion infused glass door and window. With the door open or in translucent mode the Associate can sit behind his or her desk and can observe the glass front and door to the SCIF (Room 308) across the hall. (Current occupant: Assoc.: Ugene Armstrong)
This is an Associates office. It has an ion infused glass door and window. With the door open or in translucent mode the Associate can sit behind his or her desk and can observe the Suite 300 door and Reception Counter. (Current occupant: Assoc.: Glenn Buttery)
At the end of the hall (between Suite 306 & Room 307), is the ‘coffee room’, with a glass door. It contains, microwave, refrigerator, a drip coffee maker and a ‘pod’ coffee maker, cups/mugs, utensils, cabinets and supplies.
ROOM 307 - COS
This is the secure room of the Chief of Security (COS). The desk sits behind an up-armored counter with is bank of CCTV monitors for all security cameras. This counter and his desk faces the glass window and door into the adjoining Room 308 which contains the SCIF. From his desk he can directly observed a person sitting at the SCIF desk, additionally he has two CCTV cams covering the interior of the SCIF. Note: 1) there is a storage area to the left of the COS’s desk. 2) This room’s left swinging mag-locked door opens into the hall and is accessed by Keycard and Iris Scanner. The door's arc when opened provides the COS immediate access to the hall, were a pursuit to be necessary.
ROOM 308 - SCIF
This room is the Sensitive Compartmented Information Facility. The front of the room has a full ion infused glass wall with glass door with mag-locks activated by Keycard and Iris Scanner. Once in the SCIF the entrant cannot leave, he or she must be let out either by an authorized party operating the entrance protocols or remotely by the COS.
The only furniture in the SCIF is a clear acrylic desk and it’s clear acrylic chair. Behind this chair is a full glass wall with glass door through which the SCIF electronics can be viewed. The area behind the glass wall and door contains SCIF electronics, etc. The interior of the SCIF is observed by two CAMs. All activity within the SCIF is fully observable from the hallway. Note: The arc of this right opening door swings out into the hall partially blocking an attempt to exit the hallway, should a breach occur, providing possible seconds of delay.
SCTV CAMERAS & MONITORS (Cameras number on floor plan below.)
CAM 1 - S common wall between Suite 303 & 302, looking N down hallway ending w Coffee Rm
CAM 2 - E end of hall between Suite 302 & 304, looking W thru Reception Area and front glass wall
CAM 3 - W wall of Suite 304, looking W thru Reception Area, glass wall to Elevator 1 & 2
CAM 4 - Outside NE corner of Coffee Room, looks S in office hallway, sees doors of Rm 307 & 308
CAM 5 - NE corner of Rm 308 looking SW at SCIF table and glass wall to Electronics room
CAM 6 - SW corner of Rm 308 looking NE across SCIF table & sees into COS office Rm 307
CAM 7 - S wall of Vestibule, looks N, sees access to Elev. 1,2, &3, Suite 300 door & Stairs/Exit door
CAM 8 - W side of Suite 300 above glass door, sees directly at/into Elevator 1
CAM 9 - W side of Suite 300 on glass wall, sees directly at/into Elevator 2
CAM 10 W side of outer wall of Rom 308, sees directly at/into Freight Elevator 3
Suite 303 - Multiple hidden CAMs (not on Security Grid) accessible to Michael Grant & Q
Suite 302 - Multiple hidden CAMs (not on Security Grid) accessible to Tom Darrow & Q
Now, if you wondered, you know where everything is. Happy reading! Thank you.