Another post about why sequence is essential:
The conflict of the earlier scene guides the emotion of the next scene. The reader will assume (rightly, of course) that the first event will have some effect on the characters, and that they will show that effect, even if they try to hide it, in the immediately succeeding scene.
So if we have, say, Tony discovering that the mole has to be in his own department in Chapter 12, then the romantic interlude in Chapter 13 isn't going to be just playful and flirtatious, as it might have been earlier. He is going to be preoccupied with this dilemma, and perhaps this has made him wonder who else is betraying him. So while he might try to participate in her playful flirtation, the dark distrusting mood will out. He might suddenly demand what she meant by some flirtatious line, or lose focus. And she will notice, and become more hesitant, wary of giving offense. Or maybe he'll be even more flirtatious than ever, but with a hard edge that says something's changed.
At any rate, what might have been just an interlude in, say, Chapter 8, becomes a development of emotional complexity in the aftermath of the event. So even if we have something that -has to happen- right here that doesn't directly descend from the Big Event, there's going to be emotional residue, and if we want the readers to believe in these characters, we have to show them plausibly affected by the events we put them through.
So maybe Beth has to go to work in the morning and pretend she doesn't know what she just found out. Or maybe Lionel has to drop his kids off at school and not say a word about being laid off. But no matter what, if this scene happens after they experience an event, they will show some (however subtle) effect of that event in their emotion, their interaction, their dialogue.
It always helps me to -- before I write the second scene-- imagine myself in the character's body after The Big Event, and let the feeling wash through me. Then I know when I write his flirtation, the harder edge will come out; that when I show her chatting with her colleagues, she might lose focus on what they're saying. Everything in the scene might be the same in terms of what happens, but how the character feels and acts within the scene will be different.
So think of a scene sequence you have, where there's some big troubling event. How are you showing the "residue" in the immediate next scene?