The two lieutenants exchanged glances.
“She’s got a point there, Remmie,” Armstrong acknowledged reluctantly.
“What I would suggest is some sort of diversion,” the colonel continued. “Something to give you am excuse to evacuate people from the complex, or at least from the vicinity of your action.”
“I suppose,” Rembrandt said, chewing her lower lip subconsciously. “Maybe we could arrange a bomb threat or a fire alarm …”
“Why not a movie?”
The officers looked in the direction of this new voice.
“What was that, Lex?”
“I said, `Why not a movie?'” Lex grinned, moving to join their discussion. “Just tell everyone you need to clear the complex for an hour or so because you’re shooting some footage for a new holo. Believe me, they’ll cooperate. You’ll be amazed at how people bend over backward to be helpful if they think it gets them a closer look at the magical mystical world of moviemaking.”
“That has possibilities,” Rembrandt said, looking at Armstrong.
“I know I’d go along with a holo crew if they asked me to get out of their way,” her partner admitted.
“It’s better than a bomb scare or a fire alarm,” the actor urged. “No panic, no bad publicity for the complex. What’s more, we have everything we need to pull it off.”
“How so?”
“That cameraman you were holding has a holo-camera rig in his room. It’s not the same as they use for the big productions, but we can say it’s a low-budget operation or that we’re just shooting test footage. We’ve even got a recognizable holo star we can parade in front of everyone to be sure it all looks legit.”