The noonday sun shines brightly here as you leave the hotel, even through the pollution haze. Heading east over to Studio City, you see many large (up to four-story), white, windowless buildings, each broadcasting the trids that were filmed there. They contrast with the more colorful condos and office complexes in the area. Each of these buildings is a large studio complex, where the stage can blend virtual and real elements into a fantastic trideo. At least that’s what the P2.0 agent tells you.
You drive past several gated private roads and drone sentries before the car stops and tells you that you have arrived at your destination. Before you is a large, gilded security fence with a pair of bored-looking security guards sitting in a guard shack. Beyond that, another large windowless building prominently displays a sign saying “Studio 8.”
The guards request your credentials and verify that you are supposed to be there before opening the gates. You then drive into the large parking lot below the sign. As you exit the car, a dozen iBall drones descend near you. Your links and P2.0 accounts are bombarded by queries. Before you decide whether or not you should go for your gun, they determine you are not newsworthy and leave. One even gives an electronic snort of distaste as it goes, though another seems to linger extra-long on Sammy before departing.
Walking into Studio 8, you are amazed by what is going on inside. It’s like an arcology, but with miniature mountains, oceans, and towns … anything that the director wants can be built inside.
The film stage alone looks to be 350 meters long. The techie with Ben, James, recognizes you and comes over.
“Hi guys. I had Mr. Desperado put Mr. Slade’s equipment in storage room 8A, over to your left. I’ll show you the room.” He heads off past what appears to be a green-colored, irregularly shaped wall.
“Over to the right of the stage are the meeting rooms, catering, restrooms, workshops, etc.,” he says, pointing to the one and two-story buildings nested inside the studio. “When the red light ARO is on in any of the rooms, it means that we’re filming and everyone needs to be quiet. And here’s storage room 8A.”
He fumbles a bit with a hefty set of maglock passkeys around his neck and gives you one. “Here’s the key. When Ben wants some piece of equipment, I’ll come and find you.” With that, he heads back to the stage, busy with something on his ‘link.
The storage room is about as big as or bigger than some of your apartments. It’s twenty by ten meters, with a six-meter-tall shelving unit and attached rolling ladder. Slade’s cases fit neatly on the bottom corner of the shelving unit. Nothing appears to be missing.
Snow also receives a text:
<Your message was forwarded to me by our tech guys, sorry to say I do not really have the skills to have done the work myself, I was just the lead on the situation as the Air Marshall. I do have several suggestions for you, some from personal experience working the merc circles in Bogata and some compiled by my team at my request. Perhaps we can discuss them over dinner next time I am in LA?>
