“And here we have the non-circulating collection.”

Gus examined the nondescript-looking cabinet, notable only for the heavy padlock which secured it. “What can we possibly have that’s worth putting behind a lock that beefy?” he asked Sally.

She shrugged. “Rarities, mostly. A lot of Oscar promos. One of the DVD’s is signed by Martin Scorsese. Another’s a rare blooper made from the raw workprint instead of a matted and cropped version.”

“So why keep them here?”

“Lots of reasons,” Sally sighed. “Coruthers up in Archives doesn’t think movies are art so he won’t touch ’em. Profs in Film Studies sometimes take ’em out to flash around. But most of all…” She lowered her voice. “It makes it look like we’ve got something to hide back there.”

Gus blinked. “But we do!”

“Exactly. When–not if, when–people break in, they go straight for the lockbox. A smash n’ grab could make off with a thousand dollars of DVD’s if they wanted, but every minute they spend trying to cut that beast open is one more minute we have to catch ’em.