Disney at Dawn by Ridley Pearson

that reminded Finn of the workshop in his grandfather’s basement. The L-shaped room had countertops that ran along every wall, behind which were pegboards holding every conceivable kind of tool. Computers and hand tools littered the counters. But what made it much different from Grandpop’s basement was its purpose. The room was designed for the repair of the Audio-Animatronics—the talking robots—that were used extensively throughout the Park. The result was the disturbing presence of human torsos, heads, hands, and legs in every stage of creation, from pieces that looked like robots to painted faces dressed in costumes that seemed so real Philby kept spinning in circles, afraid one or more of them might suddenly move or attack. Of equal concern were the dozens of animals under construction, including pieces of tigers, lions, Stitch, Donald Duck, and a fantastic hand—possibly from a gorilla—that was nearly three feet across and supported by a metal superstructure that held it four feet off the floor.
    “Whoa…” Philby said, taking a look around. Both boys spoke in whispers, as if the “body” parts might overhear them.
    “Somehow I don’t think we’ll find a copier in here,” Finn said, holding Jez’s journal.
    “Oh, I bet you’re wrong. Give me a minute.” Philby walked the lines of workbenches. He muttered words like “impressive” and “interesting” and “incredible.” Then he addressed Finn. “Articulated, motor-controlled limb movement—very cutting edge.” He stopped in front of a six-foot tyrannosaur head with wires sticking out of a missing eye.
    “What about a copier?” Finn reminded him, not so impressed.
    “Yeah, okay,” Philby said. “But I could stay here for hours.”
    “Let’s save the extra-credit work for another time.”
    Philby’s curiosity carried him to the far end of the room, where the lab opened out into a large space that appeared to be used for assembly. Most of the robotic dummies stood on their own here—cables and wires running from them—and many were at least partially clothed and had faces. Most of the Audio-Animatronics were of animals in various poses, all of which looked incredibly lifelike. But it was the far end of the room that intrigued Philby.
    “Check it out,” he said, approaching the area somewhat cautiously and with great respect. “Remember this?” he asked.
    The three walls at the end of the room were covered in jungle-green paper, as was the floor. There were stage lights and tripods and cameras and a dozen computers on rolling stands.
    “I do,” said Finn. He and the other DHI kids, upon acceptance by Disney, had been computer-modeled by Disney Imagineers. Their movements were recorded to create the DHIs. The empty cages off to their left suggested the obvious.
    “Animals,” Philby said, immediately understanding the setup. “They motion-modeled animals here to create DHIs.”
    “Wayne told me they were doing that,” Finn said. “Animal hosts.” The cameras were all set low to the ground. Then there were the cages and—he realized as he stepped closer—paw marks seen faintly on the green-paper floor covering.
    “Check it out,” Philby said again, this time directing Finn’s attention to five photographs thumbtacked to the wall nearby. There were several monkeys, a baby elephant, a pair of tigers, and a gorilla.
    “Got it!” Finn said, pointing to a flatbed scanner hooked up to a computer. He touched the computer’s space bar and the machine woke up.
    Philby laid Jez’s diary on the scanner bed and began scanning the pages. As he printed them out, Finn received a text message.
panda: 2 guys out front!!!
    “Visitors!” Finn whispered to Philby.
Finn: got it! thanx
    The lab’s only door was a long way away. There was one EMERGENCY ONLY door to the right of the green-screen area, but it had an alarm, and Finn had no desire to draw the wrath of Security upon him and Philby before they managed to even get into the