QUESTION OF COMFORT

QUESTION OF COMFORT

 By LES COLLINS

MY JOB, finished now, had been getting them to Disneyland. The problem was bringing one in particular—one I had to find. The timing was uncomfortably close.

I'd taken the last of the yellow pills yesterday, tossing the bottle away with a sort of indifferent frustration. I won or lost on the validity of my logic—and whether I'd built a better mousetrap.

The pills had given me 24 hours before the fatal weakness took hold; nevertheless, I waited as long as I could. That left me less than an hour, now; strangely, as I walked in the eerie darkness of an early morning, virtually deserted Disneyland, I felt calm. And yet, my life depended on the one I sought being inside the Tour building.

I was seeking a monster of terrible potential, yet so innocuous looking that he'd not stand out. I couldn't produce him, couldn't say where in the world he was. Nevertheless he was the basis, the motivation second only to mine. I took the long, hard way—three years—making him come to me.

Two years were devoted to acclimatization, learning, and then swinging this job: just to put the idea across.

Assigned to Disneyland Public Relations in the offices at Burbank, I'd begun with the usual low-pay, low-level jobs. I didn't, couldn't mind; at least I had a foot in the right door. Within six months, I reached a point where I could present the idea.

It had enough merit. My boss—35 years' experience enabled him to recognize a good idea—took it to his boss who took it to The Boss.

Tomorrowland is the orphan division of Disneyland, thrown in as sop to those interested more in the future than the past. My idea was to sex up Tomorrowland: Tour the Solar System.

Not really, but we'd bill it that way. The Tour of the Solar System Building was to be large. Its rooms would reproduce environments of parts of the System, as best we knew them.

I'll never forget the first planning session when we realists were underdogs, yet swung the basic direction. By then, the Hollywood Mind had appeared. The Hollywood Mind is definitely a real thing, a vicious thing, a blank thing, that paternalistically insists It knows what the public wants.

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