"Exactly." Sammy took a step toward the automatic doors. "Before we go in, though," Freddy said. "Before we go in. Why are you talking to me at all, Mr Disney Parks Executive?" He was ready for this one. "I figured that sooner or later you'd want to know more about this end of the story that you've been covering. I figured it was in my employer's best interest to see to it that you got my version." The reporter's grin was wet and mean. "I thought it was something like that. You understand that I'm going to write this the way I see it, not the way you spin it, right?" Sammy put a hand on his heart. "Of course. I never would have asked anything less of you." The reporter nodded and stepped inside the air-conditioned, horsey-smelling depths of Camelot. The greeter had acne and a pair of tights that showed off his skinny knock-knees. He took off his great peaked cap with its long plume and made a stiff little bow. "Greetings, milords, to Camelot. Yon feast awaits, and our brave knights stand ready to do battle for their honor and your amusement." Freddy rolled his eyes at Sammy, but Sammy made a little scooting gesture and handed the greeter their tickets, which were ringside. If he was going to go to a place like Camelot, he could at least get the best seats in the house. They settled in and let the serving wench -- whose fancy contact lenses, piercings, and electric blue pony-tails were seriously off-theme -- take their roast beef orders and serve them gigantic pewter tankards of "ale"; Bud Light, and the logo was stamped into the sides of the tankards. "Tell me your story, then," Freddy said. The tourists around them were noisy and already a little drunk, their conversation loud to be heard over the looping soundtrack of ren faire polka music. "Well, I don't know how much you know about the new Disney Parks organization. A lot of people think of us as being just another subsidiary of the Mouse, like back in the old days. But since the IPO, we're our own company. We license some trademarks from Disney and operate rides based on them, but we also aggressively license from other parties -- Warners, Universal, Nintendo. Even the French comic-book publisher responsible for Asterix. That means that we get a lot of people coming in and out of the organization, contractors or consultants working on designing a single ride or show. "That creates a lot of opportunities for corporate espionage. Knowing what properties we're considering licensing gives the competition a chance to get there ahead of us, to land an exclusive deal that sets us back on square one. It's ugly stuff -- they call it 'competitive intelligence' but it's just spying, plain old spying.