Hunting in Hollywood

Simon and Sandra sat in the café until evening, during which Simon explained in detail all aspects of "Run Lola Run." Sandra, straightforward by nature, immediately agreed to Simon's request to dye her hair and mentioned that she would start fitness training to prepare for the upcoming intense filming schedule.

She also accepted Simon's offer of $5,000 as compensation without any objection.

Thus, the role of the female lead was settled.

As a new week dawned, the article from last Thursday's "Los Angeles Times" had spurred other media to shift their focus to the storyline of "The Butterfly Effect."

With the project now in their hands, Fox began to promote "The Butterfly Effect" proactively, seeing an opportunity in the growing media attention. WMA was more than pleased to see the media diverting attention from internal corporate strife to the project itself.

Thus, under multiple influences, the somewhat obscure term "butterfly effect" gradually began to capture more public attention.

Although many media outlets started to mention Simon in relation to "The Butterfly Effect" screenplay, Jonathan successfully shielded him from all requests for personal interviews.

For a newcomer, the $200,000 script deal was indeed sensational, but after all, he was just a movie screenwriter not widely known—a bit like last year's debut script for "Lethal Weapon," which also sold for a high price of $250,000.

Ultimately, script deals often catch the eye of other aspiring screenwriters rather than the general public, who might marvel briefly at the news but soon move on.

Consequently, Simon's life remained relatively undisturbed.

Having agreed with Roger to stay on, Simon continued to work at Griffin Grocery for another week, where the affable boss was happy to have a diligent, albeit low-paid, young employee like Simon.

After several days of intense negotiations, WMA and Fox finally set the date to sign the contract for the "Butterfly Project" on Tuesday.

Simon arrived at WMA headquarters around 8:50 AM, just as Jonathan's black Mercedes also entered the parking lot.

After locking his bike, Simon approached Jonathan, who was waiting for him, and they exchanged greetings, "Good morning, Joe."

"Morning, Simon."

Jonathan smiled as they shook hands but then glanced at Simon's bicycle.

Before Simon's trip to San Francisco the previous week, Jonathan had lent him $20,000, of which Simon had spent only $500.

After returning, Jonathan had not asked for the money back, knowing Simon was still staying in a motel. He advised Simon to find a suitable place to live soon, considering the money as an advance on his earnings from "The Butterfly Effect."

Jonathan had expected Simon, suddenly flush with cash, to immediately improve his living conditions. Yet, Simon still rode his second-hand bike and wore the same old clothes.

While admiring the young man's restraint with money, Jonathan still advised, "Simon, you really should buy a car soon. It's tough getting around LA without one. Even if Fox's payment takes a few more days, the $20,000 should cover it."

Simon nodded, smiling, "I'll consider it soon."

Simon was not averse to improving his lifestyle. He had already scheduled an appointment with a real estate agent to rent an apartment quickly, as staying in a motel was increasingly inconvenient.

But besides that, Simon had no immediate plans to buy a car or make other significant purchases.

On one hand, Simon was too busy; he filled his time completely and had little leisure for shopping.

On the other hand, as preparations for "Run Lola Run" deepened, Simon increasingly realized he might have forgotten a crucial detail, which made him even more cautious about spending.

Simon and Jonathan reached WMA headquarters, where the other key creatives of "The Butterfly Effect," including director Brian De Palma, lead actor Matt Dillon, and lead actress Elizabeth Su, soon joined.

After a brief intervention by senior management, including Lou Weiss, Jonathan took full charge of the project.

A quick meeting was held before everyone headed to Fox Studios, not far from WMA.

At Fox, Ronald Goldberg, the president of Fox, appeared at the signing ceremony, alongside David Giler, the producer for "The Butterfly Effect" from Fox's side.

The signing ceremony began at 10 a.m.

However, the event was quite low-key, a mutual preference.

In a Fox headquarters conference room, under the watch of lawyers from both sides, Simon and others busily signed their names on thick contracts. After about ten minutes of signing, the deal was finalized.

A brief lunch followed where senior executives from both companies introduced the staff who would work directly on "The Butterfly Effect."

During this time, Simon received notice that the first production meeting for "The Butterfly Effect" would be held the following Monday to discuss script modifications.

Though confident in the script he provided, such modifications were inevitable as studios have the right to adjust scripts based on real-world constraints or personal preferences of the executives.

Of

 course, Simon could refuse these changes.

But if he did, the studio might be happier to find a more compliant writer to make the changes, and Simon would miss out on the remaining $60,000 of his contract fee.

The right to modify a script was both a power of the studio and the scriptwriter. No writer wants to see their work completely transformed into a flop. Rather than letting others make the changes, it's preferable to do it oneself.

After the lunch, Brian De Palma and others drove away from Fox Studios, while Simon got a lift back to WMA headquarters with Jonathan, where his bike was still parked.

"Fox is quite prompt with their payments, so you should receive your check in a few days," Jonathan said in his office, looking at Simon, "So, Simon, $200,000. Got any plans?"

Simon responded with a smile, "To make a movie, you know."

Jonathan laughed, "Speaking of which, besides 'The Butterfly Effect,' you haven't shown me your other scripts, especially 'Final Destination,' which the studio saw first."

Simon took out the "Final Destination" script from his bag and handed it to Jonathan, "I've been so busy lately, I almost forgot to give it to you."

Jonathan took the script but didn't open it immediately, "Fox is quite interested in this story; I've seen the outline, and it's a very special concept, hardly inferior to 'The Butterfly Effect.' Simon, the question now is, do you want to sell the script to Fox now for another sum, or wait until after 'The Butterfly Effect' is released?"

Without hesitation, Simon replied, "After 'The Butterfly Effect' is released. I'm confident about that."

"The Butterfly Effect" had been green-lit by Fox, although a release date was not yet set, likely not later than next summer.

If Simon sold the script now, the option contract would restrict him from getting a high price.

But if he waited until after the release, the situation could be very different.

Of course, the outcome might not necessarily improve.

If "The Butterfly Effect" succeeded at the box office, the price for Simon's second script would naturally rise. Conversely, if it flopped, Fox might push down the price even further or decide to drop his script altogether.

Simon's option contract with Fox lasted five years.

During that time, Fox held the right of first refusal on two more of Simon's scripts. This meant they could prioritize Simon's scripts given equal offers.

And over the years, a tacit agreement had formed among studios: as long as a writer was under an option contract, unless the studio relinquished it, other producers generally wouldn't compete for that writer's scripts. This forced writers to negotiate script fees based on their previous works' success.

If Fox wasn't satisfied with any of Simon's scripts during the five-year term, they wouldn't have to return the initial $40,000 advance when the contract expired.

After discussing this, Simon also brought up Sandra's casting in "Run Lola Run."

Hearing that they had agreed on a $5,000 fee, Jonathan had no objections. Busy with the "Buterfly Effect" packaging project, he wasn't very familiar with "Run Lola Run" and even thought Simon's offer was a bit high.

But as Sandra's agent too, it wasn't his place to say so. Since the two had agreed, Jonathan suggested that Simon ask Owen to prepare a contract for Sandra.

No matter what, the agent's commission was due.

With a shift at the grocery store later that day from 3 PM to 11 PM, Simon wrapped up his discussion with Jonathan and prepared to leave.

Leaving Jonathan's office, Simon had just turned a corner when he heard a group of people behind him walking hurriedly, their presence filled with an aggressive air as if ready to barrel through anyone in their path.

Curious about who would be so bold in WMA headquarters, Simon stepped aside and turned to see Matthew Broderick, his face full of frustration and anger, stomping past without regard for the quiet required in the office space.

Matthew hadn't expected to encounter Simon in the hallway of WMA headquarters at this moment. Recognizing Simon, his already frustrated and angry gaze turned spiteful. He glared at Simon as he passed by quickly on his way out of the building.

Simon was unaware that WMA, in an effort to quickly calm the storm, had chosen to sacrifice the interests of Norman Brokaw and Matthew Broderick.

Feeling the hostility in Matthew's eyes, Simon became more vigilant.

Matthew was followed by a noisy group of young men and women, including the guy from the bar whom Simon had once picked up single-handedly, who made a provocative attempt to bump into Simon but easily sidestepped by him.

This was not the place for such antics.

Simon also spotted Courtney's former roommate, Christy Swanson, in the crowd. She pretended not to see Simon at all, clinging

 to a boy and blending into the group as they all left together.