[Chapter 191: Intercepting Movies]
Anne Hathaway walked a few steps, then turned back and pulled Daniel into another long kiss.
Daniel said, "That's enough."
Anne kissed him for several more minutes before finally letting go and heading toward the car waiting at the entrance.
Her agent, Molly, was already there. Anne kept looking back, waving at Daniel like she couldn't get enough of him.
...
Even after Anne left, text messages and calls kept coming through. She seemed utterly dependent on Daniel.
"Master, Will Smith actually bad-mouthed you to Miss Anne," the Succubus said, holding Daniel's phone and reading Anne's latest text, sounding indignant.
Daniel raised an eyebrow. "Oh? What did he say?"
"He told her you weren't good enough for her and urged her to break up with you."
Daniel was speechless.
Right now, Anne was clearly the one clinging to him.
Will Smith really didn't know how to read the room. On top of that, he was petty -- just because Daniel hadn't fawned over him, he held a grudge.
Daniel decided not to hold back.
"Chris," he said, calling to the Succubus, "help me track down the script for Hancock, that story about the unconventional superhero. Check where the script is now."
"Yes, Master."
Chris's seductive voice rang out, a pink glow flickered across the phone screen, then silence.
Soon after, Chris replied, "Master, this script has been floating around Hollywood for seven years without attracting interest. It's still with the screenwriter, Vy Vincent Ngo."
Daniel nodded, matching the info with what he already knew.
The script for Hancock had never really taken off. The current heroic ideal was a noble, righteous, suffering figure. But the superhero in Hancock completely broke that mold. Naturally, no studio wanted to buy a script with such a controversial image of a hero.
Daniel said, "Contact Vincent and express intent to purchase."
The Succubus warned, "Master, market analysis shows this script isn't considered commercially viable."
Daniel chuckled. "You understand the film market now?"
"I don't understand it, but I can analyze it," Chris replied.
"Never mind. Just issue the purchase intent."
"Yes, Master."
The Succubus didn't argue further.
Soon, Chris said, "Done, Master."
"Next, hack into Chris Gardner's personal computer and check if his memoir, The Pursuit of Happyness, has been written."
Less than a minute later, Chris's voice returned, "Master, there are no documents related to The Pursuit of Happyness on Gardner's computer. However, I accessed the microphones on his computer and phone -- the man was talking with his wife about the memoir. Seems he might be handwriting it, not typing."
Daniel nodded.
Chris Gardner hadn't received much education and was over fifty years old -- it made sense he might write by hand. That fit his generation perfectly.
Daniel said, "Send him an email expressing intent to purchase."
The phone flashed twice.
Chris replied, "Done, Master. May I ask -- are you buying his memoir to turn it into a movie?"
"Why else?" Daniel said.
Chris sounded confused. "But... what makes filming the memoir of this man so great? He's not famous."
Daniel smiled amusedly.
"Just wait and see."
...
That afternoon, Vy Vincent Ngo was the first to respond, setting up a meeting with Daniel.
They met at a coffee shop.
Vincent, a Vietnamese-American, was in his forties and a struggling Hollywood screenwriter. He had written mostly for TV, and his most famous work is the short film, Hostage, directed by John Woo, which had gained minor recognition. Few had heard of his other works.
He had finished the Tonight, He Comes (Hancock) script a long time ago, but no one had paid attention -- until Daniel reached out.
"May I ask, Mr. Cross, which company are you representing?" Vincent asked, puzzled.
Daniel said, "I represent my own company."
Vincent asked, "Do you currently have any productions?"
Daniel was blunt: "No."
Vincent's face fell.
Who wouldn't want their script sold to a major company?
Daniel didn't explain further. "Name your price. I want a full buyout."
Vincent lacked confidence in his script. A writer with past credits could ask for more, but he didn't want to price himself out.
"$100,000 after tax," Vincent offered after some thought.
Daniel knew this was negotiable but didn't want complications. He immediately agreed, "Deal."
Vincent was surprised.
He actually accepted.
"Let's sign the contract."
Daniel pulled out two copies.
Vincent saw it was a standard contract with no issues and signed quickly.
Daniel wrote Vincent a check for $100,000 on the spot.
As for taxes, Daniel would handle expenses on his end later.
From that moment on, Hancock belonged entirely to Daniel.
...
The next day, Chris Gardner contacted Daniel.
Daniel met him at his office.
Gardner was surprised Daniel knew about his memoir. Daniel brushed it off casually, "I heard about it."
Gardner didn't mind. As a businessman, he cared more about the price for the rights and whether Daniel could make a good film.
Having written the memoir, he hoped someone would play him and bring his story to the big screen.
Daniel said, "I'll find top screenwriters to adapt it and cast A-list stars. You'll become a global celebrity."
Gardner felt a flicker of excitement but quickly composed himself.
"How much are you willing to pay for the rights?"
"Name a price," Daniel said.
Gardner thought a moment. "$300,000 plus 5% of the box office."
Daniel's face darkened. That was way too much.
"I can do $300,000, but no box office cut."
"But... J.K. Ro--"
"You didn't write Harry Potter."
Gardner hesitated, then said, "Fine, $300,000, but after tax."
Taxes in the U.S. were brutal.
That "after tax" clause meant Daniel would likely pay over $100,000 more.
*****
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