Chapter 19: Turning Point

Jonathan Friedman had explained all the complex entanglements of the project to Simon very clearly. Rejecting that contract, Simon could foresee the difficult path ahead. By spoiling WMA's first attempt at transformation, it was improbable that Hollywood's largest talent agency would let him off easily. With WMA's terrifying century-old foundations in Hollywood, they could likely crush his budding screenwriting career with just a phone call.

However, Simon felt no regret about his decision.

Having experienced much in his previous life, Simon did not want to begin this part of his life by compromising his values.

Back in Santa Monica, Simon continued his usual routine.

These days, he had begun planning the specifics of filming "Run Lola Run." The morning's events hadn't altered his plans. He spent an afternoon visiting several film equipment rental stores in downtown Santa Monica, inquiring about the prices for various filming tools needed for "Run Lola Run," and took meticulous notes.

By 5 p.m., Simon returned to his motel, ate, showered, and slept. At 10:50 p.m., he was on time for his night shift at Griffin Supermarket.

The next morning, Simon called Jonathan's office, hoping to schedule another meeting. To his surprise, no one answered the phone.

After several unsuccessful attempts, Simon planned another visit to WMA, but Jonathan's assistant, Owen Wright, drove over in a hurry instead.

With a rushed demeanor, Owen informed Simon that Jonathan had completely abandoned the "The Butterfly Effect" packaging project and had flown to WMA's headquarters in New York the previous afternoon. He also relayed Jonathan's hope that Simon would wait a few days, as he still wished to continue being his agent.

Having likely other clients to visit, Owen had a brief chat with Simon before saying goodbye and leaving. While Simon felt a mix of joy and surprise at the unexpected turn of events, he wasn't too shocked by Jonathan's decision given the agent's extremely disheartened state the day before. It was evident to Simon that Jonathan, like a spring compressed to its limit, was bound to snap back. Although Simon wasn't sure how much his own actions had to do with Jonathan's rebound, it was inevitable given the agent hadn't completely lost his 'resilience.'

...

WMA was originally established in New York and only later expanded to Los Angeles. Since the rise of the American television industry in the 1950s and the concurrent long stagnation of Hollywood, WMA had focused mainly on the East Coast. Even today, despite Hollywood's resurgence and media industry's shift westward, most of WMA's core executives remained in New York.

Located in a building next to Madison Square Garden on 25th Street in Manhattan, WMA's headquarters bustled with activity.

When Simon met with Owen Wright, it was nearing noon on the East Coast. At that moment, a meeting room at WMA headquarters was still engulfed in ongoing disputes that had lasted all morning.

Having decided to head to New York after securing his backup plans, Jonathan didn't want to give up everything he had worked over twenty years at WMA to build. He chose to confront the situation head-on by seeking support from WMA's upper echelons.

Norman Broca's biased actions during the management of "The Butterfly Effect" provided Jonathan with ample reason to act.

Norman exploded upon learning that Jonathan intended to drop "The Butterfly Effect." WMA's entire management was in agreement on the package project's trial, and Jonathan would have known the ramifications of its failure on WMA—he dared to proceed anyway!

Unable to reach Jonathan by phone, Norman learned he had left the company. Furious, Norman had security seal Jonathan's office and even ousted Owen Wright from the company.

If he was leaving like that, he shouldn't come back.

That evening, still seething, Norman received a call from New York informing him of Jonathan's sudden arrival on the East Coast. Quickly grasping Jonathan's intentions, Norman didn't hesitate to fly to New York overnight.

Arriving in Manhattan at 2 a.m. Eastern Time, the conflict between the West Coast executives had already stirred WMA's entire management. Consequently, that morning, WMA's chairman Lou Weiss, CEO Lee Stevens, and other board members hurried to the headquarters.

An entire morning of heated debate ensued.

Although Jonathan typically maintained a genteel demeanor with clients, he could be assertive when needed.

Facing the company's top brass, Jonathan spared no effort in criticizing Norman's ready concessions to the studios and attacked his selfish approach in managing follow-up collaboration details, focused solely on personal gain.

Norman countered vigorously, claiming he was genuinely considering WMA's best interests by quickly implementing the company's first package project.

As for favoring his clients in contracts, Norman saw nothing wrong with his decisions.

Considering Matthew Broderick's two top ten North American box office hits within four years of his debut, it made sense for the company to focus resources on a rising star like him

.

Norman had entered WMA at 15 with his uncle's help, who was a vice president at the time. Decades of networking meant most board members sided with him.

However, Jonathan's patron was none other than WMA chairman Lou Weiss, whose power was equally formidable.

Although Lou Weiss was displeased with Jonathan's aggressive approach, the situation compelled him to firmly support his protégé. A downturn for Jonathan could implicate Lou Weiss himself.

After allowing the arguments to run all morning, Lou Weiss intervened at lunch, discussing potential resolutions with the other board members.

Jonathan hadn't yet made his decision to abandon the "The Butterfly Effect" project public, leaving room for maneuvering.

After lunch, as the other board members dispersed, Lou Weiss announced the preliminary decision to both parties.

Regardless, the "The Butterfly Effect" project would continue. However, Lou Weiss himself would take over, renegotiating the cooperation terms with the studios. Norman Broca and Jonathan Friedman were to step back completely, no longer involving themselves in the project. All subsequent decisions would be made directly by headquarters.

Realizing that continuing the conflict would benefit no one, both reluctantly agreed.

Yet, the world is full of unexpected twists.

The very next morning, before Norman and Jonathan could return to Los Angeles, they were shocked to read a headline in the latest issue of "The Hollywood Reporter" that exposed the entire saga.

"Packaging Project Failure Leads to Infighting at Veteran Agency, Facing Transition Challenges"

With the echoes of earlier tumult still in the air, "The Hollywood Reporter's" sudden exposé plunged WMA into chaos once again.