Chapter 232: The Final Ultimatum Los Angeles.

With the sudden departure of Ron McMillan, a producer under Daenerys Entertainment, an already lively January in Hollywood became even busier.

Learning that he was fired over some 'trivial' matters, Ron McMillan almost immediately wanted to contact Simon Westeros to intervene, believing that it was Amy and Janet acting recklessly on their own accord. After confirming that this decision was endorsed by Simon, an infuriated Ron demanded a severance compensation of $5 million. Daenerys Entertainment naturally refused to pay, unfazed by Ron's threats of taking the matter to court.

Ron's indisputable embezzlement of film project funds, though not a large sum, was enough reason for Daenerys Entertainment to fire him justifiably. Should the dispute become public, Ron would only end up with a tarnished reputation similar to that of David Bergman's in previous years.

Thus, after a weeklong standoff, Ron eventually signed a resignation agreement without any compensation.

In exchange for a non-disclosure agreement about this incident, Ron also received an advance sum of $2.6 million for his participation in several of Daenerys Entertainment's films, settling all accounts between them.

Within Daenerys Entertainment, as the finance audit overseen by Janet continued, a number of unscrupulous employees were subsequently fired. Despite some criticisms, it was clear to everyone that Daenerys Entertainment could not afford to be as lax and disorganized as traditional Hollywood film companies. Thanks to their significantly higher salary standards, few chose to leave because of the strict financial system.

As for Ron McMillan, though bound by a confidentiality agreement, rumors of his public grievances against Simon Westeros and Daenerys Entertainment for being stingy and ruthless spread in the industry.

However, since Ron didn't voice these opinions publicly in the media, Daenerys Entertainment couldn't take them seriously.

Despite knowing that the mastermind behind the success of "Run Lola Run," "Final Destination," and "Scream" – three top-grossing films of the year – was Simon Westeros, Ron's departure immediately sparked a bidding war in Hollywood. Universal Pictures ultimately secured him with a lucrative contract worth a base salary of $3 million plus a 10% net profit share for a three-film deal.

Furthermore, Universal provided Ron with additional perks like a corporate vice-president level private jet, personal hosting, executive assistance, and even established a McMillan Production Company in Universal Studios Burbank for him. Previously, only a few companies like Spielberg's Amblin Entertainment had offices in Universal Studios.

Daenerys Entertainment did not conceal the reasons behind Ron's departure, and the industry was well aware of it. Universal's generous offer clearly had a provocative intent.

In fact, Daenerys Entertainment faced more than just this one instance of 'targeting.'

Paramount Pictures was fervently preparing "The Rocketeer" and "Firebird Assault," aware of the potential box office dark horse "Sex, Lies, and Videotape." The film's main investors, MCA/Columbia Home Entertainment, after several discussions, allowed Columbia Pictures to distribute "Sex, Lies, and Videotape."

As the Sundance Film Festival approached, Columbia established a dedicated promotion team to start the film's preliminary publicity campaign.

In its fifth week, "Rain Man" saw a surprising uptick in revenue, due to an increase in the number of screens to 1732. Though the increase was a modest 2%, the film brought in $13.19 million, pushing its North American total rapidly to $72.38 million.

Continuing to earn over $10 million per week for five, and likely six, consecutive weeks, "Rain Man"'s box office stamina clearly surpassed all other films released by Daenerys Entertainment last year.

As a prime candidate for awards season, with the Oscars nominations approaching and various guild awards and Oscar ceremonies in February and March, "Rain Man"'s box office potential seemed to surpass even "Pulp Fiction."

Watching "Rain Man"'s soaring success, MGM, which had passed on the script and later sold the full domestic distribution rights for a mere $5 million, became restless. A gold mine seemed to have slipped through their fingers.

With "Rain Man"'s budget at $40 million, its profit potential, including domestic and international box office earnings, could well exceed $100 million, not to mention subsequent revenue from video rentals and TV broadcasts.

Feeling cheated by Simon Westeros, MGM considered legal action, even hiring a law firm to look for loopholes in their contracts with Daenerys Entertainment.

Including well-connected Fox, Warner Bros, and Disney, nearly all seven major Hollywood studios were entangled with Daenerys Entertainment in this bustling January.

These entanglements, even MGM's litigation threats, were manageable; Hollywood hits often sparked various disputes. Media rumors had even suggested a falling out between Simon and Janet over profit distribution for "Run Lola Run."

The real challenge for Daenerys Entertainment was that any project they showed interest in immediately became a focal point for the entire industry. Despite Simon's foresight in accumulating a plethora of rights, they couldn't satisfy Daenerys Entertainment's needs or develop all potentially successful rights immediately, necessitating the pursuit of other projects.

"Al, I know what you're thinking. 'Driving Miss Daisy,' having caught Daenerys Entertainment's eye, will undoubtedly attract higher bids from other studios given Hollywood's current trend. But can you be sure they'll handle it well? If they botch it, aside from a slightly higher licensing fee, you gain nothing. With Daenerys Entertainment, however, should it succeed, not only will you reap fame and fortune from this film, but you'll also become one of Hollywood's top screenwriters. All your scripts will be highly sought after. Think about it, we can offer you a future, and that's what matters most."

New York, a coffee shop on Broadway.

Ella Deutschman spoke persuasively to the slightly balding middle-aged man across from her, Alfred Uhry, a playwright primarily known for his Broadway works. Uhry's play "Driving Miss Daisy," written two years ago, received widespread acclaim on Broadway and won last year's Pulitzer Prize for Drama.

Alfred Uhry, holding Deutschman's business card, eyed the departing Ella with shrewd interest. He didn't stand up but tested the waters, "Ella, if I don't make this call, will you really give up on 'Driving Miss Daisy'? I believe it could be another 'Steel Magnolias.'"

Ella simply smiled, "Uhry, you're the third playwright I've met today, with seven more to go. You all think your script could be the next 'Steel Magnolias,' but unfortunately, there's only one 'Steel Magnolias.'"

"Alright, Ella," Uhry relaxed, "why not sit down and talk more? If you're interested in 'Driving Miss Daisy,' you should at least explain how you plan to adapt it. And $100,000 seems a bit insincere for the rights to a Pulitzer-winning play, doesn't it?"

Ella Deutschman, however, remained standing, "Al, as I said, the $100,000 is an advance. If Daenerys Entertainment produces the film within the next three years, we'll pay an additional $200,000, plus you'll retain script credit and post-production profits as per the Writers Guild of America's Basic Agreement. If we haven't produced it in three years, you can choose to buy back the rights."

Uhry still probed, "So, you don't plan to produce it soon. I need to consider this carefully."

Ella extended her hand, "If you're willing to sign, Al, we can spend a whole day discussing everything."

After shaking hands with Uhry, Ella left the coffee shop without a second thought.

Recently, to counter Hollywood's blockades, Daenerys Entertainment employed a 'final ultimatum' strategy in script negotiations, refusing to revisit rejected offers or engage in bidding wars with the majors. This approach diffused much of the encirclement they faced.

However, this tactic had clear drawbacks. It was less effective on established writers, appealing mostly to those yearning for a breakthrough. The company's current targets were mostly such individuals.

Ella Deutschman, unaware of the special nature of "Driving Miss Daisy" and its original timeline's Oscar success as Best Picture in 1990, allocated funds specifically for acquiring stage play adaptation rights that fit Daenerys Entertainment's high-profile portfolio.

"Driving Miss Daisy," as last year's Pulitzer winner, naturally caught Ella's attention. When she listed it among other prospects, Simon, busy in Melbourne, didn't give any particular instructions.

Simon was aware of the challenges Daenerys Entertainment faced and approved of the company's strategy. He didn't plan to make an exception for this film.

With Hollywood's history altered, "Driving Miss Daisy"'s success elsewhere was uncertain. Any farsighted rights holder would realize that working with Daenerys Entertainment was in their best interest.

After meeting Uhry, Ella rushed to other appointments.

Returning to her Midtown hotel in the evening, the manager informed her of several phone messages. Of the five playwrights she met that day, three, including Alfred Uhry, called to agree to sell their rights.

Back in her room, Ella called each playwright back and then phoned Ireland to check on "My Left Foot"'s progress, a product of her recent UK trip.

"My Left Foot," starring Daniel Day-Lewis, is a biopic about a man with cerebral palsy who, paralyzed and only able to move his left foot, becomes an artist.

In the original timeline, "My Left Foot" was another triumph for Miramax after "Sex, Lies, and Videotape," earning an Oscar Best Picture nomination in 1990.

Now, both films were out of Miramax's reach.

Though missing "Sex, Lies, and Videotape," Ella's successful UK trip secured "My Left Foot," partly thanks to a previous collaboration with Daniel Day-Lewis on "A Room with a View."

By the time Ella discovered "My Left Foot," director Jim Sheridan had nearly finished pre-production. Recognizing the project's value, Simon authorized Ella to spend $1.8 million to buy out the original three investors. It was a high price, given the film's £600,000 (under $1 million) budget.

The original investors were willing to wait for a better offer, but Ella quickly employed the 'final ultimatum,' leading to their prompt concession. The UK was less informed than Hollywood about the film, almost universally underrated and not yet in production. Flipping the rights for nearly double the profit with almost no effort, the small producers didn't hesitate much.

Daenerys Entertainment's recent frequent use of the 'final ultimatum' strategy stemmed from its success with "My Left Foot."

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