Chapter 75: The Da Vinci Code

The adaptation of novels into Hollywood screenplays had always been significant, while the market for original novels gradually shrank.

Early on, screenwriters liked to pitch many script ideas to movie companies in a broad investment strategy, hoping to make money if their work was picked up.

In the 1990s, speculative scripts reached their peak. Japanese foreign capital invaded, Universal and Columbia were acquired, and the development of videotapes, VCDs, and DVDs injected new life into the movie market.

Speculative scripts that were picked up often fetched prices in the millions of dollars. However, the tech bubble and a sluggish stock market dampened Hollywood's fervor.

Securing a spot for a speculative script became as difficult as winning the lottery. Meanwhile, adaptations of games and comics started gaining traction.

The minimum script price set by the Writers Guild was around seventy to eighty thousand dollars, but movie companies were cautious about original scripts.

Screenwriters' main tasks involved rewriting scripts according to producers' requests or polishing up existing screenplays.

Of course, top-tier scripts could still fetch high prices, especially those based on famous novels or created by top screenwriters.

Dan Brown's The Da Vinci Code was his fourth full-length novel and his best-selling suspense novel.

You could say The Da Vinci Code was a prequel to his 2000 novel Angels & Demons.

The success of The Da Vinci Code also boosted sales of his previous three novels, placing all four on the bestseller list.

Charles and Dan Brown had been chatting for a long time at a cafe near the Bradbury Building. The Da Vinci Code being a religious suspense novel was bound to attract some disdain from the Roman Catholic Church.

"I read it and thought The Da Vinci Code was fantastic. It blends suspense, thriller, religious mysteries, and historical events, making it impossible to put down!" Charles praised.

"I know Carpe Productions invested in the controversial religious film The Passion of the Christ. I trust you can handle religious themes well," Dan Brown acknowledged, aware that his novel would attract Catholic opposition due to its extensive reinterpretations.

Charles smiled, "Three million dollars. Carpe Productions wants the film adaptation rights for The Da Vinci Code, with a 10% advance payment. Within three years, Carpe Productions will produce this project. Mr. Brown, you'll participate in the script adaptation and serve as one of the executive producers."

Three million dollars was no small fee for a novel adaptation, especially not in an era before Amazon, Netflix, or Apple streaming services were driving up script prices indiscriminately.

Scripts that fetched more than three million dollars annually were few and far between, only emerging in competitive bidding situations among several companies.

Dan Brown paused, realizing the offer was excellent - three years of first purchase rights, a three-million-dollar adaptation fee, and a role as scriptwriter and executive producer.

A week later, Dan Brown and Carpe Productions signed the agreement for the film adaptation of The Da Vinci Code and any prequels or sequels.

Carpe Productions had to start producing The Da Vinci Code within three years. They also secured the first adaptation rights for Angels & Demons and any future sequels.

The Passion of the Christ continued to rake in box office revenue - $53 million during its second weekend, $32 million on the third, $19.5 million on the fourth, and $12.6 million on the fifth weekend.

By late March, The Passion of the Christ had already grossed 250 million dollars in North America.

Meanwhile, Wedding Crashers had been filming for half a month, and Mr. & Mrs. Smith had completed pre-production and entered the filming stage.

With The Passion of the Christ generating high box office returns, Carpe Productions secured an $85 million loan from Morgan Stanley, adding to last year's $15 million for a total of $100 million in loans.

"Boss, fifty million dollars has already been wired to the Mr. & Mrs. Smith film account," Dona reported as she stepped into Charles' office.

"Henry also secured the film adaptation rights for No Country for Old Men at a price of $1.1 million!"

"1.1 million dollars, sounds good!" Charles agreed without much hesitation before walking over to the window to look at the Hollywood Hills across the Los Angeles River.

"How about Pacific Theaters? No issues with the investigation, right? Then we can sign the acquisition contract immediately."

"By mid-next month, the contract should be in place!" Dona replied, meaning just over ten days from now.

Dona Williams joined Charles by the floor-to-ceiling window to admire the distant mountain view.

"The Passion of the Christ has already grossed 250 million in the North American market, and two hundred million overseas," Charles said as he hugged Dona from behind and kissed her cheek.

"We're not bringing the movie income from Europe back to the U.S. We're setting up overseas accounts in the UK and the Eurozone. The Euro is appreciating, and keeping funds in Europe benefits us."

Dona, a student of economics pursuing a master's degree at UCLA, found these basic financial maneuvers easy to understand.

Charles trusted her, as she was very close to him and always reliable. He allocated twenty to thirty thousand dollars annually for her expenses, including high-end fashion and sports cars.

As for living arrangements, she mostly stayed at the Carpe estate in Beverly Hills, as she was Charles' personal assistant.

Dona was fashionably dressed today in an urban-chic style - skirt, white blouse, and a khaki trench coat.

"Alright," responded Dona before turning to kiss Charles. She certainly knew that the British Pound was not part of the Eurozone.

They took off their trench coats and, while embracing, sat down on the sofa. Seeing Dona's Fendi ensemble reminded Charles of something.

"Remember Lauren Weisberger's novel The Devil Wears Prada? It was published this year and is selling very well," Charles murmured while holding Dona.

"Are we going to develop it into a film?" Dona asked, paying no mind to Charles' hands roaming under her blouse.

Charles shook his head. "Not just yet. The novel needs more time to gain traction. But we can start working with the author on a screenplay, just like The Da Vinci Code!"

"Next month, we better finalize the acquisition of Pacific Theaters. Phillip is also in talks with Empire Theaters, Carmike Cinemas, and other major chains. We're establishing Carpe Productions' distribution channels this year!"

*****

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