Chapter 11: Finalizing The Deal (Edited)

After the call, Mrs. Alice said, "Hello, it's Alice Walton on the phone." Frank replied, "Hello Mrs. Alice, how are you?" After a brief exchange of pleasantries, they decided to meet at their usual appointment spot.

This time, Alan's arrival was met with less tension than before. He entered the room with a sense of resolve, knowing that the outcome was already determined.

As he stepped inside, he couldn't shake off the nerves that had plagued him since their last meeting.

Arriving slightly earlier than their scheduled appointment time, they hoped to avoid a repeat of the previous occasion when Frank was left waiting.

Just ten minutes later, Frank arrived, eager to begin. His demeanor was composed, yet there was a glint of anticipation in his eyes.

Frank was taken aback by their early arrival, but he quickly recovered. After exchanging greetings, they delved into the matter at hand.

Frank spoke first, his tone measured yet decisive, "Alan, after our last conversation, I managed to sway the board of directors. However, they've imposed some conditions, considering the interests of many stakeholders."

Alan's furrowed brow betrayed his dissatisfaction as Frank continued, "Their condition is that for your next five books, they want Columbia Pictures to have priority."

Alan paused to consider the proposal. His mind raced with thoughts of the implications of such a deal. "I accept," he finally replied, his voice firm with resolve, "but only for my next three books.

Additionally, I have a friend who's a talented musician with a collection of songs. I'd like Columbia Pictures to help publish his music, with no need for extensive publicity." Alan's confidence in his upcoming film's success bolstered his negotiation stance.

Frank couldn't help but smile at Alan's compromise. Securing the adaptation rights for the next three books of a best-selling author was no small feat.

Unbeknownst to Frank, Alan has no plan to write in the future. As for the music deal, Although Columbia had already sold their two major music companies. Nevertheless, Frank accepted the conditions, recognizing the potential benefits.

Their discussion turned to the film's details, with Alan eager to start filming this year for a release in the Christmas break of 1981.

He strategically planned to avoid competing with Spielberg's E.T. during the summer break in 1982 as that work would be no good to him. Alan shared his vision for the film, painting a vivid picture of the world he sought to bring to life on screen.

Alan scheduled auditions for two weeks, intending to select talent based on submissions from Columbia Pictures. The studio would provide the necessary personnel for filming, including assistant producers and cameramen.

However, Alan anticipated challenges with the media following the announcement of his film. He knew that scrutiny would be inevitable, but he was prepared to weather the storm.

Concerned about potential scrutiny, Alan reached out to his grandparents for support. He reassured them of his plans and anticipated media harassment.

Meanwhile, his philanthropic efforts at the orphanage continued, with discreet investments in a special effects studio to preempt inquiries upon the film's release.

After the meeting, Frank convened with his team to discuss the contract terms and Alan's unique circumstances. They were intrigued by the revelation of Alan's age and impressed by his maturity and financial acumen.

The prospect of profiting from the film's success excited the board members, who recognized the potential of owning such valuable intellectual property.

The next day, Columbia Pictures announced a press conference, generating excitement and speculation among the media and industry insiders alike. Despite their anticipation, many remained uncertain about the nature of the announcement, eager to see how events would unfold.