[Chapter 46: Security]
Back at the Linton Estate, Linton pulled out the script outline for Step Up and handed it to Mira to register the copyright. He said, "I plan to start filming this movie in the first half of this year. The script is almost done, but I still need to find two script doctors to help polish it, especially for some street life scenes and everyday dialogues. I want one white and one African American, okay?"
"Oh, you're making a movie?"
"Yeah, didn't you forget? I majored in directing in college."
"If you hadn't said that, I would've forgotten. But your singing career is booming right now. Isn't it too risky to switch gears at this point?"
"No worries. I'm not quitting singing. Making movies won't stop me from releasing albums. Plus, it's common for singers to act in films; I'm not the only one."
"But those who do usually invest their own money and dive into Hollywood. Most end up paying their dues with box office flops, lost investments, and media ridicule. Only a few succeed."
"I'm different. When they entered films, they were amateurs and easy prey to Hollywood's tricks. But I graduated from the USC School of Cinematic Arts, and when you signed me, didn't you pick me for my directing excellence?"
"True. So do you want to direct or star in the film?"
"My plan is to direct and star."
"You won't find investors."
"It's okay. This film's budget is under $10 million. I'll invest myself."
"$10 million is still decent -- enough for a moderately budgeted commercial film. Many production companies would approach you for that. But then your money often gets spent on various things without quality guarantees. The movie business is way murkier than the record industry. Its backstage dealings are probably longer than the Amazon River. Even the mob gave up in the end, and Wall Street money often goes down the drain."
Mira tried to warn Linton not to jump too quickly into filmmaking, hoping instead he would focus on his thriving singing career.
"No problem. I control my own studio and can collaborate with experienced production companies. If needed, my studio can produce the film independently."
"That's an even bigger risk. Your studio is just a shell now -- how can it handle such a big project?"
"A film project mainly needs funding, script, director, crew, and actors. I have funding, script, and directing lined up. I can find a capable producer from USC grads to supervise the crew. As for others on set, I know your William Morris Agency offers package services. Finding actors is easier -- this is Hollywood, after all. Besides the main cast, the rest can be packaged out."
"Distribution is even more critical. How will you handle that?" Mira wasn't blinded by the package service pitch.
"I'll approach Universal. Remember why I prioritized working with Universal or Warner at the start of my singing career?"
"But Universal Music has little influence over Universal Studios, right?"
"True. I won't expect Universal Studios to support me unconditionally or sacrifice their interests. I just want a standard distribution deal from Universal -- that should still be possible."
"Looks like you're dead set on making this movie. I won't push further. But I warn you: Hollywood is filled with money-hungry schemes. You'd better find a trustworthy producer and an accountant who understands Hollywood bookkeeping."
"Alright, I won't keep you. Please help me find the two script doctors soon."
Linton was very pleased with Mira's attitude and stance.
"Don't worry. I should have results this afternoon, at the latest by tomorrow."
---
After seeing Mira off, the butler Amy and Michael Donovan reported in, asking what Linton wanted for lunch.
"Michael Donovan, good, you're here. Have all the formalities been completed?"
"Thanks, boss, everything's done. What would you like for lunch?"
"Italian food. It's been a while. Cook a few of your specialties; I'm craving it."
Michael Donovan headed down first, while Amy stayed to update Linton on the estate's situation. Not much had happened, but Amy worried that with no security staff at night, the large estate was vulnerable. She reminded Linton to get security in place soon.
Hearing this, Linton realized that when he and Danny weren't home at night, the estate was basically defenseless. Thinking of this, he called Goodman.
...
"Goodman, did the background checks on the four security guys come back?"
"They just came in yesterday, no issues. They meet your requirements, but I couldn't reach you earlier."
"I was out. Since the checks are clean, tell them to handle the onboarding immediately. Get them to sign NDAs and start work ASAP."
"Got it. I'll notify them now. They can finish paperwork today and start tomorrow."
"Good. Will the onboarding happen at your office this afternoon? Let me know the time. I want to meet them before the process starts."
Linton knew how important security was. To prevent any sabotage or planted spies, he planned to use his Soul Induction ability on them first to be safe.
He also tested Amy to make sure she harbored no ill intentions. Amy had no idea she was just tested and retained no memory of it.
---
Back in his office, Linton picked up the Step Up script again, pondering the film project. The target audience was mainly teens, so the best release window would be summer, no later than August. It was already late January; time was tight. He needed to officially launch the project and push hard or delay the release until next year.
He had the script, would direct himself, and had funds. The most urgent task was to find a reliable producer.
...
He called Professor Mike from USC's School of Cinematic Arts to schedule a visit at 4:30 PM.
...
Checking the time, he also called Goodman, setting a 2 PM appointment at Goodman's office to meet the four incoming security staff.
...
After the calls, Linton returned to polishing the Step Up script.
For lunch, Michael Donovan cooked some Italian dishes that satisfied Linton's craving; it seemed he'd picked the right chef.
---
At 2 PM, Danny drove Linton to Goodman's law office. Linton met Danny's four comrades -- battle-hardened special forces veterans, highly skilled. Three were white, one African American, all around 35 years old, named Hayden Coleman, David Reid, Sandy Glick, and Gully Gott. They came drawn by Linton's high salary offer.
Linton held individual interviews with them, using Soul Induction tests to check for ill intent or planted agents and to assess any personality flaws.
Satisfied, Linton asked Goodman to complete their onboarding so they could start work tomorrow under Danny's unified management.
*****
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