Last time it was Natalie's birthday, Dunn got creative. He staged a "power outage" in the *Star Wars* studio, using candles to create a starry night vibe. The romance was off the charts.
That's when they went from friends to something more.
This time, Dunn figured he'd try the same trick to take things a step further.
But Natalie's no dummy—she saw right through him and shut it down fast.
She's eighteen now, a grown woman, and still untouched. In Hollywood, that's practically unheard of. Even her close friends at school have teased her about it.
Sure, Natalie's curious. She wonders what's got Dunn so hooked.
But with her smarts, she quickly figured out that keeping some distance from Dunn right now is the best move.
Hollywood's crawling with temptresses—new ones popping up all the time, from every corner of the globe.
Natalie can't help but worry. Holding out, keeping Dunn wanting but not getting, maintaining that air of mystery about her—it's the smartest way to keep their bond strong.
Dunn dropped a few hints, but he got the message. He just held her gently, saying nothing.
He's not short on women—physical fun's a call away. With Natalie, it's more about the emotional connection.
He'd love to take that final step with her, but if she wants to wait, he's not gonna push.
When it came to birthday gifts, Natalie hit him with a request that left him speechless—
"I want to make a movie."
Her reasoning was simple. College acceptance letters don't come until December, so she's got over half a year free.
She gets that Dunn wants her to rest and take it easy, but watching him bust his butt making films while she's just chilling? It feels off.
Dunn was at a loss. He'd already nixed some offers Shirley Hershler had lined up for Natalie—he didn't want her stuck in flops.
But at her age, unless she's playing tiny side roles, finding a film where she can really shine is tough.
Unless Dunn Pictures steps up and makes one for her!
Dunn's got plenty of ideas swirling around.
Problem is, Dunn Pictures is tapped out. He can't just ditch *A Beautiful Mind* to tailor-make something for Natalie, right?
He's already promised that one to Nicole Kidman.
Dunn checked in with Hilda Quirly, and she confirmed what he suspected—no scripts out there fit Natalie right now, unless she's cool with pointless bit parts.
Back in his office, Dunn leaned back in his chair, eyes half-closed, mulling it over.
Natalie's the person he cares about most. Her request—especially as a birthday gift—he's gotta find a way to make it happen.
"Reese, come in here a sec!"
He buzzed his secretary through the intercom.
"What's up?"
"What scripts do we have on hand?"
"For what?" Reese Witherspoon seemed to catch on, frowning slightly. "Dunn, heads-up—we've already kicked off *Spider-Man*, and *A Beautiful Mind* is being rewritten to your specs. We don't have the bandwidth or cash for another film."
"I know!" Dunn waved her off. "Something in the $30 to $40 million range, an artsy one, aimed at awards."
Reese gave him a long look. "This about Nat?"
"Yeah, you're quick," Dunn said with a wry smile. "She's restless—wants to do a movie to hone her skills."
Reese raised an eyebrow, piecing it together. "So… you're thinking of scrapping *A Beautiful Mind* for something else?"
Dunn shrugged. "What other option is there?"
"What about Nicole?"
Dunn rubbed his temples. Nicole Kidman's already read *A Beautiful Mind* three times. She's planning to visit Nash's wife soon, spend time with her, live in her shoes to get the character down.
That kind of dedication? You only find it in Hollywood.
"Worst case, we do a multi-lead film. Nicole and Nat both star. Heck, maybe you could take a role too—or Naomi."
"No way, I'm a lead now!" Reese rolled her eyes big-time, but then a lightbulb went off. "Multi-lead? Dunn, I just thought of two scripts."
"Oh? Lay 'em out."
"First one's called *Fallen Sisters*."
Dunn hadn't heard of it. "Something from our writing team?"
"Yeah, I'm obsessed with it," Reese said, eyes sparkling. "It's about two sisters, totally on their own. The older one marries a rich jerk to take care of her little sister. When the younger one grows up—gorgeous, by the way—the jerk messes with her, and then…"
"That's pushing America's limits too far. Not good for Nat's image," Dunn cut her off. With a title like *Fallen Sisters*, it's obvious the story ends with the sisters wrestling with humanity, society, and morality, only to sweep it under the rug.
It's edgy, sure, but it's a middle finger to American values—B-movie territory. Mainstream films, commercial or artsy, don't cross that line.
Look at how *Billy Lynn's Long Halftime Walk* got trashed in North America.
Natalie doesn't need controversy to hype her up. Dunn's not letting her touch something that divisive. "What's the next one?"
"It's an adaptation—*Girl, Interrupted*."
"*Girl, Interrupted*?"
Dunn's eyes lit up. Dunn Pictures snagged the rights two years ago, and Manola Dargis had high hopes for it. With the right director and cast, it could be an Oscar contender for Best Picture.
The theme's a perfect fit for American tastes and the Academy's sweet spot—like a female *One Flew Over the Cuckoo's Nest*, but sharper and deeper.
The original film, though, had a rookie director, and Winona Ryder's flat lead performance held it back.
Angelina Jolie, on the other hand, stole the show as a supporting character, snagging a Best Supporting Actress Oscar and launching her into superstardom.
Reese explained, "It's based on Susanna's story—sent to a mental hospital where she meets all these wild women. Classic multi-lead setup."
Dunn slapped his hand down. "Get Manola in here!"
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The next day, Dunn Pictures held a meeting about two films: *Spider-Man* and *Girl, Interrupted*.
For *Spider-Man*, Dunn laid out the framework. The Marvel Universe is huge, with a sprawling timeline, so they locked it in Peter Parker's high school years.
Marvel Studios' president, Nina Jacobson, oversees the script. The Marvel Entertainment Creative Committee provides the big-picture elements, Marvel Studios' writers flesh it out, then it goes to the parent company's market analysis team. Andrew O'Hare reviews and tweaks it, and Dunn Pictures' writers polish it further.
Hollywood's a script factory—twenty or thirty writers tweaking one screenplay is par for the course.
As for *Girl, Interrupted*, Dunn gave a clear vision and theme—
"Every one of us goes through sadness, pain, even despair in life. But we've gotta push through it like warriors, braving the emotional storm. Only by facing it head-on can we come out stronger, grounded, moving forward without wavering or stalling. If we let fear shut everything down, we stop growing. We trap ourselves in a dark, tiny box, becoming our own worst enemy. When pain hits, accept it, live it, then get past it."
With that, art analyst Manola Dargis led Dunn Pictures' writing team to drop *A Beautiful Mind* and start adapting *Girl, Interrupted*. The lead's modeled after Nicole Kidman, the second lead after Natalie Portman.
Meanwhile, Dunn's casting assistant, Glenn Feyero, started fishing for the perfect director to helm *Girl, Interrupted*.
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