Chapter 99: Law and Violence
"This script — give me five to seven weeks, and I can deliver a full rewrite."
Inside the Dawnlight Films conference room, Nora Ephron set the script for Sleepless in Seattle down on the table, her tone confident and precise.
After passing through the hands of Jeff Arch and David Ward, the screenplay had finally landed with her — the woman behind Heartburn and When Harry Met Sally….
Across the table, Gary Foster exchanged a quick glance with Aaron Anderson.
They both nodded. No objections here — Ephron was the perfect fit.
Aaron leaned forward slightly. "Ms. Ephron, if I'm not mistaken, you're also planning to direct, aren't you?"
Nora smiled knowingly. "I've written and co-produced several films, even worked as an assistant director.
It's about time I took the leap and made one of my own."
Aaron grinned. "I don't mind giving new directors a shot. If your directing proposal impresses us, Sleepless in Seattle could very well be your debut."
Gary Foster chimed in with a supportive smile. "Honestly, I think she's right for it.
Her sense of tone and pacing — it's what this story needs."
Aaron considered it for a moment, then nodded. "Alright. Let's see what you've got."
Nora's eyes lit up, a spark of excitement flashing across her face. "Deal."
---
A Few Days Later — Mid-March
Boyz n the Hood finally opened in 829 theaters across the U.S.
---
Inside a West Hollywood gym, the sound of gloves thudding against pads echoed sharply.
"BAM!"
Jack Wells flew backward, landing hard on the mat.
"Damn! That hurt!" he gasped, clutching his ribs.
Across from him, Aaron was grinning, tugging off his gloves. "What'd I tell you? Lot of repressed producer rage in one punch. You can't block that."
He grabbed a towel, wiping the sweat from his forehead.
Jack groaned, rubbing at his chest. "Yeah, I noticed. I think my lungs noticed too."
Even through the protective gear, Aaron's hits packed a wallop.
Catching his breath, Aaron unscrewed a water bottle and took a sip.
Then his tone shifted, casual but probing.
"By the way — what's the deal with those theaters that dropped Boyz n the Hood the night before release?"
Jack's expression darkened. He sighed, shaking his head.
Columbia Pictures had planned to release Boyz n the Hood in roughly 850 theaters nationwide.
Yet just days before opening, over twenty theaters suddenly backed out — claiming the film might "incite violence."
Aaron didn't buy it for a second.
"Yeah, right," he muttered. "That's not fear — that's sabotage."
It was obvious someone was trying to tarnish the film's reputation.
A few cancellations weren't a big deal — some chains had already refused to screen it earlier — but now the last-minute withdrawals were being amplified by the press, fueling a false narrative that Boyz n the Hood would "spark riots."
Jack Wells threw down a newspaper in frustration.
"Last week Warner Bros. released New Jack City — another Black-centered film about New York street gangs.
Same audience, same release scale. Guess who's behind the noise? Probably them."
Aaron shook his head with a weary sigh.
Why pit one Black story against another? They were both speaking truth — both reflections of the same American reality.
He'd expected competition, but not like this.
His real rival, he thought, should've been next week's blockbuster: Teenage Mutant Ninja Turtles II: The Secret of the Ooze.
"Forget it," Aaron said, waving a hand. "It's not a big problem. Our message is about opposing violence — not glorifying it.
And the timing couldn't be better, honestly. We can tie it straight to the Rodney King incident."
---
Just a few weeks earlier, the nation had watched in horror as Rodney King, a Black parolee, was beaten by four white LAPD officers after a high-speed chase.
A bystander's grainy home video captured the assault — and every major TV network ran it on repeat, trimming the footage into a perfect symbol of racial injustice.
Even when the full, unedited tape was later released, the outrage had already exploded.
Protests filled the streets, especially in Los Angeles, where tensions between the Black community and police were boiling over.
---
Jack gave a short laugh.
"New Jack City made about $8.6 million its opening weekend. Word is, Warner actually moved up the release right after the King video aired — smart marketing, if you can call it that."
Aaron nodded. "So Columbia picked the right week too. The headlines might be grim, but they help awareness."
There was no denying it — the social unrest had boosted ticket sales.
In Hollywood, timing was everything. Tragedy and art often walked hand in hand.
"By the way," Aaron said, smirking, "keep an eye on the Angel Theatre, yeah? Last thing we need is a 'zero-dollar shopping spree' in our own lobby."
Jack's eyes widened. "Oh, hell no. If anyone tries that, they'll find themselves meeting God personally."
---
Despite the controversy, Boyz n the Hood opened strong.
$10.2 million in its first weekend — beating New Jack City on both revenue and reviews.
Critics called it "a landmark in American realism — a film that exposes the pain, pride, and poetry of Black urban life."
It wasn't just a movie; it was a statement.
By the second weekend, Boyz n the Hood expanded to 900 theaters, adding another $7.3 million, for a ten-day total of $22.5 million.
Meanwhile, Teenage Mutant Ninja Turtles II: The Secret of the Ooze dominated the mainstream box office with $20.3 million from 2,800 theaters — no surprise there.
And in Los Angeles, the 63rd Academy Awards were underway at the Shrine Auditorium near USC.
---
During spring break, Jennifer Connelly had flown back to LA.
In the hotel suite, she sat curled in Aaron's arms, both of them watching the Oscars live on TV.
"Over twenty million already?" she said with a smile. "Boyz n the Hood's doing great."
Aaron nodded lightly. "Not bad. Timing helped. The country's been restless — the Rodney King mess stirred everyone up."
His expression darkened briefly. He remembered the early '90s riots — Koreatown in flames, shop owners defending their stores with rifles.
He'd once lived near there. The tension between the Black and Korean communities had been volatile even before the riots.
"Yeah," Jennifer murmured, "the Rodney King beating… it's everywhere. People are angry. It's hard to blame them."
Aaron exhaled. "The world's watching, that's for sure. But me? I'm watching next month."
Jennifer turned her head. "Next month?"
He smiled. "The Silence of the Lambs. That's the one I'm waiting for."
Boyz n the Hood would top out around $50–60 million domestically, its international rights long since sold off.
But The Silence of the Lambs — that was Aaron's real gamble. His masterpiece in the making.
Its only competition? A low-budget Warner Bros. action flick starring Steven Seagal, Out for Justice.
Aaron chuckled. "No real threats this time. Hannibal Lecter's going to own this season."
Jennifer tilted her head. "It's still a horror movie, though. You really think it'll break a hundred million?"
Aaron's grin widened.
"Oh, Jennifer… horror sells.
Especially when it's smarter than the people watching it."
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