Chapter 134 – Giving Up the Female Lead?
Manhattan's West Chelsea district — inside Dawnlight's New York office, Aaron had begun preliminary development on The Mask of Zorro.
Since this version centered on the next-generation Zorro, he spent a full week crafting a detailed story outline before handing it off to screenwriters for adaptation.
Just as he finished, Jessica Parker — Dawnlight's CFO — brought unexpected good news.
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A Major Financial Boost
"You're saying Merrill Lynch is willing to extend a $150 million revolving credit line?"
Aaron leaned back in his chair, studying Jessica with raised eyebrows.
Jessica nodded.
"Yes. Merrill has great confidence in Dawnlight — or more precisely, in you, boss. With this credit line, the company can simultaneously develop several major productions."
Aaron laughed softly.
"So Dawnlight effectively just gained $200 million in deployable cash."
Merrill Lynch clearly believed in Dawnlight's future slate — the collateral would simply be Aaron's upcoming productions.
"Perfect," Aaron said. "Indecent Proposal is nearly wrapped. Time to prepare a major marketing push."
Since Dawnlight was self-distributing, this wasn't some small indie release like Reservoir Dogs. This would require a full-scale, high-budget campaign.
With funding secured, Speed, The Mask of Zorro, and several other planned titles could move forward at any time.
After Jessica left, Aaron turned to his assistant, Evelyn Beckett.
"Have Don bring the Speed script to both Renny Harlin and John McTiernan.
See who's interested."
John McTiernan had directed Die Hard and The Hunt for Red October — top-tier action filmmaking.
Renny Harlin had just come off Die Hard 2 and was riding a wave of success.
Evelyn nodded.
"Understood. And Winona Ryder will arrive in New York next week for her cameo in Scent of a Woman. She can stay on set for at most one week."
"One week is plenty," Aaron said.
He was, after all, one of the producers of Bram Stoker's Dracula — he knew exactly where that production stood.
New York's Waldorf Astoria — the set of Scent of a Woman.
Al Pacino, Matt Damon, and guest star Winona Ryder were all gathered for the shoot.
Wearing a black halter-neck backless dress, fresh and ethereal, Winona drew every pair of eyes the moment she walked in.
At the edge of the set, Evelyn Beckett leaned toward Aaron, speaking in a low voice:
"Boss, the bank transfer is complete. The funds are in.
But the new project Speed… is running into issues.
Director Renny Harlin is preparing Carlock's next film, Cliffhanger, starring Stallone.
John McTiernan is deep into pre-production on Last Action Hero with Schwarzenegger."
Both were massive studio tentpoles.
There was no way a $30-million movie like Speed could compete for their schedules.
Aaron frowned.
"Does Production have backups?"
"McTiernan recommended his long-time cinematographer, Jan de Bont, to direct.
The team is already in contact with him."
Aaron nodded.
"If Jan de Bont can present a solid plan, Speed is his.
I'm not afraid of using new directors."
He had always been bold in elevating fresh talent.
Then he glanced at a script in his hand — Reality Bites — which Winona had personally recommended.
It followed a group of Gen-X college graduates facing jobs, society, love… and the disillusionment of adult life.
That night, at Aaron's hotel suite, the doorbell rang.
Winona Ryder stood outside with a bottle of red wine.
"In the mood tonight, are we?"
Aaron took the glass she handed him, sipping lightly.
"What, don't tell me you didn't want me to come?"
She shot him a look. "Who was flirting with me in the makeup room this afternoon?"
Aaron chuckled and slid a hand along her thigh.
"In a few days, I'm flying to London with you — the Dracula shoot is wrapping next month.
Gotta check on the production."
Winona's expression softened, then she asked:
"And the script I gave you… what do you think?"
"It's been floating around for two years. Nobody would finance it.
But when your agent showed me the script late last year, I loved it and planned to join the cast."
Reality Bites was an artsy character-driven film by first-time director Ben Stiller.
Without a star attached, no studio wanted it.
Winona decided not to waste time — she simply handed it to the man she'd already shared a bed with: Aaron Anderson.
"It has strong artistic qualities. If handled well, it could be an excellent film."
Aaron pulled her into his lap.
Feeling him beneath her, Winona closed her eyes.
"But the budget is over $10 million. That's… fine?"
"With you as the lead? Recouping won't be hard.
You really do love arthouse films, huh?"
She had even cameoed in Jim Jarmusch's Night on Earth last year.
And Reality Bites would suit Jennifer Connelly perfectly — a group of young post-grads.
"So… Dawnlight will finance it?" she asked.
"Most likely. But I want it released next spring."
Aaron lifted her into his arms and carried her toward the bedroom.
Ben Stiller was a future comedy powerhouse — investing early was a safe bet.
"The script can be finalized soon. Once Dracula wraps, I can jump straight into shooting Reality Bites," Winona murmured as she slipped out of her clothes.
Aaron's gaze darkened.
"I won't have much time to oversee this project. You interested in being a co-producer?"
Winona nodded without hesitation.
"As long as you fund it, everything else is fine."
"Good. I want Jennifer Connelly in the cast — one of the main roles."
"And bring in Adam Sandler from Saturday Night Live too."
Aaron was curious to see what sparks Ben Stiller and Adam Sandler would create together.
"Jennifer Connelly, hmm?"
Winona looped her arms around his neck, teasing:
"Should I give her the female-lead role too?"
Aaron didn't answer.
He simply crushed his mouth against hers, pulling the blanket over both their bodies—