Before you know it, it's already dusk, and the lights on both sides of the street are on.

Simon looked at the two women in front of him, one stunned and the other hesitant, and had to remind them in a relaxed tone that it was indeed time to go back, and Malibu, a distant suburb of Los Angeles, was still far away from Burbank. Finally, it was suggested that Catherine should drive, and Janet Johnston was too dangerous to drive in high heels.

Seeing that Simon was fine and showed no signs of illness, Catherine was relieved, but she was inexplicably unwilling to explore Simon's past.

Glancing at her friend who was still rolling her eyes but finally stopped, Catherine felt a little amused.

So that you didn't take it seriously all day, and finally got cured.

A female hooligan who pretends to be crazy meets a real madman who comes out of a mental hospital, tsk.

Stuffing her friend into the passenger seat, Catherine also got into the car, hesitated, and the woman still told Simon, who was standing outside the car window, that he must contact him if he had any difficulties, and then started the car.

Turning the car around at a short intersection, Catherine finally nodded to the older boy on the side of the road, slowly stepped on the accelerator, and the burgundy Ford sedan gradually merged into the city traffic in the twilight.

Looking at the two women's cars in the distance, Simon lifted the backpack on his shoulder and turned to leave.

Buying a map of downtown Los Angeles from a nearby store, Simon sat down in an open-air seat at a street-side fast-food restaurant, ordered the cheapest dinner, and began to look through the map.

Because he inherited the memories of the other twelve people, Simon found that not only those professional skills, but also all kinds of information about Hollywood, or the whole of Los Angeles, from human geography to entertainment gossip, before and after.

It seems that he still has the potential to be a paparazzi.

Thinking to himself, Simon easily found the location of the WMA's headquarters on the map.

The Camino Street is located not far from the intersection of Wilcher's Avenue and Santa Monica Avenue, Beverly Hills' busiest street, near Century City Park, where media companies are located, where Twentieth Century Fox Studios is located, and not far from the headquarters of WMA's nemesis, CAA.

After making a sign at the location of the WMA headquarters, Simon found the address of the headquarters of the Writers Guild of America, and also circled it casually.

The waiter brought the dinner, Simon filled his stomach, and walked out of the dining room after settling the bill.

Then I started worrying about how to get out of Burbank.

In the '80s, there were no buses or subways in Los Angeles, and taxis were scarce and required phone reservations.

After wandering the streets for more than half an hour with a fluke mentality, and finally failed to meet a taxi willing to carry him, Simon realized that he still underestimated the lack of public transportation in Los Angeles, and regretted that he did not have the cheekiness to let Catherine give him a ride.

I had no choice but to stay at a hotel in Burbank.

Early the next morning, with the help of the innkeeper, Simon booked a taxi by phone. After haggling with the driver who arrived and paying $15 with a tip, the driver dropped him off in West Hollywood, on the other side of Santa Monica Hill.

Standing on the side of Melrose Avenue, although there is still a lot of distance from the destination, in order to save money, the next can only be used, but fortunately, Simon has a whole day. Following the map, I walked south along Fairfax Avenue, which intersects Melrose Avenue for more than 20 minutes, and came to the outside of the Writers Guild of America (WGA) building.

Simon naturally didn't rush here to join the screenwriters' union, he doesn't have such qualifications yet, mainly to register the copyright of the script in his backpack.

According to federal copyright law, in theory, the creator automatically acquires the copyright after completing the work. However, in reality, in the event of a legal dispute, whether to register the copyright has become a very crucial evidence.

In the United States, there are many ways to register copyright, and there are even some privately run registries.

The most authoritative of these is naturally the Copyright Office, but because of the world's well-known ultra-low efficiency of the U.S. government department, submitting a registration to the Copyright Office may take four to six months for the creator to get the copyright certificate, and the review process is infallingly slow.

Therefore, in Hollywood, registering the copyright through the WGA has become the first choice for most screenwriters.

Prepare the documents and registration fee, and basically get the registration certificate on the same day.

Of course, there is also a disadvantage to registering with the WGA, that is, it will only keep the registration material for five to ten years for the creator, and it will need to be renewed at the end of the period. However, the registration of the Copyright Office is permanent, and legal disputes can be better protected.

After some consideration, Simon still chose to submit all the two scripts that had been completed in his hand for registration.

The registration fee for a single script was $20, and the cost of printing two scripts plus materials once again dried up Simon's wallet. Leaving the WGA building, thinking of the afternoon meeting, Simon made another copy of the script for "The Butterfly Effect" and then picked up an electronic watch at a roadside stall for less than $2.

After all this, it was past noon.

Having simply bought a meal to fill his stomach, Simon rechecked his wallet, and yesterday's $198 had quickly dropped to less than $97.

I was a little helpless, but I wasn't too flustered.

The worst is to live on the streets, and the possibility of starvation is still very low, so it's a big deal to find a church and get some free food stamps.

The appointment time was four o'clock in the afternoon, and in order to be sure, Simon arrived near the WMA headquarters half an hour early.

The WMA headquarters building on Camino Street is a very modern looking fiberglass structure building, although the floors are not high, but compared with other mediocre commercial buildings in the surrounding area, it looks quite imposing, and there is a small plaza in front of the building, which undoubtedly shows the pre-eminent position of WMA in Hollywood at this time.

Shortly before four o'clock, Simon stepped into WMA headquarters five minutes early.

Explain his intention to the company's front desk reception, and the other party called. A moment later, a young white man who looked to be less than thirty years old came out, wearing a professional white shirt and black trousers, a tall thin man, wearing gold-rimmed glasses, and a dark brown hair that was meticulously groomed, and looked polite.

The two briefly introduced that Simon knew that the other party's name was Owen Wright, who was Jonathan Friedman's assistant, and then followed the other party to the interior of the building.

Navigating the wide hallway next to the glass façade, Simon noticed that the WMA employees around him were either hurrying or frowning, and some noticed his unfamiliar face with a slightly wary look in their eyes.

Simon was not too surprised by this situation.

According to information he knows, the WMA is going through a very serious upheaval in recent months.

In the first half of this year, Maurice Stoller, chairman and CEO of WMA, and Stan Kármán, president of WMA, passed away one after another.

The vacancies caused by the deaths of two key executives have not only caused a power struggle within the company, but brokerage companies such as CAA and ICM have taken advantage of the WMA turmoil to unceremoniously start digging into the wall with their hoes.

Especially after the death of Stan Carmen, the Hollywood gold agent such as Al Pacino, Warren Beatty, Barbra Streisand, Goldie Han and other first-line superstars all jumped ship to CAA, which directly damaged WMA's vitality.

Simon followed Owen Wright to an office and waited in the break room for a moment when a middle-aged white man with slightly gray hair pushed the door open and walked in.

The middle-aged man looked to be about forty or fifty years old, dressed in a gray suit, not too tall, in his early seventies of one meter, with a thin build, deep eye sockets, a wide nose bridge, black hair, and a typical Jewish appearance.

In fact, Friedman is apparently a Jewish surname.

"Sorry, just finished a meeting," seeing Simon get up, Jonathan Friedman walked straight up to him, looked at Simon lightly, with a gentle smile on his face, and politely stretched out his hand to him, "So, Simon Westeros?"

Simon nodded, shook his hand, and said, "Hello, Mr. Friedman, nice to meet you." ”

Jonathan Friedman nodded in response, then made a gesture of please.

The two walked into the office next to them together, and the middle-aged man said familiarly: "It's the first time I've heard the surname 'Westeros', so I remember it immediately." Simon, that's your advantage, and it's not easy to be remembered in Hollywood. ”

Simon just smiled and didn't say anything.

Jonathan Friedman motioned for Simon to sit down across from his desk, and when he sat down, his arms resting loosely on the table, casually cross-pointing his fingers at the young man opposite.

THE HEIGHT IS ABOUT 180CM, WHICH IS VERY STANDARD.

The face is angular, brown hair, and there is no childishness of a teenage actor, which is very photogenic.

Black T-shirt, jeans, simple and plain clothing, but there is a calm confidence that surpasses peers, which can attract the opposite sex.

The potential embryo of the popular little student.

There's a potential to move into the Tom Cruise genre, and the recent box office hit "Top Gun" has really attracted a lot of attention.

However, the boy is a screenwriter.

Jonathan Friedman suddenly didn't have much to look forward to.

A good screenwriter needs experience, and Jonathan Friedman doesn't think a young man in his twenties can write a great screenplay. Even, he was a little skeptical that the young man had figured out how to write a formal Hollywood script.

Actually, Jonathan Friedman is not familiar with Catherine.

Aside from the occasional meeting at some Hollywood party, the most recent encounter between the two was a client of Friedman's who was vying for the lead actor in a film that Catherine was about to direct.

It is for this reason that Jonathan Friedman agreed to today's meeting after receiving Catherine's recommendation call, which can be regarded as a favor for the beautiful woman who has a certain say in the casting of the film.

Jonathan Friedman's original plan was to refer Catherine to the WMA's literary agency if he introduced someone who was good. After all, even if he is a first-line screenwriter in Hollywood, the income he brings to his agent is often not as good as that of a second-tier actor, and he has no plan to personally represent a screenwriter. If it doesn't work, the favor is enough anyway, and there is nothing wrong with refusing it directly.

But at this time, seeing Simon himself, Jonathan Friedman already had some thoughts in his heart to send Simon away as soon as possible. He had just been promoted to vice president of WMA this month, and the company had been in a mess lately, and he was not in the mood to perfunctory a young man who was ambitious.

Of course, Jonathan Friedman doesn't show that kind of thinking. He has always believed that if you want to be a good broker, you must always maintain a humble attitude.

After a brief assessment in his heart, Jonathan Friedman's tone was still gentle, with a bit of encouragement and expectation, and said, "So, Simon, let's talk about your script first, shall we?"