July 14.

  The people were rolling from one side to the other. It was the kind of work that always evoked a sense of nostalgia, whether it was in ema or the world of theater. It was questionable how Billy found himself there, so lost in thought. He wore a Drumstrang uniform and had already filmed some ses on the ship, all against a green s. Now, under various setups, they were moving to the supposed rapid recs on the Hogwarts set.

  It all began in the dining hall, where the four houses gathered. People’s focus was on the protagonist, Harry Potter, portrayed by Daniel Radcliffe. The ceiling hi the merging of the three houses, marking the beginning of the true plot of the fourth book, which set the stage froundbreaking film that would leave a sting legacy. Uhe earlier installments, this oarted transitioniween light and dark themes. A shadow loomed, hinting at a more mature narrative.

  –Hey,– Billy murmured to the not-so-young Clémence Poésy, who pyed Fleur Decour. She was a charming blonde, and it never hurt to have a few extra friends. Billy preferred women as fidahey teo get involved more than they should but kept his secrets if he asked. Yet, he always left her in a gray zone, where she remained devoted to him. A fwed thought.

  –o meet you,– said Clémence, fshing her bright white smile. The way she veyed shyness was remarkable.

  –A little... but not too much. Good luck,– Billy said. He had been practig his lines for a long time. Not only was he assigned a coaprove his ag, but he also received feedback from Robert Pattinson. It was a real challeo hahe different takes proposed, and the two of them often peted to outdo each other. Although Billy had started auditioning, his performances weren’t yet hy.

  The cameras were rolling. Women in blue dresses shimmered vibrantly as they danced and sang, their voices akin to cappel harmonies. Billy watched the entire se unfold until the chraphy erfected over an hour and a half. The space seemed rger than it appeared.

  –You o capture the se from this angle. You and Bjec will represent your respective schools. Keep a serious fad avoid looking at the camera—either focus slightly above or directly at the cameraman,– instructed Roger Patt, the director of photography, alongside Johnny Evans, a produ team member and the liaison for the cameras.

  Se 106, Take 2.

  Different youths appeared in brown uniforms with fur-lined capes, wielding staffs they struck against the floor. The sound was subtle, with only the rhythm of their feet and staffs eg through the hall. They spun, flipped, and moved effortlessly—seasoned performers, not amateurs. Their skill was exceptional.

  From the vilge, the camera movements were closely monitored. Meanwhile, some performers used a green liquid they blew into the air, which would ter be enhanced with special effects. They executed fwless rolls and leaps, even jumping over others.

  They shouted “Hoo!” at intervals.

  Billy entered after a cue, walking a step ahead of actor Pedja Bjec, who wore a dark leather e. Various takes were shot.

  –Albus.––Igor.–

  The two actors embraced.

  –Please, e this way. Your school is assigo Slytherin’s css. Severus, if you would,– said Albus Dumbledore, portrayed by Michael Gambon.

  The se sted nearly five minutes.

  –Cut.–

  That was easy, Billy thought, knowing full well that ag wasn’t simple. It required immense effort, and Jerry wouldn’t relent, pushing him into more ag csses.

  The se was shot with Billy seated in the Slytherin on room. The close-up surprised even J.K. Rowling—Billy was remarkably photogenic. Every picture taken of him was stunning, regardless of the angle. His charm captivated the camera, especially when he smiled. That smile was disarming, drawing audiences effortlessly. It was his redeeming quality—the reason young fans worldwide would associate Harry Potter with him.

  –I want to shoot more ses in the hall,– direike Newell remarked, unusually serious as he whispered with producers. ges could be transformative, and this time, Billy’s ses were like pure gold. Shifting the focus from the three champions to him might have been irrelevant at first, but now it ged everything, including shots of Viktor Krum.

  Jerry sipped whiskey on the rocks, feeling at ease. Billy’s tract had improved, with every aiculously reviewed. Warner executives—five sharks—were iating the fiails of Bill Carson’s agreement. They wanted not just a-year itment but fifteen years of albums.

  Graham Anderson, Warner Music’s director; Edgar Bronfman Jr., Warner Music’s president; Cameron Strang, Warner Music’s executive producer; Michael Lynton, Warner Music’s deputy president; and Roger Ames, head of Warner’s subsidiaries and operations—all of them were involved.

  –Then I’m afraid we o enhahe tract. The best years of a rock star’s career are between 20 and 30—the prime time for rock legends. The agreement must reflect the value of those years,– Jerry stated.

  –We’re aware of that and are prepared to offer more than material support,– replied Edgar Bronfman Jr., the true face of Warner, its actual leader.

  –So, you agree to my terms,– Jerry responded.

  –As long as the Billy Carson brand belongs exclusively to Warner Music. We demand total loyalty,– Edgar retorted, beginning to read a list of cuses. They were imposing, filled with tless ditions and subditions. Billy’s wyer had reviewed them earlier and expihe finer points.

  –I accept some of these terms. However, the ditions are one-sided—pure obligations with nhts. The tax burden is disproportionate. For instance, we reject exclusivity in areas beyond musid insist on freedom for online media, intervieersos (charity, private gatherings, etc.),– Jerry argued.

  Over the few hours, they debated every detail. The tract, spanning 15 years or albums, was set to st until 2020. However, in Billy’s favor, Jerry ensured he retaihe right to re-record his songs under his er ten years for each album.

  Royalties were set at 28%, cert ticket reve 20%, and rec rights remained with Warner Music, though re-rec rights would revert to Billy eight years post-publication. Exploitatihts were held by Warner, provided they paid him the 28% royalty—essential for each lise. Every new song had to be recorded with Warner, which retaihe right of first refusal, followed by public bidding.

  –The young man has aire album in Spanish and pns to record songs in Italian and French. This means we’re reag nearly 50% of the global popution directly, with Spanish, Italian, English, French, and Puese audiences. Still, we know English is the universal nguage,– Jerry expined.

  He emphasized the deal’s value. Despite Warner’s hesitations, the prospect of 15 albums from an artist with staggering sales of over 150 million copies was pelling. At 15 per album—a minimum price—the revenue was at least 2 billion. With Billy’s 18% royalty rate, his earnings were 396 million before taxes, reduced to 308 million after dedus. A third of this, roughly 100 million, was secured in a Swiss bank, with the rest ied in Apple shares (25 million), Amazon (25 million), and Facebook (35 million). The remainder funded Billy’s vish lifestyle, costing over a million dolrs annually.

  –It’ll be a pleasure to sign with all of you,– Jerry cluded.

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