On the private dining room on the second floor of a restaurant, Duke arrived at noon, having spent the morning in a production eting about The Godfather's post-production schedule that had run forty minutes long because Coppola had opinions about the color.
He was wearing a navy suit, no tie, his hair slightly longer than the corporate standard because he'd been in Sicily and Tokyo for the better part of a month and hadn't found a barber he wanted to trust on either continent.
Jaffe was already seated at the head of the table, his briefcase open, his docunts arranged.
Beside the docunts, was a collection of objects that looked wildly out of place in a dining room, a plastic watch prototype, several character sketches on heavy card stock, a miniature die-cast car, and what appeared to be a small action figure whose limbs could be repositioned into various poses.
Across from Jaffe sat the Mattel delegation.
Elliot Handler was sixty years old, co-founder of Mattel, and one of the most successful toymakers in Arican history.
He and his wife Ruth had built Mattel from a garage workshop into the largest toy company in the world, powered by two inventions that had redefined childhood, the Barbie doll and the Hot Wheels car.
His face was curious.
Alongside Handler were two product designers, younger n in sport coats and turtlenecks who had the slightly disheveled look of creative professionals who spent more ti in workshops than boardrooms.
"Elliot," Duke said, shaking Handler's hand. "Thank you for coming."
"You said you had sothing I'd want to see." Handler settled into his chair and glanced at the objects on the table with the sharpened attention of a man whose entire career was built on recognizing the next great toy. "So. Show ."
Duke sat down, unbuttoned his jacket, and leaned forward. "Elliot, I'm going to present sothing today that I don't think has ever been done before in this industry."
"I'm listening."
"Most studios sell toy rights as an afterthought. The movie cos first. If it's a hit, sobody licenses the characters to a toymaker, and eight months later there's a plastic figure on a shelf at Sears. By then the movie's out of theaters, the montum is gone, and the toy catches whatever residual interest is left."
"That's the standard model," Handler agreed. "It works. Not spectacularly, but it works."
"I want to build a system where the toy and the story are developed simultaneously. Where the character hits the shelf the sa week."
Handler's eyebrows rose slightly. "Crossdia synergy."
"That's exactly what I'm calling it. And I have three properties that are ready to demonstrate it."
Duke reached for the first object on the table, the plastic watch prototype. It was crude but recognizable, a chunky wristband with a circular face, and on the face, a rotating dial with small icons arranged around its circumference.
Each icon represented a different alien creature, stylized, colorful, instantly identifiable.
"This is the Omnitrix," Duke said. "It's the central device in our highest-performing comic book property, Ben 10. Published in PULSE Weekly, currently reaching over a million readers per month."
"The premise is that a ten-year-old boy finds this watch, and it allows him to transform into ten different alien heroes. Each alien has unique powers, unique abilities, unique visual design."
He rotated the dial on the prototype. It clicked through each position with a satisfying chanical snap.
He spread out a set of character sketches, ten alien designs, each one rendered in bright, distinctive colors with the kind of exaggerated proportions and bold silhouettes that translated perfectly from the comic page to a three-inch plastic figure.
"Ten aliens. Ten figures. Each one sold separately. Plus the watch."
Handler picked up the Omnitrix prototype and turned it in his hands. Duke watched his fingers work. Clicked it. Rotated it again.
"The click," Handler said. "That's good. Kids love a click."
"We can refine the chanism. Add sound effects. A light in the face that activates when you select an alien. Make it feel like a real piece of alien technology on a child's wrist."
Handler set down the prototype and looked at Duke. "What else?"
Duke reached for the second set of materials, the character designs from Madhouse. The Blue Beetle sketches were stunning, the Scarab armor rendered in sleek, angular detail that looked like nothing else on the Arican toy market.
"Blue Beetle," Duke said. "Currently in pre-production as a sixty-four-episode animated series at our Tokyo studio. The character wears an alien armor that transforms, adapts, and generates weapons. The design aesthetic is sleeker, more dynamic, more cool than anything in the current action figure market."
"It's designed to be sothing new. A high-tech action figure line that positions itself above G.I. Joe in sophistication and coolness. Every figure has interchangeable armor pieces and Scarab accessories. The kid builds the Beetle's loadout. Different configurations for different missions."
"Customization," Handler said. "Kids love customization."
"Kids love animation."
Handler was nodding now, his hands moving unconsciously. Duke pressed forward.
"One more thing," Duke said. "This isn't a finished product. This is another property from PULSE weekly that I want you to see before anyone else."
He picked up the car, held it in front of Handler, and with a series of precise folds and rotations, transford it into a robot.
The dining room was silent.
Handler stared at the figure. The designers stared at the figure.
Even Jaffe, who had seen the prototype before, watched with the quiet satisfaction of a man who knew exactly how this mont was going to play.
"Sentient machines," Duke said. "Robots that disguise themselves as everyday vehicles. A car becos a warrior. A truck becos a commander. A jet becos a scout."
"My God," Handler said softly. He reached for the figure, and Duke handed it over.
Handler transford it back into the car. Then back into the robot. Car. Robot. Car. Robot.
"What do you call them?" Handler asked.
"We're calling them Transforrs."
The word filled the room. The two n held each other's gaze across the table, across the toy prototypes and the character sketches and the blueprints of a future that was being built one conversation at a ti.
"I want a license," Handler said. "On everything."
"And in exchange?"
"An advance. A substantial one. You'll have cash in the door before a single unit ships."
Duke looked at Jaffe. Jaffe gave an almost imperceptible nod.
"Draw up the term sheet," Duke said.
Handler grinned.
___
Moody Coliseum in Dallas slled like popcorn,and floor wax.
The arena seated eight thousand.
Tonight, for the Dallas Chaparrals' ho ga against the Utah Stars, approximately fifteen hundred people had turned up scattered across the lower bowl in clusters that left vast, empty expanses of blue plastic seating stretching into the upper reaches.
Duke sat in the front row, center court.
Beside him, Barbara Bouchet looked stunning in a cream cashre sweater and dark slacks, her blonde hair pulled back, her green eyes tracking the action on the court with the confusion of a European woman encountering Arican basketball for the first ti.
"So they run back and forth," she said.
"That's the general idea."
"And the object is to throw the ball through the circle."
"The hoop, yes."
"This sport doesn't sem to be that popular. You should invest in Football instead."
"When there's more people, its more exciting." Duke gestured at the sparse crowd, a little remorseful of bringing her.
"Im just joking." Barbara laughed.
On the court, the Chaparrals were actually playing well.
Tom Nissalke's coaching was evident. They were trading baskets with the Stars, keeping the ga close through the first half, the squeak of sneakers on the hardwood echoing through the mostly empty arena.
"You didn't buy this team for the ticket sales," Barbara said. It wasn't a question.
"No."
"Then why?"
Duke looked at the court.
A Chaparrals guard drove the lane, elevated, and put up a floater that hit the glass and dropped through the net. The small crowd offered a polite cheer.
"I bought the territory," Duke said. "Dallas is going to be one of the great Arican cities. The oil money, the real estate boom, the tech corridor, this place is going to grow in ways that most people can't imagine yet. And when it grows, it's going to want major professional sports. With a world-class arena with corporate suites and national television contracts and a brand that ans sothing."
"And you'll build that?"
"I'll build that. New arena. New brand. A team that Dallas identifies with. The way New York identifies with the Knicks, the way Boston identifies with the Celtics."
"That takes ti. It takes investnt. And it takes nights like this, sitting in a cold arena with fifteen hundred people, watching a good team play in front of nobody."
Barbara studied him. Her expression was curious, by the patience. Most ambitious n she'd known wanted results imdiately. Duke was talking about building sothing that might take a decade to bear fruit.
The ga ended. The Chaparrals won by seven. The crowd filed out with the quiet satisfaction of people who had gotten their money's worth.
Duke made his way to the locker room. The hallway was concrete, poorly lit, and slled of sweat and industrial cleaning solution. Security let him through without hesitation, the owner's privileges, such as they were.
Tom Nissalke was standing near the coaches' office, still in his ga clothe, dark slacks, a button-down shirt with the sleeves rolled to the elbows, a whistle around his neck.
He'd been nad ABA Coach of the Year the previous season, which was the kind of honor that also ant that other teams, like NBA teams, were now interested in hiring him away.
"Tom," Duke said, extending his hand.
Nissalke shook it with the distracted grip of a man whose mind was already on the next ga, the next practice, the next adjustnt. "Mr. Hauser. Good ga tonight."
"Good ga. I been hearing things about you that worry ."
Nissalke's expression tightened. "I've also heard rumours about the team moving to San Antonio. Maybe sowhere else. And I've had calls from Seattle."
"The SuperSonics." The future Oklahoma City Thunder, OKC.
"They're looking for a head coach and It's the NBA, Mr. Hauser. I'd be lying if I said I wasn't tempted."
Duke put his hand on Nissalke's shoulder. "Don't pack your bags for Seattle or anywhere else, Tom. We're going to dinner."
"Dinner?"
"Dinner. Tonight at the Old Warsaw. There's soone I want you to et."
The Old Warsaw was a converted mansion on Maple Avenue.
Duke's private booth was in the back, separated from the main dining room by a velvet curtain. The lighting was dim, candlelight, a single wall sconce, and the table was set for four.
J. Walter Kennedy was already there. The current NBA Commissioner was fifty-nine years old, silver-haired.
"Duke," Kennedy said, rising. "A pleasure, as always."
"Walt. Thank you for making the trip."
"When the owner of a professional basketball team and the chairman of one of the largest dia company asks to dinner in Dallas, I clear my schedule."
They sat. Nissalke arrived a few minutes later, showered and changed. Barbara had graciously excused herself for the evening, understanding, that certain conversations required privacy.
Wine was ordered. Pleasantries were exchanged. The first course arrived.
Then the plates were cleared, and Duke set down his wine glass.
"Tom," Duke said, looking at Nissalke. "I know about Seattle. I know the SuperSonics are offering you a three-year contract at a significant raise. I also know that the reason you're considering it isn't the money, it's the league. You want to coach in the NBA."
Nissalke didn't deny it. "I'm an ABA coach, Mr. Hauser. I've proven what I can do in this league. But the ABA isn't where the future of basketball lives. The future lives in the NBA. And every day I stay in the ABA is a day I'm not building my resu where it matters."
"I understand that. And I'm going to give you what Seattle can't."
He turned to Kennedy. "Walt, I'm going to be direct. I believe the ABA and the NBA are going to rge. The economics demand it. Both leagues are spending themselves into oblivion competing for the sa players, and the television networks are tired of splitting the basketball audience across two products."
"A rger is inevitable. The question it's when and who survives."
Kennedy's expression didn't change, but his martini glass paused halfway to his lips.
"That's a significant assumption," Kennedy said carefully.
"It's a significant market. Dallas is the seventh-largest dia market in the United States. It's growing faster than any major city in the South. And the ownership group behind the Chaparrals, controls Paramount Pictures, Atari Electronics, PULSE Comics, the Paramount Music division."
He let that inventory settle.
"If the NBA and ABA rge, Dallas needs to be among the surviving franchises. Not because the current attendance justifies it, we both know it doesn't. But because the market justifies it, the ownership justifies it, and the dia infrastructure justifies it."
"I can put basketball on screens that no other owner can reach. I can create content around the sport that no other owner can produce. And I can build an arena in Dallas."
Kennedy sipped his martini. "And what do you want in return?"
"A guarantee. Informal. Nothing on paper, but that in any rger scenario, a Dallas franchise backed by this ownership group is a lock for survival."
The table was quiet. The candle flickered.
Kennedy looked at Duke. He looked at Nissalke. He looked at his martini.
"The NBA doesn't make guarantees about rger scenarios that haven't been formalized," Kennedy said.
"But I can tell you this," Kennedy continued. "The NBA's expansion strategy depends on strong ownership, strong markets, and strong dia partnerships."
"A Dallas franchise with your ownership profile would be... very difficult to exclude from any future configuration of the league."
It was as close to a guarantee as a sitting commissioner could give without putting his job at risk.
He turned to Nissalke. "Tom, the path to the NBA for you can be through Dallas, the man coaching the Dallas team will be an NBA coach, with an NBA contract, in an NBA arena."
Nissalke looked at Kennedy. Kennedy's expression was neutral but, Duke noted, not contradictory. The Commissioner didn't disagree. That was enough.
"I need a commitnt," Nissalke said. "Not just tonight. A real commitnt. Investnt in the roster. Scouting. Player developnt. I can't build an NBA-caliber team with ABA-caliber resources."
"You'll have everything you need. Better facilities. Better scouting. And a front office that supports your vision instead of undermining it."
Nissalke studied Duke's face for a long mont. "Alright," Nissalke said. "I'm staying."
They ordered dessert. The conversation shifted, lighter, warr, the relief of n who had reached an agreent and could now enjoy each other's company.
Kennedy told stories about the early days of the NBA, when the league was so broke that the Commissioner sotis drove the team bus.
Duke listened, and ate, and drank.
__
The night air in Preston Hollow was cool and clean. The neighborhood was old money by Dallas standards, wide lots, stone walls, and massive live oaks.
Duke and Barbara walked slowly, side by side, their footsteps soft on the pavent. They'd left the restaurant an hour ago, and instead of taking a car back to the hotel, they'd started walking.
Barbara's arm was linked through his. She was wearing a coat over her sweater, the Texas November night was cold enough to justify it, and her breath made small clouds in the air that caught the streetlight and vanished.
They walked in silence for a while, past the stone walls and the oak trees and the warm, distant windows.
"I want to tell you about sothing," Duke said. "A new project."
"That Sword and Sandals project?"
"The opposite of it actually. The smallest thing I've ever conceived. A film about two people. A man and a woman. He's an okayish codian."
He paused, thinking about the character, seeing her in his mind. "She's unlike anyone he's ever t. She wears ties and vests. She's scattered and brilliant and completely herself in a way that makes him realize he's never been completely himself. They fall in love."
"And then, because this is what happens, they fall out of love. Not because they stop caring, but because people grow in different directions, and sotis love isn't enough to keep two people aid at the sa point on the horizon."
"What's it called?" she asked.
"Annie Hall."
"It sounds sad."
"It is sad. But it's also funny, and honest."
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