Voices Behind the Curtain
Page 25
After waiting for the laughter to die down, Dr. Tom Burdick rose. “If you would allow your old professor to be serious for a moment, while all of us are together, I want to make a few observations.
“When I look around the room and see all of you, I couldn’t be more impressed with how the six of you were able to provide so much greater clarity when you viewed the events of history through your Power-Cycle conceptual lens. But that’s not what I want to talk about.
“When, in recent history, have six, independent, career-oriented friends, sharing a disgust for those who would abuse the privileges of free enterprise, succeeded in convincing so many responsible leaders to lend their support and cooperation to assist you in solving important problems? That’s what I want to talk about!
“As I look around the table, I still see excited eyes, some of which have been tempered by 10 years of difficult and dangerous work. If any of you were to ask me what I have learned, it would be two things. One, the continued emergence of these Power-Cycle problems clearly indicates they are part of a continuing process.
“That’s what I want to talk about. It raises the question, ‘What should we be doing today to ensure tomorrow you will be able to expand your network of contributing Sentinel friends and to perpetuate what you have started?’”
Hesitantly, a confident Natalie asked, “If we are going to discuss what the future configuration of the Sentinels should look like, I would like us to hear what George White has to say about why the production of a continuous running musical play needs to be part of our strategy.
“For those of you who are not familiar with George and his background, it might be productive if I explained. George is an acclaimed director and highly respected member of the New York theatrical community. He was my first American director. George is here to suggest why he believes the contemporary American musical stage can become America’s Fifth Estate. By properly showcasing current attempts to abuse the privilege of free enterprise into well produced satirical musical plays, he believes as long as we refrain practicing the presence of malice, the musical stage can be used to expose and examine current threats to our system of free enterprise. Properly implemented, the musical stage might provide the Sentinels with a public voice, much the same way the press regards their role of being America’s Fourth Estate. George, if you please.”
When George had finished, Cecelia cleared her throat and looked up from all the notes she had been taking. The simple gesture attracted the attention of everyone present. “Looking at my notes, it seems that we believe it’s important that we preserve what we have started and be prepared to add the discipline of theatrical production to our current list.”
Jacques then asked the obvious question. “How much will all of this cost?”
Anticipating the question, Cecelia, as usual was prepared to respond. “One hundred million to construct the campus, and another hundred million to endow operations.”
In shock, Claudine finally said, “One thing is for sure, we will never be accused of thinking small. Would you mind explaining how you plan to raise $200 million?”
Knowing the question was going to be asked, Mike leaned back in his chair, clasped both hands behind his neck, and waited for the fun to begin.
After reaching into her briefcase and withdrawing a rather thick folder, she passed the pile of multipage exhibits to her right, asking that everybody take one and wait for her to explain the content. “The first two pages contain photographs of the two charts I constructed that still hang on the walls of Mike’s and my New York apartment. The next five pages represent different continents and contain the list of the names of people with whom I have discussed the Sentinel Institute idea and the approximate range of their indicated financial support. The regional totals are listed at the bottom of each page. You will note the sum of all the pledges adds up to $125 million.
“The eighth page lists the names of the New York theatrical investors who George believes might be interested in investing a total of $25 million into the ownership of a continuously running play. The ninth page includes a summary of the Sentinel Trust economics. We still retain approximately $75 million of our original capital base and the future earnings stream of the winery. I am recommending we consider contributing $50 million from the trust and $25 million from the future surplus earnings of our winery. By my calculations, that funds the cost of the institute and provides us with a $25 million contingency fund.”
Amused by their different reactions, Cecelia suggested, “In the next room, I have something of interest I would like to show you.”
Moments later, when they had all gathered around the sheet-covered table in the adjoining room, Cecelia, with a firm, quick flick of her wrist, pulled the cloth off the architectural model.
“May I present the future somewhere campus of the Sentinel Research Institute.”
The excitement over seeing the physical impression of how Cecelia envisioned the new campus and their amazement of her discussion of the investment economics was suddenly interrupted when Tony’s secretary entered the room and handed Jacques and Mike copies of the same note. The note read: Urgent we speak. There are serious problems emerging in Tehran that require our immediate attention.
David and Juan Pablo