Executioner's Song, The - Norman Mailer [273]
Schiller knew, of course, that this was way beyond the $40,000 ABC had given him to deal with. But, you couldn't come in with forty on this market. He would get around to telling ABC later.
Schiller proceeded to underline why the figure was $75,000. "It is," he said to Vern, "the economics of motion pictures that dictate this offer." He had brought ammunition with him: Xeroxes of Francis Gary Powers's contract, the Gus Grissom story contract, and Marina Oswald's. These were his samples and he spread them out in front of Vern and said, "Pick whichever one you want and take a good look at it. These contracts have been negotiated by the best lawyers in the country. Certainly," said Schiller, "Marina Oswald had the best lawyer available. So did Francis Gary Powers. This is not to put you down, Mr. Damico, but the lawyers writing these contracts for Grissom and Powers and Oswald were people who knew more about profit-sharing, more about percentages, and more about how much money can be made with a given film than people like yourself, or for that matter, Dennis Boaz. What I am trying to tell you is that no matter what anybody offers, you take a look at the figures in these contracts right here. These are the real prices available. Susskind may be telling you the property is worth fifteen million dollars eventually, but I say you will never see a piece of that. He is offering a small amount now and talking about the big piece down the road. The likelihood is that the big piece will never be seen. I, on the other hand, am willing to pay money right away. I am not offering it on the commencement of principal photography two or three or four years from now. I'm ready to gamble right this minute. I am taking the chance, not you."
When he saw that Vern Damico had picked up one of the contracts and was studying it somberly in his big hands, Schiller added, "I've come today with three monumental things to offer. The first, as I have stated, is, my cash on the barrelhead. The second is that I will make you my promise to stay in this town, and work on the story from here. I am not going to buy the rights and then vanish to New York. I'm not wealthy yet. I'm not like David Susskind who has already got it made. No," said Larry Schiller, "I'm still climbing the ladder, so I'll be here to work and give you advice, and the day I don't deliver is the very day you have reason not to trust me."
"What is the third thing?" asked Vern.
"The third," said Larry Schiller, "is whether you are really going to allow 50 percent of this money to go to a stranger. Blood, I should think," he said, "is thicker than water. I don't know how Gary is thinking of providing for his mother, but if half of this money is to go to Boaz, then Gary's mother will be getting a percentage that is half the amount she's entitled to. Besides, I think there should be money to provide for the families of the victims."
All the while Schiller had been talking to Vern Damico, he had been changing his impression of Gary Gilmore. It was as if he had been given another look at the fellow. As Vern started reflecting on Gary's days in the shoe shop and said wistfully, "He was a good hard worker, but I never knew how to get the best out of him," Schiller was cheered. It would make for a better story if Gilmore was not just some clever con who used and abused everyone. Then about the time he realized that Vern had his own sense of humor, Schiller got even happier. He had to obtain this story. That was fundamental. He wanted this story from his spinal cord out. But that he might even like it was a most agreeable bonus. Every minute he sat with Vern, he could feel Boaz losing the marbles. "If I were you," said Schiller in conclusion, "I'd get a lawyer. In fact," he said, "I don't want to make this offer in formal terms until you have a lawyer. Then I will lay it out with him. If you take my advice, you will