Executioner's Song, The - Norman Mailer [290]
Schiller called back and Stanley Greenberg said no. Nothing against Mr. Schiller personally, but no, he had reached the point in a life's career where he wouldn't take a job with a producer he didn't know. He wouldn't. Stanley thought it was just too damned dangerous.
If Greenberg had agreed to do the script, Schiller could have hit ABC for more money. Now, they were bound to ask for a piece of the book rights. That was one thing he did not want to give up. He would have to figure out another way. Maybe sell Gary's letters to Nicole. The samples he had seen in Tamera Smith's story looked good. But for such a transaction he would need a cover. So, he called Scott Meredith in New York about being the agent.
To his horror, Meredith said, "Larry, are you sure you're getting the rights? Susskind was in here today saying he had them."
"No deal has been signed yet," said Schiller. "Not by me, not by Susskind. Scott, you have to decide who you're going to believe. I am telling you nobody has signed." "Well," Meredith said, "whose money are you using?" "I'm representing ABC," said Schiller, "but I own the magazine and book rights." Meredith sounded unhappy, "Susskind was just in here telling me he represents ABC."
"WHAT?"
"Yes," Meredith said, "he assures me he represents ABC."
Schiller called Lou Rudolph in L.A. "What are you doing," he shouted, "it's not fair." "Larry," said Rudolph, "I swear Susskind's not working for ABC." There was a pause and then Rudolph said, "Hold it. I'll call New York." Word came back fast. In fact, Susskind did have a deal with the New York office. New York never told L.A. L.A. never told New York. Oh, boy.
Schiller was unwell. Susskind had just produced Eleanor and Franklin. Nobody could look prettier to ABC at this moment.
He said to Lou Rudolph, "When did Susskind make the deal? What's the date? I want the date. Whoever made the deal with you first is the one who's got ABC's backing."
They came back with the dates. Susskind had not made contact with any studio guns until the 9th of November, the day after Gilmore's story first appeared on the front page of the New York Times.
Schiller's input to the studio was on the 4th.
"I applied first," said Schiller, "I want the backing." The studio refused. There were phone calls between New York, Los Angeles and Provo. Finally, a decision. ABC would withdraw its backing equally.
Neither Susskind nor Schiller could now say it was an ABC project.
On the other hand, whichever one of them brought the Gilmore contract in first would get the money. Schiller was near apoplexy. ABC had done nothing but protect itself. They simply didn't want to let it get out that they were consummate fuck-ups.
Now Susskind was calling him again. Schiller stood in the phone booth of Walgreen's Drugstore and listened to Susskind make an offer.
"What are we fighting each other for? Why are we getting this price up?" Susskind asked. "You're in the field. I'm out here in New York. Let's become partners." Schiller sure listened. "I will be," Susskind said, "opening a production company in L.A. Let's use this project to see how our relationship goes. Afterwards, maybe you'll make films for us." "I would love to make films with you," said Schiller, "but that's a separate issue, David."
Schiller was so tempted he could feel his nostrils tingling. It was like the expectation of sex when you were young. But it would also mean that Susskind would do the TV show. Schiller might land the project, but it would never be his. Schiller stalled.
After he hung up, it came clear. If Susskind wanted to join forces, then Susskind could not get the rights without him. That meant it was his. He could have it, if he was ready to take on the worries. Well, he wanted the rights to Gary Gilmore like he had never wanted anything in the economic and creative sphere before. Didn't know why. Just knew.
That meant he would be worrying about money every minute from now on.
Schiller prepared to go back to