David Morrell - NightScape

"Mort, you know what it's like at the networks these days." My agent sighed. "Cost cutting. Layoffs. Executives so young they think Seinfeld is nostalgia. He wasn't joking. He's willing to take a meeting with you, but he's barely seen your work, and he wants a list of your credits."

"All two hundred and ninety of them? Steve, I like to think I'm not vain, but how can this guy be in charge of series development and not know what I've written?"

This conversation was on the phone. Midweek, midafternoon. I'd been revising computer printouts of what I'd written in the morning, but frustration at what Steve had told me made me press my pencil down so hard I broke its tip. Rising from my desk, I clutched the phone tighter.

Steve hesitated before he replied. "No argument. You and I know how much you contributed to television. The Golden Age. Playhouse 90. Kraft Theater. Alcoa Presents. You and Rod Serling and Paddy Chayefsky practically invented TV drama. But that was then. This executive just started his job three months ago. He's only twenty-eight, for Christ's sake. He's been clawing his way to network power since he graduated from business school. He doesn't actually watch television. He's too damned busy to watch it, except for current in-house projects. What he does is program, check the ratings, and read the trades. If you'd won your Emmys for something this season, he might be impressed. But The Sidewalks of New York? That's something they show on Nickelodeon cable reruns, a company he doesn't work for, so what does he care?"

I stared out my study window. From my home on top of the Hollywood Hills, I had a view of rushing traffic on smoggy Sunset Boulevard, of Spago, Tower Records, and Chateau Marmont. But at the moment, I saw none of them, indignation blinding me.

"Steve, am I nuts, or are the scripts I sent you good?"

"Don't put yourself down. They're better than good. They don't only grab me. They're fucking smart. I believe them, and I can't say that for…" He named a current hit series about a female detective that made him a fortune in commissions but was two-thirds tits and ass and one-third car chases.

"So what's the real problem?" I asked, unable to suppress the stridency in my voice. "Why can't I get any work?"

"The truth?"

"Since when did I tolerate lies?"

"You won't get pissed off?"

"I will get pissed off if- "

"All right already. The truth is, it doesn't matter how well you write. The fact is, you're too old. The networks think you're out of touch with their demographics."

"Out of-"

"You promised you wouldn't get pissed off."

"But after I shifted from television, I won an Oscar for The Dead of Noon."

"Twenty years ago. To the networks, that's like the Dark Ages. You know the axiom – what have you done for us lately. The fact is, Mort, for the past two years, you've been out of town, out of the country, out of the goddamn industry."

My tear ducts ached. My hurried breathing made me dizzy. "I had a good reason. The most important reason."

"Absolutely," Steve said. "In your place, I'd have done the same. And your friends respect that reason. But the movers and shakers, the new regime that doesn't give a shit about tradition, they think you died or retired, if they give you a moment's thought at all. Then isn't now. To them, last week's ratings are ancient history. What's next? they want to know. What's new? they keep asking. What they really mean is, What's young?"

"That sucks."

"Of course. But young viewers are loose with their dough, my friend, and advertisers pay the bills. So the bottom line is, the networks feel unless you're under thirty-five or better yet under thirty, you can't communicate with their target audience. It's an uphill grind for writers like you, of a certain age, no matter your talent."

"Swell." My knuckles ached as I squeezed the phone. "So what do I do? Throw my word processor out the window, and collect on my Writers Guild pension?"

" It's not as bad as that. But bear in mind, your pension is the highest any Guild member ever accumulated."

"But if I retire, I'll die like – "

"No, what I'm saying is be patient with this network kid. He needs a little educating. Politely, you understand. Just pitch your idea, look confident and dependable, show him your credits. He'll come around. It's not as if you haven't been down this path before."

"When I was in my twenties."

"There you go. You identify with this kid already. You're in his mind."

My voice dropped." When's the meeting?"

"Friday. His office. I pulled in some favors to get you in so soon. Four p.m. I'll be at my house in Malibu. Call me when you're through."

"Steve…"

"Yeah, Mort?"

"Thanks for sticking with me."

"Hey, it's an honor. To me, you're a legend."

"What I need to be is a working legend."

"I've done what I can. Now it's up to you."

"Sure." I set down the phone, discovered I still had my broken pencil in one hand, dropped it, and massaged the aching knuckles of my other hand.

The reason I'd left L. A. two years ago, at the age of sixty-eight, was that my dear wife -

– Doris-

– my best friend -

– my cleverest editor -

– my exclusive lover -

– had contracted a rare form of leukemia.

As her strength had waned, as her sacred body had gradually failed to obey her splendid mind, I'd disrupted my workaholic's habit of writing every day and acted as her constant attendant. We'd traveled to every major cancer research center in the United States. We'd gone to specialists in Europe. We'd stayed in Europe because their hospice system is humane about pain-relieving drugs. We'd gotten as far as Sweden.

Where Doris had died.

And now struggling with grief, I'd returned to my career. What other meaning did I have? It was either kill myself or write. So I wrote. And wrote. Even faster than in my prime when I'd contributed every episode in the four-year run of The Sidewalks of New York.

And now a network yuppie bastard with the cultural memory of a four-year-old had asked for my credits. Before I gulped a stiff shot of Scotch, I vowed I'd show this town that this old fuck still had more juice than when I'd first started.

Century City. Every week, you see those monoliths of power behind the credits on this season's hit lawyer show, but I remembered, bitterly nostalgic, when the land those skyscrapers stood upon had been the back lot for Twentieth-Century Fox.

I parked my leased Audi on the second level of an underground garage and took an elevator to the seventeenth floor of one of the buildings. The network's reception room was wide and lofty, with plentiful leather couches where actors, writers, and producers made hurried phone calls to agents and assistants while they waited to be admitted to the Holy of Holies.

I stopped before a young, attractive woman at a desk. Thin. No bra. Presumably she wanted to be an actress and was biding her time, waiting for the right connections. She finished talking to one of three phones and studied me, her boredom tempered by the fear that, if she wasn't respectful, she might lose a chance to make an important contact.

I'm not bad-looking. Although seventy, I keep in shape. Sure, my hair's receding. I have wrinkles around my eyes. But my family's genes are spectacular. I look ten years younger than I am, especially when I'm tanned, as I was after recent, daily, half-hour laps in my swimming pool.

My voice has the resonance of Ed McMahon's. "Mort Davidson to see Arthur Lewis. I've got a four o'clock appointment."

The would-be-actress receptionist scanned a list. "Of course. You're expected. Unfortunately Mr. Lewis has been detained. If you'll please wait over there." She pointed toward a couch and picked up a Judith Krantz novel. Evidently she'd decided that I couldn't promote her career.