David Morrell - NightScape

"I'll do that, Mr. Ballard. Thanks," Ric said.

"Do I look old enough to be a 'mister?' Call me 'Ed.'"

We made the rounds. While all the executives considered me too old to be relevant to their 16-25 audience, they still had reverence for what they thought of as an institution. Sure, they wouldn't buy anything from me, but they were more than happy to talk to me. After all, it didn't cost them any money, and it made them feel like they were part of a community.

By the time I was through introducing Ric, my rumors about Ric had been accepted as fact. Various executives from various studios considered themselves in competition with executives from other studios for the services of this hot, new, young writer who was getting a million dollars a script.

Ric had driven with me to the reception. On the way back, he kept shaking his head in amazement. "And that's the secret? I just needed the right guy to give me introductions? To be anointed as a successor?"

"Not quite. Don't let their chumminess fool you. They only care if you can deliver."

"Well, tomorrow I'll send them one of my scripts."

"No," I said. "Remember our agreement. Not one of your scripts. One of mine. By Eric Potter."

So there it was. The deal Ric and I had made was that I'd give him ten percent of whatever my scripts earned in exchange for his being my front man. For his part, he'd have to take calls and go to meetings and behave as if he'd actually written the scripts. Along the way, we'd inevitably talk about the intent and technique of the scripts, thus providing Ric with writing lessons. All in all, not a bad deal for him.

Except that he had insisted on fifteen percent.

"Hey, I can't go to meetings if I'm working three-to-eleven at the restaurant," he'd said. "Fifteen percent. And I'll need an advance. You'll have to pay me what I'm earning at the restaurant so I can be free for the meetings."

I wrote him a check for a thousand dollars.

The phone rang, interrupting the climactic speech of the script I •was writing. Instead of picking up the receiver, I let my answering machine take it, but I answered anyhow when I heard my agent talking about Ric.

"What about him, Steve?"

"Ballard over at Warners likes the script you had me send him. He wants a few changes, but basically he's happy enough to offer seven hundred and fifty thousand."

"Ask for a million."

"I'll ask for nothing."

"I don't understand. Is this a new negotiating tactic?"

"You told me not to bother reading the script, just to do the kid a favor and send it over to Warners because Ballard asked for it. As you pointed out, I'm too busy to do any reading anyhow. But I made a copy of the script, and for the hell of it, last night I looked it over. Mort, what are you trying to pull? Ric Potter didn't write that script. You did. Under a different title, you showed it to me a year ago."

I didn't respond.

"Mort?"

"I'm making a point. The only thing wrong with my scripts is an industry bias against age. Pretend somebody young wrote them, and all of a sudden they're wonderful."

"Mort, I won't be a part of this."

"Why not?"

"It's misrepresentation. I'd be jeopardizing my credibility as an agent. You know how the clause in the contract reads – the writer guarantees that the script is solely his or her own work. If somebody else was involved, the studio wants to know about it-to protect itself against a plagiarism suit."

"But if you tell Ballard I wrote that script, he won't buy it."

"You're being paranoid, Mort."

"Facing facts and being practical. Don't screw this up."

"I told you, I won't go along with it."

"Then if you won't make the deal, I'll get somebody else who will."

A long pause. "Do you know what you're saying?"

"Ric Potter and I need a new agent."

I'll say this for Steve -even though he was furious about my leaving him, he finally swore, for old time's sake, at my insistence, that he wouldn't tell anybody what I was doing. He was loyal to the end. It broke my heart to leave him. The new agent I selected knew squat about the arrangement I had with Ric.

She believed what I told her – that Ric and I were friends and by coincidence we'd decided simultaneously to get new representation. I could have chosen one of those superhuge agencies like CAA, but I've always been uncomfortable when I'm part of a mob, and in this case especially, it seemed to me that small and intimate were essential. The fewer people who knew my business, the better.

The Linda Carpenter Agency was located in a stone cottage just past the gates to the old Hollywoodland subdivision. Years ago, the "land" part of that subdivision's sign collapsed. The "Hollywood" part remained, and you see that sign all the time in film clips about Los Angeles. It's a distance up past houses in the hills. Nonetheless, from outside Linda Carpenter's stone cottage, you feel that the sign's looming over you.

I parked my Audi and got out with Ric. He was wearing sneakers, jeans, and a blue cotton pullover. At my insistence. I wanted his outfit to be self-consciously informal and youthful in contrast with my own mature, conservative slacks and sport coat. When we entered the office, Linda -who's thirty, with short red hair, and loves to look at gorgeous young men-sat straighter when I introduced Ric. His biceps bulged at the sleeves of his pullover. I was reminded again of how much – with his sandy hair, blue eyes, and glowing tan-he looked like an actor.

Linda took a moment before she reluctantly shifted her attention away from him, as if suddenly realizing that I was in the room. "Good to see you again, Mort. But you didn't have to come all this way. I could have met you for lunch at Le Dome."

"A courtesy visit. I wanted to save you the long drive, not to mention the bill."

I said it as if I was joking. The rule is that agents always pick up the check when they're at a restaurant with clients.

Linda's smile was winning. Her red hair seemed brighter. "Any time. I'm still surprised that you left Steve." She tactfully didn't ask what the problem had been. "I promise I'll work hard for you."

"I know you will," I said. "But I don't think you'll have to work hard for my friend here. Ric already has some interest in a script of his over at Warners."

"Oh?" Linda raised her elegant eyebrows. "Who's the executive?"

"Ballard."

"My, my." She frowned slightly. "And Steve isn't involved in this? Your ties are completely severed?"

"Completely. If you want, call him to make sure."

"That won't be necessary."

But I found out later that Linda did phone Steve, and he backed up what I'd said. Also he refused to discuss why we'd separated.

"I have a hunch the script can go for big dollars," I continued.

"How big is big?"

"A million."

Linda's eyes widened. "That certainly isn't small."

"Ballard heard there's a buzz about Ric. Ballard thinks that Ric might be a young Joe Eszterhas." The reference was to the screenwriter of Basic Instinct, who had become a phenomenon for writing sensation-based scripts on speculation and intriguing so many producers that he'd manipulated them into a bidding war and collected megabucks. "I have a suspicion that Ballard would like to make a preemptive bid and shut out the competition."

"Mort, you sound more like an agent than a writer."

"It's just a hunch."

"And Steve doesn't want a piece of this?"

I shook my head no.

Linda frowned harder.

But her frown dissolved the moment she turned again toward Ric and took another look at his perfect chin. "Did you bring a copy of the script?"

"Sure." Ric grinned with becoming modesty, the way I'd taught him. "Right here."

Linda took it and flipped to the end to make sure it wasn't longer than 115 pages – a shootable size. "What's it about?"