NightScape Part 13

"You just said it yourself. If I don't deliver, Ballard will spread the word. No producer will trust me. You won't be able to sell another script through me."

My head began to throb. He was right, of course. If I wanted to keep selling my scripts, if I wanted to see them produced, I needed him. There was no doubt in my mind that as old as I was, I would never be able to sell another script with my name on it. I finally had to admit that all along, secretly, I had never intended the deception with Ric to be a one-time-only arrangement.

I swallowed and finally said, "All right."

"Thank you."

"But I won't clean up your messes for nothing."

"Of course not. The same arrangement as before. All I get out of this is fifteen percent."

"By rights, you shouldn't get anything."

"Hey, without me, Ballard wouldn't have offered the job."

"Since you already spent the first half of the payment, how do I get that money?"

Ric made an effort to think of a solution. "We'll have to wait until the money comes through on the spec script we sold. I'll give you the money out of the two hundred thousand that's owed to me."

"But you owe the Ferrari dealer a bundle. Otherwise Linda's responsible for your debt."

"I'll take care of it." Ric gestured impatiently. "I'll take care of all of it. What's important now is that you make the changes on The Warlords. Ballard has to pay the remaining fifty thousand dollars when I hand in the pages. That money's yours."

"Fine."

It wasn't until later that I realized how Ric had set a precedent for restructuring our deal. Regardless of his promise to pay me what I was owed, the reality was that he had pocketed half the fee. Instead of getting fifteen percent, he was now getting fifty percent.

The script for The Warlords was even worse than I'd feared. How do you change bad junk into good junk? In the process, how do you please a director, a star, and a producer who ask for widely different things? One of the rules I've learned over the years is that what people say they want isn't always what they mean. Sometimes it's a matter of interpretation. And after I endured reading the script for The Warlords, I thought I had that interpretation.

The director said he wanted more action and less characterization. In my opinion, the script already had more than enough action. The trouble was that some of the action sequences were redundant, and others weren't paced effectively. The biggest stunts occurred two-thirds of the way into the story. The last third had stunts that suffered by comparison. So the trick here was to do some pruning and restructuring - to take the good stunts from the end and put them in the middle, to build on them and put the great stunts at the end, all the while struggling to retain the already feeble logic of the story.

The star said he wanted less action and more characterization. As far as I could tell, what he really wanted was to be sympathetic, to make the audience like the character he was playing. So I softened him a little, threw in some jokes, had him wait for an old lady to cross a street before he blew away the bad guys, basic things like that. Since his character was more like a robot than a human being, any vaguely human thing he did would make him sympathetic.

The producer said he wanted more humor and a less expensive budget. Well, by making the hero sympathetic, I added the jokes the producer wanted. By restructuring the sequence of stunts, I managed to eliminate some of the weaker ones, thus giving the star his request for less action and the producer his request for holding down the budget since the preponderance of action scenes had been what inflated the budget in the first place.

I explained this to Ric as I made notes. "They'll all be happy."

"Amazing," Ric said.

"Thanks."

"No, what I mean is, the ideas you came up with, I could have thought of them."

"Oh?" My voice hardened. "Then why didn't you?"

"Because, well, they seem so obvious."

"After I thought of them. Good ideas always seem obvious in retrospect. The real job is putting them on paper. I'm going to have to work like crazy to get this job done in four days. And then there's a further problem. I have to teach you how to pitch these changes to Ballard, so he'll be convinced you're the one who wrote them."

"You can count on me," Ric said.

" I want you to..." Suddenly I found myself yawning and looked at my watch. "Three a.m.? I'm not used to staying up this late. I'd better get some sleep if I'm going to get this rewrite done in four days."

"I'm a night person myself," Ric said.

"Well, come back tomorrow at four in the afternoon. I'll take a break and start teaching you what to say to Ballard."

Ric didn't show up, of course. When I phoned his apartment, I got his answering machine. I couldn't get in touch with him the next day, or the day after that.

But the day the changes were due, he certainly showed up. He phoned again from his car outside the gate, and when I let him in, he was so eager to see the pages that he barely said h.e.l.lo to me.

"Where the h.e.l.l have you been?"

"Mexico."

"What?"

"With all this stress, I needed to get away."

"What have you done to put you under stress? I'm the one who's been doing all the work."

Instead of responding, Ric sat on my living-room sofa and quickly leafed through the pages. I noticed he was wearing yet another designer jacket. His tan was even darker.

"Yeah," he said. "This is good." He quickly came to his feet. "I'd better get to the studio."

"But I haven't coached you about what to say to Ballard."

Ric stopped at the door. "Mort, I've been thinking. If this partners.h.i.+p is going to work, we need to give each other more s.p.a.ce. You take care of the writing. Let me worry about what to say in meetings. Ballard likes me. I know how to handle him. Trust me."

And Ric was gone.

I waited to hear about what happened at the meeting. No phone call. When I finally broke down and phoned him, an electronic-sounding voice told me that his number was no longer in service. It took me a moment to figure out that he must have moved to the condo in Malibu. So I phoned Linda to get the new number, and she awkwardly told me that Ric had ordered her to keep it a secret.

"Even from me?"

"Especially from you. Did you guys have an argument or something?"

"No."

"Well, he made it sound as if you had. He kept complaining about how you were always telling him what to do."

"Of all the..." I almost told Linda the truth-that Ric hadn't written the script she had sold but rather / had. Then I realized that she'd be conscience-bound to tell the studio. The deception would make the studio feel chilly about the script. After all, as far as they were concerned, an old guy couldn't possibly write a script that appealed to a young generation. They would reread the script with a new perspective, prejudiced by knowing the true ident.i.ty of the author. The deal would fall through. I'd lose the biggest fee I'd ever been promised.

So I mumbled something about intending to talk with him and straighten out the problem. Then I hung up and cursed.

After I didn't hear from Ric for a week, it became obvious that Linda would long ago have forwarded to him the check for the rewrite on The Warlords. He'd had ample time to send me my money. He didn't intend to pay me.

That made me furious, partly because he'd betrayed me, partly because I didn't like being made to feel naive, and partly because I'm a professional. To me, it's a matter of honor that I get paid for what I write. Ric had violated one of my most basic rules.

My arrangement with him was finished. When I read about him in Daily Variety and Hollywood Reporter-about how Ballard was delighted with the rewrite and predicting that the script he had bought from Ric would be next year's smash hit, not to mention that Ric would win an Oscar for it -I was apoplectic. Ric was compared to Robert Towne and William Goldman, with the advantage that he was young and had a powerful understanding of today's generation. Ric had been hired for a half-million dollars to do another rewrite. Ric had promised that he would soon deliver another original script, for which he hinted that his agent would demand an enormous price. "Quality is always worth the cost," Ballard said. I wanted to vomit.

As I knew he would have to, Ric eventually came to see me. Again the car phone at the gate. Three weeks later. After dark. A night person, after all.

I made a pretense of reluctance, feigned being moved by his whining, and let him in. Even in the muted lights of my living room, he had the most perfect tan I had ever seen. His clothes were even more expensive and trendy. I hated him.

"You didn't send me my money for the rewrite on The Warlords."

"I'm sorry about that," Ric said. "That's part of the reason I'm here."

"To pay me?"

"To explain. My condo at Malibu. The owners demanded more money as a down payment. I couldn't give up the place. It's too fabulous. So I had to.. .Well, I knew you'd understand."

"But I don't."

"Mort, listen to me. I promise -as soon as the money comes through on the script we sold, I'll pay you everything I owe."

"You went to fifteen percent of the fee, to fifty percent, to one hundred percent. Do you think I work for nothing?"

"Mort, I can appreciate your feelings. But I was in a bind."

"You still are. I've been reading about you in the trade papers. You're getting a half-million for a rewrite on another script, and you're also promising a new original script. How are you going to manage all that?"

"Well, I tried to do it on my own. I handed Ballard the script I showed you when we first met."

"Jesus, no."

"He didn't like it."

"What a surprise."

"I had to cover my tracks and tell him it was something I'd been fooling with but that I realized it needed a lot of work. I told him I agreed with his opinion. From now on, I intended to stick to the tried and true - the sort of thing I'd sold him."

I shook my head.

"I guess you were right," Ric said. "Good ideas seem obvious after somebody's thought of them. But maybe I don't have what it takes to come up with them. I've been acting like a jerk."

"I couldn't agree more."

"So what do you say?" Ric offered his hand. "Let's let bygones be bygones. I screwed up, but I've learned from my mistake. I'm willing to give our partners.h.i.+p another try if you are."

I stared at his hand.

Suddenly beads of sweat burst from his brow. He lifted his hand and wiped the sweat.

"What's the matter?" I asked.

"Hot in here."

"Not really. Actually, I thought it was getting chilly."

"Feels stuffy."

"The beer I gave you. Maybe you drank it too fast."

"Maybe."

"You know, I've been thinking," I said.

The beer was drugged, of course. After the nausea wore off, giddiness set in, as it was supposed to. The drug, which I'd learned about years ago when I was working on a TV crime series, left its victim open to suggestion. It took me only ten minutes to convince him it was a great idea to do what I wanted. As I instructed, Ric giddily phoned Linda and told her that he was feeling stressed out and intended to go back down to Mexico. He told her he suddenly felt trapped by materialism. He needed a spiritual retreat. He might be away for as long as six months.

Linda was shocked. Listening to the speaker phone, I heard her demand to know how Ric intended to fulfill the contracts he'd signed. She said his voice was slurred and accused him of being drunk or high on something.

I picked up the phone, switched off the speaker, and interrupted to tell Linda that Ric was calling from my house and that we'd made up our differences, that he'd been pouring out his soul to me. He was drunk, yes, but what he had told her was no different than what he had told me when he was sober. He was leaving for Mexico tonight and might not be back for quite a while. How was he going to fulfill his contracts? No problem. Just because he was going on a retreat in Mexico, that didn't mean he wouldn't be writing. Honest work was what he thrived on. It was food for his soul.

By then, Ric was almost asleep. After I hung up, I roused him, made him sign two doc.u.ments that I'd prepared, then made him tell me where he was living in Malibu. I put him in his car, drove over to his place, packed a couple of his suitcases, crammed them into the car, and set out for Mexico.

We got there shortly after dawn. He was somewhat conscious when we crossed the border at Tijuana, enough to be able to answer a few questions and to keep the Mexican immigration officer from becoming suspicious. After that, I drugged him again.

I drove until midafternoon, took a back road into the desert, gave him a final lethal amount of the drug, and dumped his body into a sinkhole. I drove back to Tijuana, left Ric's suitcases minus identification in an alley, left his Ferrari minus identification in another alley, the key in the ignition, and caught a bus back to Los Angeles. I was confident that neither the suitcases nor the car would ever be reported. I was also confident that by the time Ric's body was discovered, if ever, it would be in such bad shape that the Mexican authorities, with limited resources, wouldn't be able to identify it. Ric had once told me that he hadn't spoken to his parents in five years, so I knew they wouldn't wonder why he wasn't in touch with them. As far as his friends went, well, he didn't have any. He'd ditched them when he came into money. They wouldn't miss him.

For an old guy, I'm resilient. I'd kept up my energy, driven all night and most of the day. I finally got some sleep on the bus. Not shabby, although toward the end I felt as if something had broken in me and I doubt I'll ever be able to put in that much effort again. But I had to, you see. Ric was going to keep hounding me, enticing me, using me. And I was going to be too desperate to tell him to get lost. Because I knew that no matter how well I wrote, I would never be able to sell a script under my own name again.

When I first started as a writer, the money and the ego didn't matter to me as much as the need to work, to tell stories, to teach and delight as the Latin poet Horace said. But when the money started coming in, I began to depend on it. And I grew to love the action of being with powerful people, of having a reputation for being able to deliver quality work with amazing speed. Ego. That's why I hated Ric the most. Because producers stroked his ego over scripts that I had written.

But not anymore. Ric was gone, and his agent had heard him say that he'd be in Mexico, and I had a doc.u.ment, with his signature on it, saying that he was going to mail in his scripts through me, that I was his mentor and that he wanted me to go to script meetings on his behalf. Another doc.u.ment gave me his power of attorney, with permission to oversee his income while he was away.

And that should have been the end of it. Linda was puzzled but went along. After all, she'd heard Ric on the phone. Ballard was even more puzzled, but he was also enormously pleased with the spec script that I pulled out of a drawer and sent in with Ric's name on it. As far as Ballard was concerned, if Ric wanted to be eccentric, that was fine as long as Ric kept delivering. Really, his speed and the quality of his work were amazing.

So in a way I got what I wanted -the action and the pleasure of selling my work. But there's a problem. When I sit down to do rewrites, when I type "revisions by Eric Potter," I suddenly find myself gazing out the window, wanting to sit in the sun. At the same time, I find that I can't sleep. Like Ric, I've become a night person.

I've sold the spec scripts that I wrote over the years and kept in a drawer. All I had to do was change the t.i.tles. n.o.body remembered reading the original stories. But I couldn't seem to do the rewrites, and now that I've run out of old scripts, now that I'm faced with writing something new...

For the first time in my life, I've got writer's block. All I have to do is think of the t.i.tle page and the words "by Eric Potter," and my imagination freezes. It's agony. All my life, every day, I've been a writer. For thirty-five years of married life, except for the last two when Doris got sick, I wrote every day. I sacrificed everything to my craft. I didn't have children because I thought it would interfere with my schedule. Nothing was more important than putting words on a page. Now I sit at my desk, stare at my word processor, and...

Mary had a little...