It turns out I did send Herb Sargent the material after the whole WGAE dinner kerfuffle. He doesn't know if he got it (He gets lots of mail, doncha know). He did recall talking to the other guy, Jay, but wouldn't give me an inch or the slightest acknowledgment.
Money woes. Finishing "Closed Set" but didn't know what to do with it next. My rejection from MAD magazine finally made its way back to me after a year. I was just deeply lamenting my fate; my "break" was a non-repeatable fluke. I hadn't built off of it. Kevin Brown was now off on his own. "Bleakness envelopes me" (C'mon, the kid can write!).
I was still with the Staten Island Writing group 3 weeks later. It was good for an ego stroke. I was reading the group parts of my novel, "Write Stuff," and it was working very well.
Tried to home-edit a VHS tape of my comedy bits to send to Herb Sargent. I'm passive-persistent, if nothing else.
Then halfway into October, Kevin Brown resurfaces. He wants to gear up and peddle "The Kringle Project" again. Wants a new Free Option from me again. I wrote "This time I want to examine it. I don't want to do a 80/20 split again."
I was deciding what to do next.
A month later, Kevin calls. I chickened out and just went along with the agreement. He said he'd send it out in the next day or two and was looking to start showing the script around the following week.
I got an official rejection letter from The Letterman Show and The Late Show. Faxed that off to agent Howle. Obviously, I wanted to keep my rejections up-to-date.
Another month later, the agreement was sent, signed and returned. I note Kevin sounds enthusiastic again.
Oh, apparently I had found former-Warner executive Kimberly Brent and sent her a cover letter. There was no response, so I took the lack of a "no" as a yes and sent off a script