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--but these are all bits and pieces of what went on.

We sat, for I don't no how long, with a model. I took a little office at 485 Madison, on the 20th floor, where my office was and Paley's office was. An office smaller than this one. I had the model in there, and from time to time I would go in and sort of commune with it, hoping that I could generate enough interest on Paley's part that he would say: “Well, maybe this isn't so bad.” No way.

I remember one Easter Sunday. Why it was Easter Sunday, I don't know. I mean, why I was in the office I don't know. And I don't even know why Bill was in the office. We weren't working; we just happened to be here. Or be there. And I said to him: “You know, sometime we've just got to decide what we're going to do about this building.”

He said he just wasn't prepared to sign off on it. So I said: “Bill, if I can promise you that Vogue and Vanity Fair and magazines of that kind will have all kinds of photographs of that building, with models and so forth--”

And he said: “Do you think so?”

I said: “Sure, because this will be an exciting building.”

Just for a moment I thought he was going to say yes, and I think he didn't say yes, because he didn't want to go down in the history books as having made an important decision based on his friends in the social side of New York. But I think that's what broke the thing, and I went ahead and got estimates on cost and we started making plans.