Facts: David Chase was a television writer-producer with many credits, including a detective series
called The Rockford Files. He became interested in a new program, set in New Jersey, about a “mob boss
in therapy,” a concept he eventually developed into The Sopranos. Robert Baer, a prosecutor in New
Jersey interested in writing for television, met Chase and pitched his own idea for a television series about
the New Jersey mafia. Baer didn’t know that Chase was pursuing a similar idea. Baer arranged meetings
for Chase with local detectives and prosecutors, who provided Chase with information about their
experiences with organized crime and showed him various New Jersey locations. Baer also met with Tony
Spirito, who gave Chase colorful background information about the local mafia. After returning to Los
Angeles, Chase wrote and sent Baer a draft for The Sopranos’ pilot, which Baer commented on. After The
Sopranos became a hit show, Baer sued Chase, alleging that on three separate occasions Chase had agreed
that if the program succeeded, Chase would “take care of” Baer, and would “remunerate Baer in a manner
commensurate to the true value of his services.” The District Court dismissed the case, holding that the
alleged promises were too vague to be enforced. Baer appealed.
Issue: Was Chase’s promise definite enough to be enforced?
Decision: No. The promise was too indefinite to be enforced. Affirmed.
Reasoning: To create a binding agreement, the offer and acceptance must be definite enough that a court
can tell what the parties were obligated to do. The parties need to agree on all the essential terms; if they
do not, there is no enforceable contract.
One of the essential terms is price. The agreement must either specify the compensation to be paid or
describe a method by which the parties can calculate it. The duration of the contract is also basic: How
long do the mutual obligations last?
There is no evidence that the parties agreed on how much Chase would pay Baer, or when, or for what
period. The parties never defined what they meant by the “true value” of Baer’s services, or how they
would determine it. The two never discussed the meaning of “success” as applied to The Sopranos. They
never agreed on how “profits” were to be calculated. The parties never discussed when the alleged
agreement would begin or end.
Baer argues that the courts should make an exception to the principle of definiteness when the agreement
concerns an “idea submission.” The problem with his contention is that there is not the slightest support
for it in the law. There is no precedent whatsoever for ignoring the definiteness requirement, in this type
of contract or any other.
Question: Chase said he would “take care of” Baer and pay him “in a manner commensurate with the
true value of his services.” Don’t those statements show Chase’s intent to compensate Baer?
Question: Then why does the court rule in favor of Chase and let him avoid payment?
Question: There are methods to determine what fair compensation would be. The trial court could
hear evidence about what others who’ve made similar creative contributions to television shows are
paid, or hear expert testimony from people in the business about the customary payment for services
similar to Baer’s. Why doesn’t the court try to arrive at a method of fair compensation?
Question: Why?
Answer: Because to separate enforceable promises from unenforceable promises, contract law
imposes certain formal rules about how a contract is formed. And one of those rules is that the parties
Question: How does the court arrive at its decision?
Question: Does that mean the parties must specify a dollar amount in the contract for its terms to be
definite?