The House That Shadows Built (1928)

THE CAPSTONE 271 office in his working mood and telephoned to Felix Kahn, owner of the Rivoli and Rialto theatres in the Times Square district. Fifteen minutes, and Kahn was in his office. Twenty minutes, and Kahn departed. Then Zukor glided into Lasky’s office. The artistic director of Famous Players was editing a troublesome scenario. “ Fve just bought the Rialto and Rivoli theatres as key houses for first New York showings,” said Zukor. “WeVe been needing something of the kind for a long time.” “That’s nice,” replied Lasky absently, and bent himself again over the scenario. From this beginning Famous Players-Lasky, acting through a subsidiary, began judicious purchase of theatres and partnerships in theatres. First it was a string in New England, then one in the South including the Howard at Atlanta. Even so. Famous PlayersLasky remained a minor figure in exhibition. For once Zukor was following, not leading. When he began largescale production, when he systematized distribution, he was tilling virgin soil. But a half-dozen producing companies, including the pioneer First National, the eminent United Artists, the sensationally expanding MetroGoldwyn, had preceded him into this field. Zukor held his own through special if impermanent arrangement with this and that string of independent houses, while he waited for an opening. It came presently; and again from the West. This introduces another set of those