The House That Shadows Built (1928)

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ENTER SARAH BERNHARDT i6i up his mind and talked as he can when he comes to the crux of a situation — clearly, logically, all data digested, all contingencies foreseen. Frohman began to like him, and gave hospitable attention. Zukor had guessed shrewdly on the state of his worldly affairs. “I’m in a venturesome mood,” said Frohman. “Probably I’m going to take you up. But I can’t put in any money.” That was a minor disappointment; Zukor had hoped for a little accession to his slender capital. But the Frohman name and influence were the main thing, after all. In that one session, they struck a bargain. Frohman, for his services and his name, was to receive a block of stock in the company. “Gambling my fair reputation against a fortune,” he said. That night he broke the news to his brother. Charles had a crusty side. “He couldn’t have been more disgusted,” writes Terry Ramsaye, “if his brother had opened a hot-dog stand at Coney Island.” Daniel Frohman established a desk in the little office of the Times Building and began to circulate through his world. Zukor, by way of raising capital, sold most of his outside enterprises except his share in the Loew Company. Then he set himself to gathering a working staff. A1 Kaufmann, who had risen with him and shared his enthusiasm, was to be production manager — his reward the same salary which he got as manager of the Comedy, plus a share in the business. On like terms,