We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
EDISON WRITES A LETTER
171
but he had most of the ammunition. Working sixteen hours a day at his complex task of organization, Zukor stored this worry in the cellar of his mind. He would cross the bridge when he cam: to it.
As he prepared to exploit and exhibit Zenda^ the bridge began to look more and more like a barrier. Following its precedent, the Trust had licenced Queen Elizabeth as a foreign film. Zenda^ made by an upstart company on American soil, stood in a different category. Ludvigh and Frohman put out feelers, and got no satisfaction either of approval or disapproval. But that incident of a rival Monte Cristo gave a sinister indication. The day of Zenda’s promotional showing arrived; and still the Trust had not spoken. The personnel of the Famous Players entered the Lyceum Theatre that afternoon in a state of tense anxiety. Zukor, looking over the assembling audience, imagined that every male spectator was a process server waiting to tag him with an injunction.
However, the Trust was not holding its peace merely by way of dangling Famous Players on the string. There were divided counsels in its directorate. One minority faction believed with Zukor that refusal of a licence would alienate public opinion. Another had itself been urging longer and better films; it saw in Zenda, as in Queen Elizahethy a stimulus from the outside. The Trust, with the inertia of a business grown soggy through prosperity, characteristically delayed