The House That Shadows Built (1928)

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172 THE HOUSE THAT SHADOWS BUILT action until the last moment. As the doorkeepers unlocked the Lyceum Theatre for that vital matinee performance, its directors were considering the problem at luncheon. And the two minorities, acting together, won the day. They resolved to licence Zenda, with the canny reservation that this action must not be considered a precedent. One of the directors, appreciating the anxiety at the Lyceum Theatre, had promised to telephone news of the final decision. At half-past two the audience was assembled, but the telephone rang not. At a quarter of three the house began to grow impatient. “What shall we do?” whispered Frohman. “Run it, licence or no licence,” responded Zukor. Then, just as the operator lit up his booth, came the good news. So far, so good. But the Famous Players, which intended to produce films continuously, could not go on through the fogs of such uncertainty. Ludvigh, Frohman, and Zukor began pressure for a continuous licencing arrangement. The Trust refused to commit itself. Then Frohman thought of Thomas A. Edison. He it was who, taking many ideas from many sources and adding a few of his own, harmonized them to make the practical moving-picture camera. The American public, indeed, credited him with the entire invention. So far as he was still involved in the motion picture, his interests lay with the Trust. I need not dwell on his personal