Opinion
Redwood Theatres, Inc. (hereafter appellant) filed this action on February 28, 1985, against a competing motion picture exhibitor, Festival Enterprises, and four major film distributors, Paramount Pictures Corporation, Warner Bros. Distributing Corporation, Orion Pictures Corporation, and Twentieth Century Fox Film Corporation (hereafter respondents). The complaint seeks treble damages for antitrust violations under the Cartwright Act and, alternatively, damages for fraud. The action against Twentieth Century Fox Film Corporation was later voluntarily dismissed. Much of the record on appeal consists of extensive arguments on a discovery request: appellant’s motion to compel production of the distributor defendants’ “cutoff cards”—records providing a history of film rentals in each market—for six cities in Northern California where Festival Enterprises does business. After the initial trial date was continued, respondents successfully moved for summary judgment, which was entered on January 15, 1987.
The case presents simple facts and complex questions of law. Appellant operates the Briggsmore Seven Theatre in Modesto, California. In 1981 and 1982, it invested $1.7 million for renovation and conversion of the theatre into a seven-screen complex. Two other exhibitors, including the respondent Festival Enterprises, also operate theatres in Modesto. Festival Enterprises operates additional theatres in five other Northern California markets—Hayward, Stockton, Fresno, Walnut Creek, and Marin County—and in Alaska and Southern California.
From our perusal of the record, we learn that the major film distributors in the United States release films simultaneously in hundreds of markets under license agreements. Almost all of a film’s revenues in a market comes from its “first run”; box office receipts tend to diminish with each week that a picture is played. Distributors will license a first-run film to only one theatre in a medium-sized market such as Modesto. Commonly, the films are licensed by competitive bidding; the distributors send out written bid *693 invitations and evaluate the bids submitted for each market. In other cases, the distributors may contact competing exhibitors by telephone to negotiate licensing terms.
Appellant’s complaint alleges that the distributor defendants “have entered into unwritten agreements with Festival [Enterprises] pursuant to which all or substantially all of the Paramount, Warner Bros, and Orion first run product is licensed to the Festival-owned theatre or theatres in Modesto, Hayward, Stockton, Fresno, and to a lesser extent, Walnut Creek-Pleasant Hill, and in Marin County, ...” Although the distributors have continued to solicit bids for Modesto showings, appellant alleges that the bids have been a sham; the distributors are committed to Festival Enterprises even before bid invitations go out. As a result, the distributors have repeatedly licensed potentially remunerative films to Festival Enterprises even though appellant has submitted demonstrably superior bids.
The alleged unwritten agreements vary somewhat among the distributor defendants. For example, Warner Bros, is said to have committed only about 80 percent of its films to Festival Enterprises during the period December 1978 to August 1982; thereafter, it licensed films more evenly among Modesto exhibitors but reserved the most financially attractive films for Festival Enterprises. There is no allegation that the distributor defendants conspired among themselves or that they were a party to a plan to drive the appellant out of business. Rather, the agreements are alleged to be part of a business policy in which the distributor defendants dealt preferentially with theatre circuits such as Festival Enterprises.
In affidavits opposing the motion for summary judgment, appellant offers to prove the alleged agreement largely through the history of bidding. Though possessing superior facilities, it has been unable to obtain the desired first-run films even though it has frequently outbid its competitor, Festival Enterprises. Appellant also points to certain admissions of distributor’s representatives which tend to some extent to corroborate this circumstantial evidence. But the history of bidding still may reflect only the distributors’ disinclination to do business with appellant. To complete its case, appellant needed to show that it did not lose out in the bidding because of some factor peculiar to itself but because the distributors dealt preferentially or exclusively with Festival Enterprises throughout its circuit. This evidence arguably might be provided by the distributor’s cut-off cards which list the films licensed to each theatre in each market and record the essential terms of the license agreement, box office receipts, and rental payments. The denial of its discovery motion left it without this critical evidence.
*694 Although the agreement allegedly deprived it of access to substantially all the defendant distributors’ films, appellant bases its claim for damages on bidding for twenty specific films—eight from Paramount, seven from Warner Bros., and five from Orion. In each case, it offers to prove that it submitted a bid superior to that of Festival but failed to secure the film and was forced to license a less popular motion picture. Festival earned a gross profit on the twenty films of $628,157; during the same time period, appellant made a gross profit of only $268,269 on less desirable films.
In brief, while the evidence produced in discovery is rather equivocal, appellant maintains that the requested cutoff cards would clearly establish the alleged agreements between Festival Enterprises and the three distributor defendants. The alleged agreements, which are independent of each other and seem lacking in any predatory intent, reflect the distributors’ preference for dealing with theatre circuits to the exclusion of independents such as appellant. The question on appeal is whether such exclusive-dealing agreements are violative of the state antitrust laws.
Although the complaint states a cause of action under the California Cartwright Act, (Bus. & Prof. Code, § 16720 et seq.) the briefs in this appeal have relied almost exclusively on federal precedents under the Sherman Act (15 U.S.C. § 1). “A long line of California cases has concluded that the Cartwright Act is patterned after the Sherman Act and both statutes have their roots in the common law. Consequently, federal cases interpreting the Sherman Act are applicable to problems arising under the Cartwright Act.”
(Marin County Bd. of Realtors, Inc.
v.
Palsson
(1976)
The federal precedent of most immediate relevance to this case,
United States
v.
Paramount Pictures
(1948)
The Paramount Pictures case reached the Supreme Court with two companion cases which concerned regional chains of motion picture exhibitors
*695
and dealt chiefly with charges of abuse of monopoly power.
(United States
v.
Griffith,
(1948)
In
United States
v.
Paramount Pictures, supra,
The Department of Justice sought to enjoin two forms of circuit dealing—formula deals and master agreements. A formula deal was a licensing agreement with a circuit of theatres in which the license fee of a given feature was measured “by a specified percentage of the feature’s national gross.” A master agreement covered exhibition in several theatres in a particular circuit and allowed “the exhibitor to allocate the film rental paid among the theatres as it sees fit and to exhibit the features upon such playing time as it deems best, . . .” (Id. at pp. 153-154 [92 L.Ed. at pp. 1290-1291].)
Affirming the finding of the district court that formula deals and master agreements unreasonably restrain competition, the Supreme Court noted that under the holdings of
United States
v.
Griffith, supra,
The court’s consideration of franchising agreements required remand of the case to the district court for further findings. As a remedy for noncompetitive practices, the district court had ordered a system of competitive bidding; franchising agreements were obviously incompatible with this scheme and were specifically enjoined.
(United States
v.
Paramount Pictures, supra,
In the present case, the issue of abuse of monopoly power is no longer raised. While asserting that defendant Festival Enterprises possesses a *697 monopoly in one of the six areas in Northern California where it does business, the complaint alleges that it used this monopoly position only in bargaining with a dismissed defendant—Twentieth Century Fox Film Corporation. But the Paramount Pictures decision still prohibits circuit dealing as an unreasonable restraint of trade under section 1 of the Sherman Act and subjects franchises to careful antitrust scrutiny. The text of the opinion, in fact, suggests that circuit dealing is a per se violation of the Sherman Act; it holds categorically that the practice is an unreasonable restraint of trade while making clear that certain other practices are not per se illegal, e.g., clearances and franchises. (United States v. Paramount Pictures, supra, 334 U.S. at pp. 145, 156 [92 L.Ed. at pp. 1286, 1291-1292].) The final decree in the case enjoined the defendants “[fjrom making or further performing any formula deal or master agreement to which it is a party.” (U.S. v. Paramount Pictures, Inc. et al. 1949 Trade Cases 62,377; U.S. v. Loew’s, Inc., et al. 1951 Trade Cases 62,765.)
The
Paramount Pictures
decision, however, must be understood in light of its peculiar facts and context. Formerly, the distributors controlled circuits of theatres, and commonly attempted to lessen competition at the exhibitor level by using their vertical leverage through such devices as block booking, direct discrimination against independent exhibitors, joint operation of theatres, and conspiracy to fix prices and establish uniform clearances. The charge of circuit dealing was colored by this evidence of conspiracy and vertical leverage; not only were some of the circuits controlled by affiliates, but in many instances there was “cooperation among the major defendants in their respective capacities as distributors and exhibitors.”
(United States
v.
Paramount Pictures, supra,
The
Paramount Pictures
decision “radically altered the structure of the industry,” by requiring the major distributors to divest themselves of existing theatre circuits and by placing stringent restrictions on future acquisitions. (U
.S.
v.
Paramount Pictures, Inc.
(S.D.N.Y. 1980)
1980-2 Trade Cases
63,553, p. 76,951.) Today, the issues surrounding circuit dealing have acquired a very different industrial context. As the court commented in
Southway Theatres, Inc.
v.
Georgia Theatre Co., supra,
Although it remains the leading decision in the field,
Paramount Pictures
must be construed in a manner consistent with the subsequent evolution of the antitrust law. In the 30 years of antitrust litigation following the
Paramount Pictures
decision, independent film exhibitors have frequently challenged theatre chains and major distributors on a variety of grounds. A line of cases has proceeded on a theory alleging that a competing exhibitor and major film distributors have conspired among themselves “to deprive independent operators of desirable runs or priorities of exhibition of films, . .
(Loew’s, Inc.
v.
Cinema Amusements
(10th Cir. 1954)
Very few decisions have alluded to the specific practices of circuit dealing and franchising disapproved in
Paramount Pictures.
(But see
Paramount
*699
Film Distributing Corp.
v.
Applebaum
(5th Cir. 1954)
In a long line of decisions the Supreme Court has held categorically that agreements to exclude competitors from valued trade relations are unreasonable restraints of trade.
(Montague & Co.
v.
Lowry
(1904)
The present case, however, differs from Klor’s in a critical respect. There, the complaint alleged a conspiracy among the suppliers of the competing retailer. Here, the complaint contains no allegation of a combination among the distributor defendants; rather it alleges three separate agreements between the competing exhibitor and three major film distributors. If the plaintiff had alleged collusion among the offending film distributors, the case would come within the holding of Klor’s. In the absence of this allegation, we must consider whether the three alleged agreements between the competing exhibitor and the distributor defendants may individually constitute a boycott.
In his frequently cited text, Sullivan comments that “the concept of a boycott does not necessarily involve the concert of several traders.” If a single firm succeeds in inducing one important supplier to cease dealing with a would-be competitor, the resulting accommodation “would display all the essential elements of a boycott.” (Sullivan, The Law of Antitrust (1977) p. 231, fn. 1.) The case law indeed includes a few examples of such a two-party boycott involving a single competing dealer and a single supplier. (See
Murphy Tugboat Co.
v.
Crowley
(9th Cir. 1981)
But as
Cherokee Laboratories
suggests, an alleged two-party boycott is likely to be equivalent to an exclusive distributorship—a business arrangement not often subject to antitrust challenges. (See
Kolling
v.
Dow Jones & Co.
(1982)
All exclusive distributorship agreements involve an intent to deprive competitors of access to a supplier; this is the raison d’etre of the agreement—the incentive offered to the dealer to make investment and promotional expenses. Cases such as Six Twenty-Nine Productions and Cherokee Laboratories, in which an exclusive dealing agreement constitutes a boycott, are probably rare and confined to unusual market conditions. Still, the possibility cannot be excluded a priori. Appellant heavily relies on a recent Second Circuit decision that appears to apply such a two-party boycott theory to the motion picture industry.
In
Beech Cinema
v.
Twentieth Century Fox Film, supra,
The opinion’s repeated use of the phrase “to cut off plaintiffs” suggests that
Beech Cinema
should be accepted for the proposition that a plan to deprive a competitor of needed trade relations, which satisfies the requirements of a conspiracy, constitutes a boycott even if a single exhibitor and a single distributor are involved. (Cf.
Southway Theatres, Inc.
v.
Georgia Theatre Co., supra,
In the case at bar, an inference of a boycott is no doubt facilitated by market factors common to the industry—the unique character of films and the highly consolidated market structure—and by the existence of more than one alleged exclusive dealing agreement between Festival Enterprises and major distributors. These factors make it easier to infer that an
*703
exclusive dealing agreement serves to drive a competitor out of business. But appellant has produced no evidence of predatory intent. Neither has it shown that the alleged agreements were dictated by the exhibitor, concerned with its own position, rather than granted in the exercise of the distributors’ independent discretion. (See
United States
v.
Chicago Tribune-New York News Syn., Inc.
(S.D.N.Y. 1970)
The facts may be viewed, however, not as a boycott but as a vertical restraint, suggesting a quite different analysis. Respondents have insisted that this is the proper conceptual framework for the case. Under
Continental T.V., Inc.
v.
GTE Sylvania Inc., supra,
The terms “boycott” and “vertical restraint” are in fact merely labels that call for different forms of antitrust analysis—one focusing on competitive practices, the other on broader questions of market structure. We regard the two approaches as being potentially complementary; an anticompetitive practice may be linked to anticompetitive market conditions. The question whether a specific practice offends the Sherman Act ought not to exclude a broader inquiry into market structure.
While
Continental T.V., Inc.
v.
GTE Sylvania Inc., supra,
Since the
Sylvania
decision, several other federal courts applying the rule of reason to vertical restraints have required this threshold inquiry into the defendant’s market power. (E.g.,
Rothery Storage & Van Co.
v.
Atlas Van Lines, Inc., supra,
Respondent urges us to adopt this approach to the case at bar. If we do so, it will lead directly to affirmance of the summary judgment. Based on ticket sales, the distributor defendants’ average market shares for the five-year period at issue were only 16 percent (Warner), 15 percent (Paramount) and 3 percent (Orion). These market shares fail conspicuously to pass the threshold test establishing the defendant’s market power. In the absence of *705 any allegation or evidence of collusion among the distributors, the market shares cannot be aggregated to determine the defendants’ collective market power. Therefore, respondents argue, there is no need to enter into any further analysis of the competitive impact of the alleged exclusive dealing agreements.
Appellant offers to prove, however, that profitable operations in the theatre business depend on the limited supply of a unique product—popular first-run films. According to its expert witness, “[a] good picture will do business in a tent. The bad picture won’t do good, won’t do business in a top theatre.” In a typical Modesto theatre, the record shows, a good film may gross as much as $25,000 in its first week; a poor picture as little as $1,000. Hence, if an exhibitor fails to license the rights to show “Raiders of the Lost Ark,” it will avail him nothing to negotiate favorable terms for “Amazon Quest”—a film that has eluded public attention. “Raiders of the Lost Ark” will pack the theatre; “Amazon Quest” will not cover operating expenses. Appellant’s film buyer declares, “[t]he name of the game in the theatre business is to keep the doors open until one gets a successful picture. . . . To survive, a theatre simply must get the good pictures.” 4
In antitrust law, the interchangeability of products is usually considered in the definition of markets; the boundary of a relevant market is defined by a significant degree of product differentiation. But there will always be some degree of product differentiation within a market—and as the motion picture industry demonstrated—very significant product differentiation can occasionally be found within a well-defined market. In
U.S.
v.
Arnold, Schwinn & Co.
(1967)
In his concurring opinion in
Continental T.V. Inc.
v.
GTE Sylvania Inc., supra,
The unusual competitive conditions of the theatre business, marked by the presence of a unique product in short supply, put an entirely different complexion on the issue of market power. Exclusive dealing agreements involving a dominant firm in an industry have long been subject to antitrust scrutiny. 8 But where competitive survival depends on gaining access to a unique product, these agreements may present serious antitrust questions in any well-consolidated industry even if it is dominated by no single firm. This is the situation of the motion picture industry where six major companies distribute the bulk of the most remunerative first-run films. The antitrust concerns may be illustrated by an analogy to a card game. Playing cards, like popular first-run motion pictures, are not substitutable; a given card and no other will complete a winning sequence. Imagine a series of contract bridge tournaments in which the king of spades and queen of hearts—one-eighth of the face cards—are consistently removed from the hand of one player and replaced by a numbered card. Although the player may win some hands, he is sure to place low in the competitive standings, tournament after tournament, no matter how skillfully he plays. 9
This example suggests that if a motion picture exhibitor lacks access to a substantial share of popular first-run films, he may be placed at a grave competitive disadvantage against a competitor who has locked-in access to these films through exclusive dealing agreements. The alleged agreements with Warner Bros, and Paramount Pictures plainly present this issue. During the 3-year period of 1983 through 1985, Warner Bros, and Paramount Pictures distributed no less than 31 of the 60 pictures placing among the top 20 box office hits in each year. As usual in business, failure may beget *708 failure. By getting an inferior share of major films, the theatre may experience difficulties in making prompt rental payments, resulting in strained relationships with distributors, or it may secure fewer regular customers so that, when it does show a major film, it attracts smaller crowds than it otherwise would. The record on the appellant’s motion for summary judgment, of course, does not allow us to assess these suppositions; they may be accurate or inaccurate. We can only say that the hypothesis is implicit in appellant’s offer of proof.
If this hypothesis is correct, the presence of exclusive dealing agreements between theatre circuits and major distributors may entrench the position of established motion picture exhibitors and pose formidable barriers to entrepreneurs seeking to enter (or expand operations) in the theatre business. The new entrant into the business by definition will lack comparable exclusive dealing agreements and will not easily achieve the bargaining power to negotiate them. An entrepreneur, such as appellant, seeking to enlarge a small foothold in the industry will, of course, face the same difficulties. Both the legislative history and subsequent interpretation of the Sherman Act reveal that it was intended to prohibit unreasonable restraints on the freedom of entrepreneurs to enter new markets or to expand a small market share.
“As a charter of freedom, the [Sherman] Act has a generality and adaptability comparable to that found to be desirable in constitutional provisions.” (Appa
lachian Coals, Inc.
v.
U. S.
(1933)
*709
The policy of assuring access to markets thus is central to the legislative purpose of the Sherman Act. Professors Blake and Jones write, “[n]ot only are we interested in material well-being and distrustful of political power, but we also have a strong libertarian streak. In the absence of strong countervailing considerations, we favor freedom of action and the wide range of choice that freedom implies. The competitive system dovetails well with this sentiment... in providing maximum freedom of opportunity for consumers and for present and prospective businessmen as well.... [T]he individual who wants to be an entrepreneur rather than an employee ought not to have his opportunities restricted by unnecessary barriers to entry or by trade practice designed specifically to eliminate him from the field.” (Blake & Jones,
In Defense of Antitrust
(1979) 65 Colum. L.Rev. 377, 383-384.)*
11
Indeed, as the Supreme Court noted in
United States
v.
du Pont & Co.
(1956)
*710
The protection of the entrepreneur’s right to compete is an especially prominent theme in the antitrust law respecting boycotts. (See
Paramount Famous Corp.
v.
U.S.
(1930)
In terms of economic theory, significant barriers to entry “are the
sine qua non
of monopoly and oligopoly. . . .” (Scherer, Industrial Market Structure and Economic Performance, (1980) p. 10) These barriers are objectionable on social as well as economic grounds. As explained in
Berkey Photo, Inc.
v.
Eastman Kodak Co.
(2d Cir. 1979)
Safeguarding the entrepreneur’s freedom to challenge established competitors has been a central concern in the field of vertical mergers. In
Brown Shoe Co.
v.
United States, supra,
In
United States
v.
Topco Associates
(1972)
In the field of vertical restraints, the Supreme Court has said that restrictions may be justified under the rule of reason if they are “the only practicable means a small company has for breaking into or staying in business.”
(White Motor Co.
v.
United States
(1963)
*713
A recent decision of the California Supreme Court interpreting the Cartwright Act draws attention to the antitrust law policy of securing free access to markets. In
Marin County Bd. of Realtors, Inc.
v.
Palsson, supra,
It will be recalled that the discussion of circuit dealing in
United States
v.
Paramount Pictures, supra,
We conclude that the alleged agreements with Paramount Pictures and Warner Bros., if proved, would present a triable issue of an unreasonable restraint of trade under the Cartwright Act. (Bus. & Prof. Code, § 16720.) “Whether a restraint of trade is reasonable is a question of fact to be determined at trial.”
(Corwin
v.
Los Angeles Newspaper Service Bureau, Inc. supra,
We find no triable issue, however, as to defendant Orion. The distributor came into corporate existence in 1983 as the successor of a company called Filmways. During the period covered by the complaint, it achieved only a 3 percent market share. Most significant, none of its films were among the big money-makers in this period. 14 As Orion is itself a new entrant and a relatively marginal participant in the industry, it would be anomalous to hold that it was responsible for imposing barriers to fair competition among exhibitors.
Lastly, the summary judgment should be affirmed with respect to appellant’s fraud cause of action. The complaint fails to allege the essential elements of the tort and appellant’s own affidavits tend to rebut both the existence of misrepresentation and action in reliance thereon.
The summary judgment in favor of defendants Festival Enterprises, Inc., Paramount Pictures and Warner Bros, is reversed as to the Cartwright Act cause of action and affirmed as to the fraud cause of action. The summary judgment in favor of defendant Orion is affirmed.
Appellant is entitled to costs on appeal.
Racanelli, P. J., and Holmdahl, J., concurred.
A petition for a rehearing was denied May 19, 1988, and the opinion was modified to read as printed above. Respondents’ petitions for review by the Supreme Court were denied August 11, 1988.
Notes
The per se rule, however, has been subject to some semantic confusion. The term “boycott” is sometimes used interchangeably with “concerted refusal to deal,” which plainly cannot always be held in violation of the Sherman Act.
(Rothery Storage & Van Co.
v.
Atlas Van Lines, Inc.
(D.C.Cir. 1986)
The oft-repeated rule that film distributors have freedom to choose where their films will play stands as a formidable obstacle to any attempt to characterize an exclusive dealing agreement as a boycott conspiracy. It has always been the prerogative of a supplier to decide with whom it will deal.
(G.H.I.I.
v.
MTS, Inc. supra,
This conceptual issue is mirrored in the majority and dissenting opinions in
Oreck Corp.
v.
Whirlpool Corp., supra,
In
United States
v.
Columbia Pictures Industries, Inc.
(S.D.N.Y. 1980)
In evaluating vertical restraints, Schwinn applied the rule of reason only to consignment sales, holding that restraints on territories and customers were illegal per se where title passed to the retailer. The 'decision was reversed in
Continental T.V., Inc.
v.
GTE Sylvania Inc., supra,
Cf.
Lorain Journal
v.
United States
(1951)
See
R.C. Dick Geothermal Corp.
v.
Thermogenics, Inc.
(N.D.Cal. 1985)
See Sullivan, The Law of Antitrust,
op. cit. supra,
section 149, page 429 [exclusive franchises] and 3 Areeda and Turner, Antitrust Law: An Analysis of Antitrust Principles and their Application (1980), section 732, page 253 [requirements contracts]. Most cases involving such exclusive dealing agreements are decided under the Clayton Act section 3,
(Standard Co.
v.
Magrane-Houston Co.
(1921)
The example is, of course, purely heuristic. We do not mean to suggest that there is any precise mathematical analogy.
This central purpose of assuring freedom of opportunity in the face of accumulations of corporate wealth, now obscured by changing social concerns, was readily apparent to
*709
contemporaries. In one of the earliest and most authoritative interpretations of the Sherman Act,
Standard Oil Co.
v.
United States
(1911)
The debate over the purposes of the antitrust laws has generally acknowledged a balance of economic, social, and political goals. Particularly distinguished contributions include: The Goals of Antitrust: A Dialogue on Policy (1965) 65 Colum.L.Rev. 363; Flynn, Antitrust Jurisprudence: A Symposium on the Economic, Political and Social Goals of Antitrust Policy (1977) 125 U.Pa.L.Rev. 1182; Letwin, Congress and the Sherman Antitrust Law: 1887-1890 (1956) 23 U.Chi.L.Rev. 221; Bohling, Franchise Terminations under the Sherman Act: Populism and Relational Power (1975) 53 Tex.L.Rev. 1180, 1189-1193; Fox, The Modernization of Antitrust: a New Equilibrium (1981) 66 Cornell L.Rev. 1140; Lande, Wealth Transfers as the Original and Primary Concern of Antitrust: The Efficiency Interpretation Challenged (1983) 34 Hastings L. J. 65; Rowe, The Decline of Antitrust and the Delusions of Models: the Faustian Pact of Law and Economics (1984) 72 Georgetown L.J. 1511. But in recent decades a distinct school of thought has vigorously espoused economic efficiency as the only goal of antitrust. See Bork, The Antitrust Paradox: a Policy at War With Itself (1975); Posner, Antitrust Law: An Economic Perspective (1976).
Since the 1950 amendments to the Clayton Act, antitrust litigation in this field has generally relied on the relatively expansive provisions of the Clayton Act, section 7, but the same analysis applies to the Sherman Act, section 1.
(Intern. Tel. & Tel. Corp.
v.
General Tel. & Elect. Corp.
(D.Haw. 1978)
Although the court did not reach the issue of Sherman Act violation, the decision is relevant to the Cartwright Act. Business and Professions Code section 16727 is patterned after section 3 of the Clayton Act.
(Corwin
v.
Los Angeles Newspaper Service Bureau, Inc.
(1971)
Appellant’s claim of damages is based on failure to obtain five films from Orion. Of these, “The Terminator” ranked 25th in rentals in 1984 and “The Woman in Red” and “Breathless” each ranked 35th in rentals in 1984 and 1983 respectively.
