Trans-Lux Corp. v. Meehan

652 A.2d 539, 43 Conn. Super. Ct. 314, 43 Conn. Supp. 314, 1993 Conn. Super. LEXIS 3471
CourtConnecticut Superior Court
DecidedDecember 3, 1993
DocketFile 384914
StatusPublished
Cited by2 cases

This text of 652 A.2d 539 (Trans-Lux Corp. v. Meehan) is published on Counsel Stack Legal Research, covering Connecticut Superior Court primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Trans-Lux Corp. v. Meehan, 652 A.2d 539, 43 Conn. Super. Ct. 314, 43 Conn. Supp. 314, 1993 Conn. Super. LEXIS 3471 (Colo. Ct. App. 1993).

Opinion

I

Introduction

Blue, J.

Business is no respecter of state boundaries, but the tax law sometimes is. In this appeal, I am called upon to determine the tax consequences of a sale of corporate stock that occurred in the context of an intricate multistate corporate structure. In making this determination, I am called upon to construe two different Connecticut statutes.

This is an appeal, pursuant to General Statutes § 12-237, of a revised assessment by the commissioner of revenue services attributes the gain on a $14 million transaction in 1986 to a parent corporation.

*315 It is conceded that the appeal was timely filed and that I have jurisdiction. I conducted an evidentiary hearing on September 29,1993. (Historians may wish to note that this was the first evidentiary hearing held in the Tax Session of the Superior Court.) My findings of fact and conclusions of law are as follows.

II

Findings of Fact

This case involves Trans-Lux Corporation (hereinafter referred to as “Trans-Lux”) and some of its many subsidiaries. Trans-Lux has a colorful history, and the issues here are in large part rooted in this historical background. Trans-Lux was incorporated in Delaware in 1920. It was founded on a single invention: that of rear-screen projection.

As anyone who goes to the movies knows, motion pictures have traditionally been shown with front-screen projection, that is, the images are cast upon the screen by a projector in front of the screen. This method has several advantages, but it also has two disadvantages. The lights must be turned off for the movie to be seen, and shadows can be cast on the screen. Rear-screen projection, in contrast, comes from the rear of the screen (somewhat in the fashion of television). It can be seen with the lights on, and shadows cannot be cast on the screen.

Rear-screen projection was originally used by a retired English adventurer who loved to show his travel slides in a fully-lit room that allowed his audience to simultaneously gaze upon both his slides and his own handsome features. This use was of limited economic value. The first economically viable use of the technology came in 1924. The founder of Trans-Lux went to the New York Stock Exchange and saw that so many stockbrokers were crowding around the stock ticker *316 that only the biggest and strongest could get through. The ninety-eight pound weaklings were kept away from the ticker by their burlier counterparts. With rear-screen technology, however, the stock prices could be shown on the wall in a fully-lit room for all to see. With this profitable use, Trans-Lux became heavily involved in what might be called the communications industry.

Shortly after this, another profitable use for rear-screen projection was discovered. It could be used in the actual production of motion pictures. In filming a car-chase scene, for example, it is helpful if the car being filmed is actually stationary, and the background behind it appears to move. If front-screen projection is used, however, the actors will cast their shadows on the background. (One can occasionally see this in some early films.) Rear-screen projection solves this problem.

With this use, Trans-Lux became involved in the movie business. The next step was to build rear-screen projection theaters. These theaters could show newsreels while the audience was ambling in to watch the feature attraction. (The lights were not turned off until the feature film began.) Trans-Lux built a number of these theaters, and (this is important) separate corporations were created for each theater. The theaters were originally owned fifty-fifty by Trans-Lux and RKO, but RKO went bankrupt in 1935, and Trans-Lux suddenly had a string of movie theaters. (A famous New Yorker cartoon of this period showed a group of wealthy individuals “going to the Trans-Lux to hiss Roosevelt.”)

In the 1940s, newsreels began to disappear with the advent of television. At the same time, front-screen projectors began to be able to show things like Cinema-scope that rear-screen projectors could not. Trans-Lux changed all of its theaters to front-screen projection. One consequence of this was that its communications *317 division now used a technology completely different from that of its entertainment division. Below the level of top management, these became completely separate divisions.

The business offices of Trans-Lux were initially located in New York City. In 1970, however, TransLux moved its communications factory to Connecticut. Over the next fourteen years, more and more TransLux employees were transferred to Connecticut, and in 1984, the entire communications division moved to Connecticut.

The entertainment division, however, remained in New York. This was necessary, in terms of the day-today operations, because New York (unlike any city in Connecticut) is an “exchange city.” The sales offices of studios are called “exchanges,” and if one is going to obtain movies from studios for showing in theaters, one must, as a practical matter, do so in a city such as New York or Los Angeles containing these exchanges. Consequently, all Trans-Lux employees who did things like view, lease, and publicize the movies did so out of New York both before and after the communications division moved to Connecticut.

It is thus fair to say that, in terms of their everyday operations, the communications and entertainment divisions of Trans-Lux were divided, with the entertainment division in New York and the communications division in Connecticut. At the level of top management, however, this division did not exist. There was a single board of directors for the entire corporation, a single chief executive officer, a single chief of operations, and a single chief fiscal officer. The board and the chief officers just named essentially straddled both divisions and worked in both states. These were the people who exercised management and control over Trans-Lux’s subsidiary corporations. The corporate *318 headquarters were, however, in Connecticut. In 1986, which is the year in question here, most (but not all) of the board meetings were in Connecticut.

The corporate structure of Trans-Lux must now be described. In the mid-1980s, Trans-Lux owned fifteen or sixteen theaters, nine of which were located in Connecticut. As already mentioned, each individual theater had its own corporation. The board members and officers of the individual theater corporations were board members and top management of the parent company, Trans-Lux. The stock of these individual corporations was originally owned by a holding company called Trans-Lux Theaters Corporation (which, in turn, had been a wholly owned subsidiary of Trans-Lux). The Theaters Corporation became defunct in the 1960s, after which the individual theater corporations became wholly-owned subsidiaries of Trans-Lux.

In 1983, top management of Trans-Lux decided to create another holding corporation for the theaters. The primary reason for this was the limitation of liability. Thus it was that Trans-Lux Texas Corporation (“T-L Texas”)' was born. The board meeting that authorized this was held in Connecticut.

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Bluebook (online)
652 A.2d 539, 43 Conn. Super. Ct. 314, 43 Conn. Supp. 314, 1993 Conn. Super. LEXIS 3471, Counsel Stack Legal Research, https://law.counselstack.com/opinion/trans-lux-corp-v-meehan-connsuperct-1993.