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Mr Seligmann             4.

analysis of what we propose to do for them in America. He has suggested that if they approve the would consider providing us with the opportunity to go over their factories in Sweden before beginning our work over here. Of course we are to be compensated for the time spent doing this. However, although our contract with Mr Kumm is most friendly, the proposition as such is in too nebulous a state to consider anything that may definitely mature. 

D'AFFAIRE MARDEN:

I have left this choice morsel for the end of the report because I had hoped that by this time I might have acquired the zest to tell a good story. As we so often say in Denmark - zees ees an WOW. I shall make it as brief as possible hoping that Mrs Parker or perhaps Peter Muller-Munk may be able to fill in the details for you. Or failing that, I should like to have the pleasure of dashing this one off on a particularly glum Sunday morning myself. Some day, when I can fill in all the background that goes with the story, I suspect that I, in Billy Rose parlance, should roll you in the aisle. 

Well, here goes. As you know, Albert Johnson designed for Ben Marden's half million dollar Riviera Night Club on the Hudson, a stage. And so it was built, Opening night, still being owed some $375 by Marden on this I, with several other peasants (suckers if you prefer) betook myself to the new Riviera. For a look see must I have at this work of art. I went, I saw but I did not collect. Two days later I was phoned by the architect and asked to come up to the Riviera and show them how to properly use the stage, plus revolves, plus circular curtain. Well, still being owed aforesaid $375, there was little I could do save agree. My plea that Johnson was in Texas availed me nothing since the architect reminded me that this particular stage had been sketched by Loeb in his office one day while A Johnson was away and consequently Mr Marden wanted Loeb to be in order. With $375 at stake I went hoping that with my customary sang froid that Santa Claus would tell me how and what I would have to do. And Santa, always good to children and fools, looked after me. I went into a trance and the Muse responded. The crystal ball worked. One hour after my arrival at Marden's the stage worked. The stage manager and electrician were aware of the part they were to play in History and the little genius of the stage was vindicated. Marden, however, with his customary caution and soul of his kosher mujik ancestors, insisted on my staying there for dinner and through the first show to see that the thing really worked in actual practice. The story so far is dull, prosaic, and ordinary. Paul Revere, Waterloo and Armistice Day are yet to make their appearance. Right after the first show Marden introduced me to his second partner who in turn introduced me to a third. For in the meantime I had had some remarks to make about the show. The third partner called in the dance director, the chief lighting man, the stage manager and the backstage electrician. Sez he to them. In case that you don't know him, this is Leon Loeb and he knows more about the stage than any other man we could get hold of an you do whatever he tells you. He meant, of course, that I knew more about this particular stage as an architectural