Fashions of 1934 (Warner Bros.) (1934)

Adapted from First National’s laugh extravaganza with songs and music, featuring William Powell, Bette Davis, and hundreds of others. CHAPTER Il ND Snap watched them eat the books. When Lynn adapted the colored plates in the old books to drawings of her own and modernized the costumes, Snap began to understand. They were going to steal Baroque’s styles even before he invented them. The studio was one of those quaint places in the Latin Quarter. This morning Lynn was working there alone at an adaption of a Monk’s cowl. There were many other sketches all around, and the place was littered with paints, water colors, and other painter’s materials, Lynn had a dirty artist smock over her pretty dress and her hair was awry. Just then the limousine drew up with Snap driving. They kept the ear for a front. And in no time Nash was upstairs. **Well, it’s about time you showed up,’’ she greeted him irritably. He ignored her surliness, and picking up one of her sketches praised it. ‘Ts it really good?’’ she asked more like her old self. ‘‘Here’s my O. K.’’ he laughed as he took several sketches to a high desk where he rubber stamped them with signatures of the leading Parisian designers. ‘If we had really stolen them from Baroque—they couldn’t be better. Lynn, you’re a genius! ’’ *‘T hope New York agrees with you,’’ she said turning suddenly to hand him some letters, ‘‘ Here’s the morning mail.’’ Nash eagerly opened a particuJar-.one—and in it was a check from New York for $500. They looked at each other delightedly. ‘(We eat!’’ sang out Nash. ‘“Grand!’’ shouted Lynn, as she shrugged herself out of her smock and started to primp. In short order she was dressed and, with their arms around each other, they descended into the street. There a violent altercation was occuring between Snap, who sat in the chauffeur’s seat of the car, and two sinister looking Frenchmen. ‘“What’s the trouble?’’ Nash. “How should I know???’ came back Snap who understood no French. ‘‘These mugs grab the key of the car and go into a song and dance.’? One of the Frenchmen who spoke a little English chimed in to Nash, ‘“Thee auto — you belong. to heem?’? ““Certainly,’’ spoke up Nash. ““You do not pay—I’m sent for to take heem away.’’ It was just $500—and Nash ruefully gave up the check he had just received. ‘*Are we in the money?’’ Snap asked open mouthed. asked EN ‘“We were,’’?-.snapped back Lynn. ‘*To Ciro’s’’? ordered Nash. ‘“We?’ll dope out a way of paying for our eats after we get there.’’ ‘‘they say if you stand at this bar long enough, sooner or later, you’! meet everybody in the world.’’ ‘‘Let’s not wait that long.’’ smiled Lynn. “To Ciro’s,” ordered Nash, “and don’t spare the horses.” (Going for a ride in “Fashions of 1934,” the latest First National comedydrama, which comes to the Strand Theatre next Wednesday.) A smart cosmopolitan crowd was gathered at the bar in Ciro’s enjoying apertifs before lunch. Nash and Lynn found two seats next to a chubby disconsolate looking fellow American. There was a brief case on the bar next to him with his name engraved on it, ‘Moe Finkel.’’ ‘Champagne cocktails,’’ Nash ordered for himself and Lynn, ‘*You know,’’ confided Nash, ‘¢From now on,’’ boasted Nash, ‘the world is our oyster.’’ ‘‘Oysters ain’t in season,’’ mournfully interjected the disconsolate Moe Finkel. ‘*Cheer up Mr. Finkel,’’ said Nash laying a kind arm on his shoulder. ‘‘Maybe I can _ help you.’’ Nash disregarded Lynn’s restraining arm, ““TIt would help me better if you was Houdini.’’ Moe Finkel sadly opened his brief case and took from it an ostrich plume. “‘Lovely plume,’’ remarked Nash. ‘‘But I’m not in the market.’ ‘¢T knew it,’’ wailed Moe, ‘‘I got a million ostriches in California—eating their heads off—and I ain’t sold a feather in six months. ‘‘Ostrich feathers ain’t like flour or cheese. They’re always in demand.’’ But Nash, holding the plume in his hand, was hardly listening. He was watching the couple who had just entered and were crossing the floor. He called over awaiter. ‘“Who is that pretty girl with Monsieur Baroque?’’ ‘‘That,’’ replied the waiter, ‘is the Grand Duchess Alix, an Emigre from Imperial Russia, It is claimed for her that she is the best dressed woman in Paris.’’ Nash dismissed the waiter and turned suddenly to Finkel. ‘“Mr. Finkel, you’ve come to the right man. ‘‘You have some money left, haven’t you?’’ he gave Finkel hardly any time to answer, but went on crisply, ‘‘And you have millions of ostrich feathers. ’ Finkel was listening now with his mouth open, as with a pat on the back Nash concluded, ‘‘I’m going to put ostrich feathers across for you.’’ ““Do that, Mr. Nash — and there’s $50,000 in it for -you.’’ ‘‘Put it in writing,’’ cracked back Nash. And to Lynn’s eager questions as they got up to go—the bill had unobstrusively been left with Finkel—Nash would only gaze eryptically at the Grand Duchess Alix, and smile, “‘Tt’s in the bag, baby, I’m going to call on the Grand Duchess.’? (To be Continued Tomorrow) Adapted from First National’s laugh extravaganza with songs and music, featuring William Powell, Bette Davis, and hundreds of others. CHAPTER IV 66 UT I don’t know this man,’’ the Duchess was saying to her Butler who had brought in to her Nash’s card. ‘“Who is he?’’ “Your Highness—it’s the same man who has been telephoning so often. An American. He insists on Seeing you personally. He is very distingue.’’ “Oh well, show him in.”’ , Nash came into the room. He was immaculate as usual, in his cutaway pin-striped trousers and silk hat. He carried a small leather attache case. courtesy. Soon, after plying the Duchess with compliments, he laid before her his plan. A plan to produce a revue, the most spectacular the world had ever seen, with the Duchess, Paris’ best dressed woman as the star. But the Duchess was haughty, ‘*T am not interested in your plans, Monsieur. I’ve heard that American’s are crazy. Now I know it!’’ Nash was insistent—this wasn’t to be a silly French revue with a lot*of naked girls, but one gloryifying Parisian Fashions. The whole world would pay tribute to the Duchess’ taste. The Duchess turned to ring for her butler and have Nash shown out, when suddenly Nash dropped his formal air. He gave her a resounding slap and laughed out. *¢Come on, Olga—be your age.’’ The Duchess was flabbergasted, ‘Oh, I hoped you hadn’t recognized me,’’ ‘“Olga—I never forget a face . the moment you came into Ciro’s I knew I had seen you someplace. You were a brunette the last time I saw you... let’s And he bowed with exquisite see . . . in Hollywood.’’ But still Olga, although now exposed, was unwilling to star in the revue. ‘“‘Afraid of the boy friend,’’ asked Nash pointing to Baroque’s photograph which was on the side table. Olga nodded, ‘‘I’ve put myself over. Baroque thinks I’m on the level.’ “‘That’s perfect!’’ assured Nash. ‘‘You sold him the idea you were a Grand Duchess, now sell him the idea of this revue. If he gets sore, we’ll let him do the costumes. Here’s the dotted line on the contract.’’ And the Grand Duchess Alix signed. And she herself wasn’t sure whether she signed from fear OY from =. es But even then things didn’t go smoothly. Moe Finkel kicked about the amount of money Nash was using, and he didn’t see the necessity of putting on a show. Lynn, who had been taking Nash for granted, was getting jealous about the Duchess to whom she thought Nash was paying too much attention, and flirting with the young American composer who was writing the music for the revue. Finally Nash wheedled Baroque, who was putty in Olga’s hands, into putting money into the show and from then on the sailing seemed clearer. At least for the show. Lynn was more put out than ever. ‘‘Sit on my piano and inspire me,’’ Jimmy, the young composer said to Lynn one day at rehearsal, and noticing the sad look in her eyes continued. ‘‘You’re carrying a torch for that Nash, aren’t you?’’ But Lynn did not answer. ‘‘Lynn, I’m crazy about you. Why don’t you forget that worthleas. oe oe «No-account:;.<..’ ? from Lynn «¢. . . double crossing .. .’’ ee . chiseling ...’’ «Saf abo tamin 2 2 22 ii. + ayn ee iia. oe UnSerupulous-s—. 40 OS age SALI ag bt tila gae ce ee Som of -aq25522 tes 80 SIAN hOwi ss 4 Tiynn was almost weeping now. ‘‘It’s no use, Jimmy, I can top every adjective you can give me.’’ **T see,’’? murmured Jimmy. It’s a. case of......?? ‘‘Stop it!’’ sereamed Lynn shrilly, and she hurriedly got up and walked away. Meanwhile in the Duchess’ dressing room, Olga was urging Nash to take her to lunch. ‘“Take me to lunch, Sherry.’’ But when Nash pleaded off she countered, ‘‘Just what is this Lynn girl to you?’’ Now don’t you start— ’’ exploded Nash. ‘‘I got enough trouble explaining you to her.’’ And so preparations went on for “Listen, Duchess, I knew you when you were an extra in Holly wood.” (Verree Teasdale and William Powell seem to be getting acquainted in this scene from “Fashions of 1934,” which features Bette Davis, Frank McHugh, Hugh Herbert and 200 Busby Berke ley fan dancers. It will appear at the Strand Theatre next W ednesday.) the show. Everybody was worrying except Snap who seemed to be in his heaven. Only the scene shifters who disclosed his hiding places with a pretty French chorus girl bothered him. But he discovered something. ‘Nash, old boy,’’ he said to his boss one afternoon. ‘‘I think Baroque is trying to double-cross you and corner Finkel’s ostrich feathers for himself.’’ ‘‘But I have an option on them,’’ retorted Nash. Snap only shrugged his should ers, and Nash went on. *“So he thinks he’ll double cross me. Well I have a thing or two I haven’t sprung yet. That bird’ll be sorry he ever met me. Wait till after the show. Come closer, Snap, old pal.’’ And Nash whispered into Snap’s ears his big idea. Snap stepped back with amazement and admiration lighting up his face. “Do you really think you ean put it over? It’s colossal! ’’ (To be Continued Tomorrow) Page Nine