Public Reel

A Bride for Henry (1937)

No renewal found Free in the US since 1 January 1966, on the registry's reading: registration LP7448 of 1937 by Monogram Pictures Corp was not renewed in the volumes searched. Record.

Frame from the Internet Archive copy bride_for_henry_ipod
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bride_for_henry_ipod on the Internet Archive; released 1937
Read
261 shots over 58:45 · 142 beats in 83 sequences · 577 transcript lines · JSON
Record
A Bride for Henry No renewal found
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Lands on the beat covering that second.
83 sequences; each is also a heading below.
Check before citing the shot count. A 2:17 shot at 43:21 (shot 184): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made

261 shots over 58:45, read from the Internet Archive copy bride_for_henry_ipod (bride_for_henry.mp4, 320×240, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: A Bride for Henry No renewal found. JSON

Measurements: black-and-white film on its keyframes (0 of 261 shots judged colour), average shot 13.5s long, a frontal face detected in 36% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.

Released 1937 (Internet Archive).

142 beats in sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model.

Beats

Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.

Sequence 1 from 0:00

Sequence 2 from 1:01

Frame at 1:11, shot 11:11Frame at 1:32, shot 21:32Frame at 1:55, shot 31:55
3 of 3 shots sampled

2. Bedroom

1:01–2:04 Not yet checked

Model synopsis: A bride in a wedding gown and veil is seen in a room with mirrors and another woman; the bride is upset about her groom's absence while the other woman tries to calm her. The transcript reveals the bride is speaking angrily about being kept waiting and mentions guests downstairs.

  • The bride adjusts her veil in front of a mirror while another woman stands nearby. [frame:1]
  • The bride holds her gown while the other woman gestures toward her, appearing to speak. [frame:2]
  • The bride holds a bouquet and looks downcast while the other woman stands beside her. [frame:3]

Named: Sheila (t:1:24). 2 people observed.

“No, bridegroom. Oh, he'll be here. I told that avopated, irresponsible man that if he ever kept me waiting again, he'd be sorry for us. Shei…” 1:24 · “Doesn't that man think there's anything important about getting married? About getting married to me? And show yourself. Our guests. Our g…” 1:33

Evidence, details and a link to share

Frame at 2:06, shot 42:06Frame at 2:22, shot 52:22
2 of 2 shots sampled

3. Living room

2:04–2:36 Not yet checked

Model synopsis: A woman in a wedding dress speaks with another woman holding a bouquet; the transcript indicates plans for a wedding and a request to fetch a lawyer named Henry Tuttle. The scene takes place indoors, with one woman preparing to leave.

  • A woman in a wedding dress is speaking with another woman holding a bouquet. [frame:1]

2 people observed.

“They came here to see a wedding, didn't they? Well, they're going to see one. But you can't have a wedding without a bridegroom. There'll…” 2:07 · “- Get Henry for me. - Henry? Henry who? Henry Tuttle, my lawyer. But you don't need a lawyer. Oh, yes, I do. Now you're going, am I? Oh.” 2:16

Evidence, details and a link to share

Frame at 2:38, shot 62:38
1 of 1 shots sampled

4. Living room

2:36–2:40 Not yet checked

Model synopsis: A woman in a wedding dress and veil is seen bending over a chair in a well-furnished room. The room contains a window with curtains, a lamp, and a small table.

1 person observed.

Evidence, details and a link to share

Frame at 2:42, shot 72:42Frame at 2:49, shot 82:49
2 of 2 shots sampled

5. Living room

2:40–2:53 Not yet checked

Model synopsis: A woman in a wedding dress is shown in a room with furniture and a window; she raises her arms while looking upward. Two lines of dialogue are spoken during this beat, questioning the absence of a bridegroom.

  • A woman in a wedding dress stands in a room with furniture and a window. [frame:1]
  • The woman raises her arms and looks upward. [frame:2]

1 person observed.

“No bridegroom, eh?” 2:40 · “Well, we'll see.” 2:46

Evidence, details and a link to share

Frame at 2:54, shot 92:54Frame at 3:09, shot 103:09Frame at 3:26, shot 113:26
3 of 3 shots sampled

6. Living room

2:53–3:30 Not yet checked

Model synopsis: A woman in a wedding dress confronts a man in a tuxedo, demanding he marry her to resolve a crisis. Another woman, presumably her mother, is present and involved in the argument over changing the marriage license.

  • Sheila stands in a decorated room holding a bouquet. [frame:1]
  • Sheila, Henry, and the mother stand together in argument. [frame:2]
  • Sheila and Henry face each other closely, tense. [frame:3]

Named: Sheila (t:2:54), Henry (t:2:54), Mother (t:3:08). 3 people observed.

“There you are! Henry, something has happened to Sheila. Come at once.” 2:54 · “What's wrong? You've always gotten me out of jams before, haven't you, Henry? There's plenty of them. Well, this is the biggest one I was…” 3:00

Evidence, details and a link to share

Frame at 3:44, shot 123:44
1 of 1 shots sampled

7. Bedroom

3:30–3:59 Not yet checked

Model synopsis: A woman in a wedding dress holds a bouquet while another person sits nearby. A voice says 'Leave me waiting at the church, Willie.'

  • A woman in a wedding dress stands holding a bouquet while another person sits nearby. [frame:1]

Named: Willie (t:3:44). 2 people observed.

“I'm going to go.” 3:31 · “*Sigh*” 3:38

Evidence, details and a link to share

Sequence 3 from 3:59

Frame at 4:45, shot 134:45Frame at 5:32, shot 145:32
2 of 2 shots sampled

8. Private office

3:59–5:34 Not yet checked

Model synopsis: A woman and a man discuss a marriage arranged to save face after a bridegroom failed to appear; the woman holds a baby photo of Eric, sent by Aunt Letitia. The man, Henry, explains the marriage is a social gesture and plans to dissolve it quietly after publicity fades.

  • Woman holds up a framed photo of Eric as a baby, sent by Aunt Letitia. [frame:2]

Named: Henry (t:4:22). 2 people observed.

“I'm very grateful, Henry. Eric would have shown up eventually, but this will teach him a lesson.” 4:22 · “I may be a little bit stupid, but just where does our marriage fit into this picture?” 4:42

Evidence, details and a link to share

Sequence 4 from 5:34

Frame at 5:34, shot 155:34Frame at 5:56, shot 165:56
2 of 2 shots sampled

9. Hotel lobby

5:34–6:16 Not yet checked

Model synopsis: A man and a woman stand in a hotel room, examining a reservation card. The card identifies the hotel as Windemere and lists a guest named Henry Tuttle with a room and rate.

  • A man and a woman stand in a hotel room, looking at a reservation card. [frame:1]
  • The reservation card is shown, identifying the hotel as Windemere and the guest as Henry Tuttle. [frame:2]

Named: Henry Tuttle (frame:2). 2 people observed.

“Pardon me, please. - Where are you going? Going out to the club car and get quietly but effectively plastered.” 5:34 · “Well, I think this will do very nicely, don't you, Henry? Yeah, it's comfortable. It won't like...” 6:06

Evidence, details and a link to share

Sequence 5 from 6:16

Frame at 6:30, shot 176:30Frame at 6:47, shot 186:47
2 of 2 shots sampled

10. Living room

6:16–6:50 Not yet checked

Model synopsis: A man in a suit stands in a living room, holding a hat and then putting his hand in his pocket. He speaks with someone off-screen about the weather and thanks them, while another man is partially visible in the background doorway.

  • A man in a suit holds a hat and speaks off-screen. [frame:1]
  • The man puts his hand in his pocket while standing in the living room. [frame:2]

2 people observed.

“I think you'll manage quite nicely on the couch.” 6:21 · “- Is there anything else, sir? - Er...” 6:37

Evidence, details and a link to share

Frame at 6:51, shot 196:51
1 of 1 shots sampled

11. Living room

6:50–6:51 Not yet checked

Model synopsis: A man in a suit kneels beside a sofa and sweeps glitter or confetti off the floor with his hand. The scene is indoors, with furniture visible.

  • man sweeps glitter off floor with hand [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 6 from 6:51

Frame at 6:56, shot 206:56
1 of 1 shots sampled

12. Living room

6:51–7:01 Not yet checked

Model synopsis: A man in a suit stands in a room as another man in a cap carries a large piece of furniture. The setting appears to be an interior space with furniture and decor.

  • A man in a cap carries a large piece of furniture through a room. [frame:1]
  • A man in a suit stands and watches the man carrying furniture. [frame:1]

2 people observed.

Evidence, details and a link to share

Sequence 7 from 7:01

Sequence 8 from 7:06

Sequence 9 from 7:34

Frame at 7:38, shot 237:38
1 of 1 shots sampled

15. Private office

7:34–7:42 Not yet checked

Model synopsis: A man in a suit stands near a window with blinds, looking down. A wicker chair is visible beside him in an interior space.

  • A man stands near a window, looking down. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 10 from 7:42

Frame at 7:44, shot 247:44
1 of 1 shots sampled

16. Living room

7:42–7:46 Not yet checked

Model synopsis: A woman stands in a room with luggage and a chair, holding a small object near her face. No dialogue or on-screen text is present in this beat.

1 person observed.

Evidence, details and a link to share

Sequence 11 from 7:46

Frame at 7:49, shot 257:49
1 of 1 shots sampled

17. Living room

7:46–7:52 Not yet checked

Model synopsis: A man in a suit walks across a furnished room with a window and armchairs. No dialogue or on-screen text is present in this beat.

  • A man in a suit walks across the room. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 12 from 7:52

Frame at 7:53, shot 267:53Frame at 7:55, shot 277:55Frame at 8:03, shot 288:03
3 of 3 shots sampled

18. Bedroom

7:52–8:09 Not yet checked

Model synopsis: A woman in a bedroom asks Henry if he minds her entering to retrieve items from her trunk; he grants permission after a pause. The room contains multiple trunks and furniture, and Henry is dressed formally in a suit.

  • The woman bends over a trunk, appearing to retrieve items. [frame:3]

Named: Henry (t:7:53), Henry (t:7:53). 2 people observed.

“What is it, Henry?” 7:53 · “Do you mind if I come in and get a few things out of my trunk?” 7:54

Evidence, details and a link to share

Frame at 8:46, shot 298:46
1 of 1 shots sampled

19. Hotel lobby

8:09–9:23 Not yet checked

Model synopsis: A man and a woman are in a hotel room with luggage; the woman directs the man to move items and announces she will sleep there. They discuss sleeping arrangements, playing cards, and an orchestra, with the woman expressing discomfort at being looked at archly.

  • The man holds a coat and stands near luggage; the woman stands near a trunk. [frame:1]

2 people observed.

“I hope my trunk being in your room won't embarrass you. Not at all. Why should it?” 8:20 · “Henry, would you move those over onto that bed? Because I've decided to sleep here.” 8:30

Evidence, details and a link to share

Sequence 13 from 9:40

Sequence 14 from 9:52

Frame at 10:06, shot 3510:06
1 of 1 shots sampled

22. Living room

9:52–10:21 Not yet checked

Model synopsis: A man and a woman stand in a room with flowers; the woman reacts to the flowers and then answers a phone call that is for the man. The man is addressed by name as Henry during the phone interaction.

  • The woman picks up a phone and says it is for Henry. [frame:1]

Named: Henry (t:9:54), Sheila (t:10:20). 2 people observed.

“Oh, how sweet. Oh, they're wonderful. Oh, isn't that lovely. Oh, they're from you. Well, that's very thoughtful of you, Henry. Here, put the…” 9:54 · “Henry, it's for you. Thanks, Sheila. Hello. Oh, hello there. How are you?” 10:20

Evidence, details and a link to share

Frame at 10:22, shot 3610:22Frame at 10:25, shot 3710:25Frame at 10:44, shot 3810:44
3 of 3 shots sampled

23. Living room

10:21–11:02 Not yet checked

Model synopsis: A man in a suit holds flowers and speaks on the phone while a woman in a dress stands nearby. The man introduces the woman as his wife during the phone call.

  • The man speaks on the phone while holding flowers. [frame:3]
  • The man turns away from the camera while holding flowers. [frame:2]

2 people observed.

“What?” 10:40 · “A caveman?” 10:42

Evidence, details and a link to share

Frame at 11:07, shot 3911:07Frame at 11:14, shot 4011:14
2 of 2 shots sampled

24. Private office

11:02–11:15 Not yet checked

Model synopsis: A woman in a robe stands near a table with flowers; a man in a suit stands at a desk with papers. The transcript includes a phone conversation agreeing to meet tomorrow.

  • A woman stands near a table with flowers. [frame:1]
  • A man stands at a desk, handling papers. [frame:2]

2 people observed.

“No.” 11:02 · “No, no, I'm glad you called. Tomorrow? Oh, fine, fine. Right-o.” 11:04

Evidence, details and a link to share

Frame at 11:19, shot 4111:19Frame at 11:25, shot 4211:25Frame at 11:45, shot 4311:45
3 of 3 shots sampled

25. Living room

11:15–12:02 Not yet checked

Model synopsis: A man and a woman sit at a small table in a furnished room, engaged in a tense conversation about a phone call. The woman demands to know who called and what was said, while the man deflects by mentioning traffic.

2 people observed.

“Sorry. Well? My plate?” 11:16 · “No, I mean who was it? Who? On the phone. Oh, hello. After all, I have a right to know with whom you talk. And me wife. Huh? Oh, well, he wa…” 11:19

Evidence, details and a link to share

Frame at 12:24, shot 4512:24Frame at 12:44, shot 4612:44
2 of 2 shots sampled

27. Living room

12:20–13:01 Not yet checked

Model synopsis: A man and a woman stand in a room with curtains and furniture; the man speaks about press persecution and marriage while the woman turns away. The dialogue references headlines and the sanctity of matrimony.

  • The man and woman stand facing each other in a room. [frame:1]
  • The woman turns her back to the man and walks toward a lamp and window. [frame:2]

Named: Helen (t:12:23). 2 people observed.

“Helen.” 12:23 · “Here we are, free, self-respecting, upstanding, independent American citizens. Pursued and persecuted by the press. Well, my dear young la…” 12:26

Evidence, details and a link to share

Frame at 13:27, shot 4813:27
1 of 1 shots sampled

29. Living room

13:10–13:43 Not yet checked

Model synopsis: Three people stand in a room; one man speaks to another while a woman looks on. A phone call interrupts the conversation, during which reporters are mentioned.

  • Three people stand facing each other in a room. [frame:1]

Named: Sheila (t:13:18). 3 people observed.

“Don't you think you owe me an explanation? - Oh, I don't think... - Now, Sheila, please.” 13:18 · “This is between Tuttle and myself.” 13:22

Evidence, details and a link to share

Sequence 15 from 13:43

Sequence 16 from 13:46

Frame at 13:48, shot 5013:48
1 of 1 shots sampled

31. Other

13:46–13:50 Not yet checked

Model synopsis: A newspaper headline is shown, reporting that Henry Tuttle married Sheila Curtis after Eric Reynolds forgot. The article mentions a jury probe of county flood control dams.

Evidence, details and a link to share

Sequence 17 from 13:50

Frame at 14:01, shot 5114:01
1 of 1 shots sampled

32. Living room

13:50–14:13 Not yet checked

Model synopsis: A man in a suit arranges flowers while a woman in a patterned robe gestures toward him; another man stands behind them. The transcript includes dialogue about Henry sending flowers and a remark about roses.

  • A man in a suit arranges flowers on a table. [frame:1]
  • A woman gestures toward the man arranging flowers. [frame:1]

Named: Henry (t:13:54). 3 people observed.

“You ought to take that out of you.” 13:51 · “Henry's really been very kindly considerate.” 13:54

Evidence, details and a link to share

Frame at 14:14, shot 5214:14
1 of 1 shots sampled

33. Living room

14:13–14:15 Not yet checked

Model synopsis: A group of people are gathered in a room; one man holds a bouquet of flowers while others stand or sit nearby. No dialogue is present in this beat.

5 people observed.

Evidence, details and a link to share

Frame at 14:22, shot 5314:22Frame at 14:41, shot 5414:41
2 of 2 shots sampled

34. Living room

14:15–14:51 Not yet checked

Model synopsis: A group of men and a woman stand in a room; one man holds flowers and speaks to another. The scene shifts to a man and woman embracing near a window, with flowers on a table nearby.

  • A man holds flowers and speaks to another man. [frame:1]
  • A man and woman embrace near a window. [frame:2]

7 people observed.

“Well, aren't they both my closest friends?” 14:29 · “And your happiness is ours. Well, we'll be seeing it.” 14:36

Evidence, details and a link to share

Frame at 14:55, shot 5514:55Frame at 14:59, shot 5614:59Frame at 15:02, shot 5715:02
3 of 3 shots sampled

35. Living room

14:51–15:05 Not yet checked

Model synopsis: A man serves champagne from a tray to guests in a living room. Another man says he will get another glass while a woman and two men stand nearby.

  • A man holds a tray with champagne and glasses while another man stands behind him. [frame:1]
  • A man in a light suit walks across the room holding a glass. [frame:2]
  • A man pours champagne into a glass while others watch. [frame:3]

Named: Sheila (t:14:57). 5 people observed.

“Another surprise, Sheila. Champagne. And from Uncle Fred.” 14:57 · “I'll get another glass.” 15:03

Evidence, details and a link to share

Frame at 15:55, shot 5815:55Frame at 16:52, shot 5916:52
2 of 2 shots sampled

36. Living room

15:05–17:00 Not yet checked

Model synopsis: Three people are in a room; one man pours drinks while another man and a woman stand facing each other. The transcript reveals a wedding-related conflict over one man attending a movie instead of the ceremony, with references to Uncle Fred and a bachelor party.

  • A man pours drinks from a bottle into glasses on a table. [frame:1]
  • A man and a woman stand facing each other in a doorway. [frame:2]

Named: Eric (t:15:33). 3 people observed.

“You know, this was a very happy thought on Uncle Fred's part, darling. Darling!” 15:15 · “I went to a movie. A movie? Henry, did you hear that?” 15:33

Evidence, details and a link to share

Frame at 17:12, shot 6017:12
1 of 1 shots sampled

37. Hotel lobby

17:00–17:23 Not yet checked

Model synopsis: A man and a woman stand in a room with furniture and a table holding bottles; the woman speaks about resuming her belongings while the man responds. The setting appears to be a hotel room or private suite with no visible windows or clocks.

  • A woman gestures while speaking to a man in a room with furniture and a table holding bottles. [frame:1]

2 people observed.

“I resent your attitude toward Eric.” 17:03 · “Now don't you stop resenting things.” 17:06

Evidence, details and a link to share

Frame at 17:46, shot 6117:46Frame at 18:14, shot 6218:14Frame at 18:28, shot 6318:28
3 of 3 shots sampled

38. Hotel lobby

17:23–18:36 Not yet checked

Model synopsis: A man and a woman argue in a hotel room about a third person named Reynolds staying with them; the woman insists Reynolds will remain because she wants him there, despite the man's objections. The room contains luggage and furniture, and the woman is shown in a robe, visibly upset.

  • A man and a woman stand facing each other in a hotel room, appearing to argue. [frame:1]
  • The woman walks away from the man, looking distressed. [frame:2]
  • The woman shouts with her mouth open, showing anger. [frame:3]

2 people observed.

“This must be very unsatisfactory for you, Henry. That's putting it mildly. I mean about your trunk.” 17:26 · “I don't want people to think you're only my lawyer. With Eric hanging around on this honeymoon, who are they going to think I am?” 17:46

Evidence, details and a link to share

Frame at 19:07, shot 6419:07
1 of 1 shots sampled

39. Bedroom

18:36–19:38 Not yet checked

Model synopsis: A man and a woman argue in a bedroom; the woman accuses the man of being arrogant and regrets marrying him. She demands a pillow and covers, and a thud is heard.

  • A thud is heard. [frame:1]

Named: Mrs. Tuttle (t:19:13), Henry Tuddle (t:19:06). 2 people observed.

“All right, go ahead and do them. Do one of the APs. And I'm putting an end to this business of being pushed around.” 18:38 · “I've been in love with you for years. You knew that. That's why you asked me to marry you, and that's why I marry you.” 18:49

Evidence, details and a link to share

Sequence 18 from 19:38

Sequence 19 from 19:58

Frame at 20:00, shot 6620:00Frame at 20:12, shot 6720:12
2 of 2 shots sampled

41. Bedroom

19:58–20:23 Not yet checked

Model synopsis: A man in a coat stands near a desk in a room; another man sits on a bed in a dimly lit room with a window. A loud noise is heard at 20:00.

  • A man in a coat stands near a desk in a room. [frame:1]
  • A man sits on a bed in a dimly lit room with a window. [frame:2]

2 people observed.

“*Loud noise*” 20:00

Evidence, details and a link to share

Sequence 20 from 20:23

Frame at 20:24, shot 6820:24
1 of 1 shots sampled

42. Beat 42

20:23–20:26 Not yet checked

Model synopsis: The frame is almost entirely black with no discernible objects, people, or text. No events or actions can be identified from the visual content.

Evidence, details and a link to share

Sequence 21 from 20:26

Sequence 22 from 21:43

Frame at 21:49, shot 7021:49Frame at 21:58, shot 7121:58
2 of 2 shots sampled

44. Balcony

21:43–22:00 Not yet checked

Model synopsis: A woman in a light dress stands on a balcony, reaching toward a wicker chair with a bottle and glass. She then appears holding a small object, looking down from the balcony.

  • A woman reaches toward a wicker chair with a bottle and glass on it. [frame:1]
  • The woman holds a small object and looks down from the balcony. [frame:2]

1 person observed.

“Oh!” 21:53

Evidence, details and a link to share

Frame at 22:03, shot 7222:03
1 of 1 shots sampled

45. Balcony

22:00–22:05 Not yet checked

Model synopsis: A woman in a long gown stands on a balcony overlooking a field. A bottle and glass sit on a table beside a chair.

  • A woman stands on a balcony looking toward the camera. [frame:1]

1 person observed.

Evidence, details and a link to share

Sequence 23 from 22:05

Frame at 22:08, shot 7322:08
1 of 1 shots sampled

46. Living room

22:05–22:11 Not yet checked

Model synopsis: A man in a dark jacket and light trousers stands in a well-furnished room with floral arrangements and upholstered furniture. The room has large windows and an open doorway, suggesting a domestic interior.

1 person observed.

Evidence, details and a link to share

Sequence 24 from 22:11

Frame at 22:14, shot 7422:14
1 of 1 shots sampled

47. Porch

22:11–22:18 Not yet checked

Model synopsis: A woman in a long dress stands on a porch holding a large white pillow. A bottle and a chair are visible beside her.

1 person observed.

Evidence, details and a link to share

Sequence 25 from 22:18

Sequence 26 from 22:32

Frame at 23:03, shot 7623:03
1 of 1 shots sampled

49. Bedroom

22:32–23:33 Not yet checked

Model synopsis: A woman in a robe holds a pillow and quilt while speaking with a man in a suit in a bedroom; she mentions not sleeping on the balcony and having breakfast with Eric. The man asks about laundry and she replies she washes flannels herself.

  • A woman in a robe holds a pillow and quilt while speaking with a man in a suit. [frame:1]

2 people observed.

“The windows and the people. Oh, I didn't sleep on the balcony.” 22:40 · “Sometimes I come in late, Sometimes I never come in at all.” 22:52

Evidence, details and a link to share

Sequence 27 from 23:33

Frame at 23:36, shot 7723:36Frame at 23:40, shot 7823:40Frame at 23:43, shot 7923:43Frame at 23:58, shot 8023:58
4 of 4 shots sampled

50. Restaurant

23:33–24:09 Not yet checked

Model synopsis: A woman in a light dress walks through a restaurant patio where patrons are seated at tables; a man in a suit joins her at a table, and a waiter takes their order. The transcript includes dialogue about breakfast items and a question about a bridegroom, followed by an exchange about forgiveness and sleep.

  • A woman walks through a restaurant patio toward a table. [frame:1]
  • The woman sits at a table with a man in a suit; other patrons are visible in the background. [frame:2]
  • The man in the suit stands and pulls out a chair for the woman. [frame:3]
  • 1 more under Evidence and details.

6 people observed.

“Kibbutt herring, bacon, two eggs, white toast, and a pot of tea.” 23:58 · “Doris, is that the lucky bridegroom?” 23:58

Evidence, details and a link to share

Frame at 24:14, shot 8124:14Frame at 24:29, shot 8224:29
2 of 2 shots sampled

51. Restaurant

24:09–24:40 Not yet checked

Model synopsis: Three people sit at a table in an outdoor dining area; later, a man and a woman talk at a table near a pool. The transcript includes dialogue about taking a truck and worrying.

  • Three people sit at a table in an outdoor restaurant setting. [frame:1]
  • A man and a woman sit at a table near a pool, talking. [frame:2]

4 people observed.

“I'll take the truck.” 24:28 · “Oh, no, but I couldn't help worrying. You know, we rentals always do.” 24:28

Evidence, details and a link to share

Sequence 28 from 24:40

Frame at 24:41, shot 8324:41Frame at 24:52, shot 8424:52
2 of 2 shots sampled

52. Garden

24:40–25:01 Not yet checked

Model synopsis: A man in a tank top and cap reads a newspaper outdoors while seated; he then stands and speaks to two children looking up at him. No names are spoken in the transcript for this beat.

  • man sits reading newspaper [frame:1]
  • man stands and addresses children [frame:2]

3 people observed.

“What's the matter?” 24:40

Evidence, details and a link to share

Sequence 29 from 25:01

Frame at 25:03, shot 8525:03
1 of 1 shots sampled

53. Poolside

25:01–25:04 Not yet checked

Model synopsis: A person swims in a pool while others stand at the edge; the setting is outdoors with foliage and a striped umbrella visible. No dialogue or on-screen text is present in this beat.

  • A person swims in a pool. [frame:1]
  • Two people stand at the edge of the pool. [frame:1]

3 people observed.

Evidence, details and a link to share

Sequence 30 from 25:04

Frame at 25:07, shot 8625:07
1 of 1 shots sampled

54. Poolside

25:04–25:10 Not yet checked

Model synopsis: A group of women in swimsuits stand near a poolside railing while one bends over. The setting is outdoors with trees and shrubbery visible.

4 people observed.

Evidence, details and a link to share

Sequence 31 from 25:10

Frame at 25:13, shot 8725:13
1 of 1 shots sampled

55. Patio

25:10–25:15 Not yet checked

Model synopsis: A man and a woman sit at a table outdoors; the woman reacts with surprise as the man is identified by name. The setting appears to be a patio or garden area with plants and a column visible.

  • The woman reacts with visible surprise while seated at a table. [frame:1]

Named: Henry (t:25:10). 2 people observed.

“Why, it's Henry.” 25:10 · “Well, of course it is. I'd know him anywhere.” 25:13

Evidence, details and a link to share

Sequence 32 from 25:15

Frame at 25:17, shot 8825:17
1 of 1 shots sampled

56. Poolside

25:15–25:19 Not yet checked

Model synopsis: A group of people in swimwear stand near a pool with trees in the background. No dialogue or on-screen text is present in this beat.

4 people observed.

Evidence, details and a link to share

Sequence 33 from 25:19

Frame at 25:22, shot 8925:22
1 of 1 shots sampled

57. Poolside

25:19–25:23 Not yet checked

Model synopsis: A man dives into a pool from a diving board while two people sit in chairs nearby. The setting is outdoors with trees and foliage visible.

  • A man dives into a pool from a diving board. [frame:1]

3 people observed.

Evidence, details and a link to share

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Transcript

Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 577 segments kept, 200 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.

  1. 1:00 Oh, you look lovely. Loveless for what? All dressed up and no place to go. Left waiting at the altar.
  2. 1:24 No, bridegroom. Oh, he'll be here. I told that avopated, irresponsible man that if he ever kept me waiting again, he'd be sorry for us. Sheila, please.
  3. 1:33 Doesn't that man think there's anything important about getting married? About getting married to me? And show yourself. Our guests. Our guests.
  4. 1:40 They're probably whistling through their fingers and stamping their feet.
  5. 1:43 If they're still here. - Sheila, you mustn't. You mustn't, dear.
  6. 1:47 Oh, a bridal bouquet.
  7. 1:49 Pretty thing, isn't it? Hello.
  8. 1:53 Whereas the bridegroom...
  9. 1:55 Well, that's what I'd like to know. Well... Now, now, now, now, now, dear. Calm yourself, calm yourself. You spoil everything. Think of those people downstairs.
  10. 2:05 That's what I am thinking about.
  11. 2:07 They came here to see a wedding, didn't they? Well, they're going to see one. But you can't have a wedding without a bridegroom. There'll be a bridegroom. Who's downstairs?
  12. 2:14 stairs.
  13. 2:15 Fred, George,
  14. 2:16 - Get Henry for me. - Henry? Henry who? Henry Tuttle, my lawyer. But you don't need a lawyer. Oh, yes, I do. Now you're going, am I? Oh.
  15. 2:24 I'm going home.
  16. 2:40 No bridegroom, eh?
  17. 2:46 Well, we'll see.
  18. 2:53 Oh!
  19. 2:54 There you are! Henry, something has happened to Sheila. Come at once.
  20. 3:00 What's wrong? You've always gotten me out of jams before, haven't you, Henry? There's plenty of them. Well, this is the biggest one I was ever in and you've got to get me out of it. - How? - Marry me.
557 more segments
  1. 3:08 I can't do this! It's crazy! - What is the matter? - Mother, this is my wedding, not yours. It's all very simple and you're an attorney. All you have to do is change the license. No, you can't. Your assistant, Tom, this is horrible, horrible. - What about Eric? - Are you going to argue or marry me?
  2. 3:23 Are you serious? Do I look playful?
  3. 3:28 Give me that little license.
  4. 3:31 I'm going to go.
  5. 3:38 *Sigh*
  6. 3:44 Leave me waiting at the church, Willie.
  7. 3:47 Come in.
  8. 4:04 How are you doing? Oh, all right. Oh, no, isn't that silly? Well, it's not so silly. That's an old custom that has a great deal of significance. Well, it's silly to me. Anyway, it's all over, thank goodness. Right.
  9. 4:17 I never thought I'd be lucky enough to manage this. Oh, you're wonderful, really. Except for a little nervousness.
  10. 4:22 I'm very grateful, Henry. Eric would have shown up eventually, but this will teach him a lesson. Next time, he'll be more punctual. Next time? Yes. Oh, would you put this over here? No.
  11. 4:37 I won't be so lenient with it.
  12. 4:42 I may be a little bit stupid, but just where does our marriage fit into this picture? Oh, our marriage is a purely social gesture to save a purely social situation.
  13. 4:52 Bridegroom failed to show, I'd double for bridegroom, save your face and help teach bridegroom to be a better boy hereafter. Exactly. I wouldn't be surprised if Eric took a plane and came right down after us.
  14. 5:06 Just how long you calculate you'll need my services as a standard. Oh, not long. As soon as the publicity dies down, I'll go to Reno and do it all very quietly and everything will be straightened out for everybody. You could choose a vacation, Henry.
  15. 5:22 Oh, here it is. What? A wedding present from Aunt Letitia. A picture of Eric as a baby.
  16. 5:34 Pardon me, please. - Where are you going? Going out to the club car and get quietly but effectively plastered.
  17. 5:44 I'm going to go.
  18. 5:59 - Let's go, man.
  19. 6:06 Well, I think this will do very nicely, don't you, Henry? Yeah, it's comfortable. It won't like...
  20. 6:11 Oh, it's charming.
  21. 6:14 Too bad there's only one bedroom.
  22. 6:18 But, uh...
  23. 6:21 I think you'll manage quite nicely on the couch.
  24. 6:34 Amen.
  25. 6:35 Ahem.
  26. 6:37 - Is there anything else, sir? - Er...
  27. 6:38 No.
  28. 6:39 That's all. Thank you, sir.
  29. 6:41 It's...
  30. 6:42 It's unusually hot for this time of year, isn't it? Yes, it is, sir.
  31. 7:06 Henry, have you got... Ah, yes.
  32. 7:14 Well, the trunks are here. Now it will start getting into something cool.
  33. 7:17 Good.
  34. 7:19 Come on.
  35. 7:53 What is it, Henry?
  36. 7:54 Do you mind if I come in and get a few things out of my trunk?
  37. 7:56 Oh, wait just a minute.
  38. 8:02 You may come in now, Henry.
  39. 8:05 Little snookers?
  40. 8:11 Henry, be careful.
  41. 8:13 Sorry.
  42. 8:20 I hope my trunk being in your room won't embarrass you. Not at all. Why should it?
  43. 8:30 Henry, would you move those over onto that bed? Because I've decided to sleep here.
  44. 8:35 I like the light on my right.
  45. 8:36 Right.
  46. 8:37 Yes, right.
  47. 8:39 Come on.
  48. 8:41 I hope you won't be too uncomfortable on the dive in. Oh, not at all, not at all. I'll be as comfortable there as anywhere.
  49. 8:49 Practically.
  50. 8:51 Well, it's too bad we had dinner on the train. Otherwise, we might have given some time.
  51. 8:57 We can play cards.
  52. 8:59 Honeymoon Bridge. Perfect.
  53. 9:01 Ducky.
  54. 9:08 What a marvelous orchestra. Should be. It's Georgie Stoltz. Well, Henry, I didn't know even you orchestra leaders' names. Well, I guess I must have read it on one of the cars they live around the rooms. Would you like the rest of me now? Oh, no. People might look at us archly, and I can't endure being looked archly at. Can you? What? Archly.
  55. 9:32 Never archly.
  56. 9:35 Excuse me.
  57. 9:42 Amen.
  58. 9:45 There you are.
  59. 9:54 Oh, how sweet. Oh, they're wonderful. Oh, isn't that lovely. Oh, they're from you. Well, that's very thoughtful of you, Henry. Here, put them in one. Hello? Who?
  60. 10:20 Henry, it's for you. Thanks, Sheila. Hello. Oh, hello there. How are you?
  61. 10:40 What?
  62. 10:42 A caveman?
  63. 10:45 Oh, yes, that's me all over. A fast worker. No, I don't dare give him the chance to think. Oh, yes, we're very, very happy. Yes, indeed. Well, I want you to meet my wife. She's an awfully nice little person. Very much of a homebody and all that sort of thing.
  64. 11:02 No.
  65. 11:04 No, no, I'm glad you called. Tomorrow? Oh, fine, fine. Right-o.
  66. 11:12 All right.
  67. 11:16 Sorry. Well? My plate?
  68. 11:19 No, I mean who was it? Who? On the phone. Oh, hello. After all, I have a right to know with whom you talk. And me wife. Huh? Oh, well, he was a chap I used to know in law school. He has a cottage around here somewhere. You'll meet him. I don't want to meet him. I want to know what he said. Oh, he said he wanted to meet you. Henry Tuttle, he said something about the newspapers. Now, what was it? Oh, the newspapers. I... Excuse me, the traffic seems to be getting terrific.
  69. 12:05 Callagraph? Hmm? See you?
  70. 12:08 Mmm.
  71. 12:09 Nothing serious, I hope. Oh, no. Oh, no. It's all in fun.
  72. 12:14 Hmm.
  73. 12:21 or your ad in the headlines.
  74. 12:23 Helen.
  75. 12:24 Newspaper.
  76. 12:26 Here we are, free, self-respecting, upstanding, independent American citizens. Pursued and persecuted by the press. Well, my dear young lady, you've been in the headlines before. Oh, I wouldn't expect you to appreciate it, but this is different.
  77. 12:39 The kind of girl who can get married without being smitted all over the country in every sensational publication?
  78. 12:43 - Was that kind of a marriage? - A what?
  79. 12:47 - Uh, natural for the reporters. - Oh, a natural.
  80. 12:49 Well, I call it unnatural.
  81. 12:51 Inhuman!
  82. 12:52 Disgusting.
  83. 12:54 Well, there's nothing sacred. Have they no respect for the bonds of matrimony? Stay where you are. I'll answer that.
  84. 13:04 Well, Eric!
  85. 13:06 How nice to see you.
  86. 13:08 Where is he?
  87. 13:15 Well?
  88. 13:16 Well?
  89. 13:17 Well, uh...
  90. 13:18 Don't you think you owe me an explanation? - Oh, I don't think... - Now, Sheila, please.
  91. 13:22 This is between Tuttle and myself.
  92. 13:23 You stole my fiancé. That's between Sheila and me.
  93. 13:26 You didn't show up. That's between me and Sheila. Telephone, excuse me.
  94. 13:32 Hello.
  95. 13:33 Reporters? No reporters.
  96. 13:35 No rebotes.
  97. 13:40 Have you seen this?
  98. 13:51 - You ought to take that out of you. - Wait a minute.
  99. 13:54 Henry's really been very kindly considerate.
  100. 13:56 And he sent me those lovely flowers.
  101. 13:59 Oh, he did, did he?
  102. 14:00 No, the roses.
  103. 14:29 Well, aren't they both my closest friends?
  104. 14:36 And your happiness is ours. Well, we'll be seeing it.
  105. 14:42 Now look here, Tuttle. I'm warning you, it's man to man. Hold it, I'll be right back.
  106. 14:57 Another surprise, Sheila. Champagne. And from Uncle Fred.
  107. 15:03 I'll get another glass.
  108. 15:06 Well...
  109. 15:07 Let's hear something.
  110. 15:11 Paul Roger.
  111. 15:14 Here it is.
  112. 15:15 You know, this was a very happy thought on Uncle Fred's part, darling. Darling!
  113. 15:20 Tuttle, I resent that.
  114. 15:22 In fact, I reselled everything.
  115. 15:24 Sheila.
  116. 15:25 What have you got to say to yourself?
  117. 15:26 What have you got to say for yourself?
  118. 15:29 Where were you?
  119. 15:30 Did you forget there was a wedding?
  120. 15:33 I went to a movie. A movie? Henry, did you hear that?
  121. 15:37 He went to a movie. How was the show, Eric? I don't know. I went to sleep. Asleep? Now listen, you know I wouldn't deliberately go.
  122. 15:43 As a matter of fact, there was a little bachelor party last night.
  123. 15:45 And...
  124. 15:47 Well, when I woke up this morning, I...
  125. 15:48 I was in a movie.
  126. 15:50 You know, I've always wondered what sort of people go to movies early in the morning. Well, now you know.
  127. 15:57 Oh, I think that's sweet. For you, Eric?
  128. 16:02 To the bride.
  129. 16:04 Toshiba.
  130. 16:09 To Uncle Fred. Heaven bless him.
  131. 16:10 Uncle Fred.
  132. 16:12 Bless him.
  133. 16:15 Ah.
  134. 16:17 To three on a honeymoon. Oh, I think that's sweet.
  135. 16:19 And to those who go to movies early in the morning.
  136. 16:23 Now look here, Tuppo. I resent that. That's the third time today you've resented something.
  137. 16:27 What are you going to do about it? Don't you hit him, Eric!
  138. 16:30 Very well, dear, if it makes you feel any happier. Yes, and we'll talk the whole thing over the morning at breakfast.
  139. 16:35 Yes.
  140. 16:36 Alone.
  141. 16:45 You shouldn't have stopped me.
  142. 16:46 I don't have a thresher. Oh, don't, Eric. No.
  143. 16:49 Well, uh...
  144. 16:50 Perhaps another time.
  145. 16:52 Good night, my sweet. Good night.
  146. 17:03 I resent your attitude toward Eric.
  147. 17:06 Now don't you stop resenting things.
  148. 17:09 Oh.
  149. 17:09 Too much, eh?
  150. 17:10 Well, I hope you'll be able to sleep it off. What, on that thing?
  151. 17:16 Do you mind if I go in and get some more things out of my trunk? Uh, no, no.
  152. 17:19 All right.
  153. 17:24 I'm going to go.
  154. 17:26 This must be very unsatisfactory for you, Henry. That's putting it mildly. I mean about your trunk.
  155. 17:33 Well, of course. What do you think I meant?
  156. 17:35 Well, one hardly knows. Frankly, you amaze me.
  157. 17:39 I'm just an average, normal individual. The fact that you seem to have completely overlooked
  158. 17:44 Oh, we're never going to have to try to get along.
  159. 17:46 I don't want people to think you're only my lawyer. With Eric hanging around on this honeymoon, who are they going to think I am?
  160. 17:52 Oh, now, wait a minute. Just because we're in a situation that's a little awkward is no reason for you to lose your temper.
  161. 17:59 My temper!
  162. 18:00 I'm losing my identity. That's right. Show me.
  163. 18:03 Shout at me!
  164. 18:07 I'll tell you one thing.
  165. 18:08 Reynolds has got to clear out of here.
  166. 18:12 Is that so?
  167. 18:14 I suppose you think you can tell me who will and who will not stay in this hotel. Well, that's the thing we're living here. You have a dad. It isn't a man at all.
  168. 18:21 That's right.
  169. 18:22 Keep it up! Keep it up!
  170. 18:24 Well, whether you like it or not, he's going to stay here.
  171. 18:27 He's going to stay because I want him here.
  172. 18:30 We've planned and planned this honeymoon and...
  173. 18:32 The places we'd go and the things we'd do and...
  174. 18:35 And we're going to do them.
  175. 18:38 All right, go ahead and do them. Do one of the APs. And I'm putting an end to this business of being pushed around. First I get pushed in to marry you, and then you start pushing me out.
  176. 18:47 - No, Henry, please. - Now listen to me.
  177. 18:49 I've been in love with you for years. You knew that. That's why you asked me to marry you, and that's why I marry you.
  178. 18:54 At the same time, I don't think you're perfect.
  179. 18:56 I do think you have possibilities. Now, see here, Henry Tuddle. The point is this.
  180. 19:01 You're a sploth, willful, headstrong rat. Now take this business of you marrying me offhand.
  181. 19:06 It was quite in keeping with your general arrogance. Well, Harry, I can't understand you. You've always been so kind and patient. But from now on, things are going to be different.
  182. 19:13 You just bear that in mind, Mrs. Tuttle, and everything will be fine and dandy.
  183. 19:17 I'm sorry I ever married you, Henry Tuggle.
  184. 19:28 Give me a pillow and some covers.
  185. 19:36 *thud*
  186. 19:47 I resent it.
  187. 20:00 *Loud noise*
  188. 20:31 I'm going to go.
  189. 20:57 Henry!
  190. 21:00 Henry?
  191. 21:03 Now, you mustn't feel bad about last night.
  192. 21:05 We're all a little on edge from the champagne.
  193. 21:09 Henry!
  194. 21:11 Henry.
  195. 21:53 Oh!
  196. 22:31 Good morning.
  197. 22:32 Good morning.
  198. 22:33 You look very domestic.
  199. 22:37 I'd rather you didn't sleep on the balcony.
  200. 22:40 The windows and the people. Oh, I didn't sleep on the balcony.
  201. 22:43 Oh, you didn't?
  202. 22:44 No.
  203. 22:45 Where were you?
  204. 22:46 Out.
  205. 22:48 All night?
  206. 22:49 Mm-hmm.
  207. 22:49 That's a habit of mine. Sometimes I come in late,
  208. 22:52 Sometimes I never come in at all.
  209. 22:55 Oh.
  210. 22:56 Oh, would you like some breakfast? Could I send some up for you?
  211. 22:58 I'm having breakfast with Eric. Oh, I forgot.
  212. 23:02 Will you give my apologies to the dear boy for my attitude last night? He's an awfully nice chap. Thank you.
  213. 23:06 See you later. Are you going so late?
  214. 23:10 No.
  215. 23:10 What might that be?
  216. 23:13 It might be laundry.
  217. 23:15 Why don't you call the boy and have him come for it?
  218. 23:18 Flannels, I wash them myself.
  219. 23:20 Oh.
  220. 23:28 I'm going to. You go ahead. I'm going to. A large tomato juice. Horridge.
  221. 23:58 Kibbutt herring, bacon, two eggs, white toast, and a pot of tea. Grave of fruit, toast, and coffee. Doris, is that the lucky bridegroom? Lucky, not the bridegroom. Oh, I don't know. The girl has her point. Have you forgiven me? Yes. Did you sleep well, my sweet? Yes, you do. Never close my eyes, dear girl. I just kept thinking and thinking.
  222. 24:28 - I'll take the truck. - Oh, no, but I couldn't help worrying. You know, we rentals always do. You look so beautiful. Thank you.
  223. 24:40 What's the matter?
  224. 25:10 Why, it's Henry.
  225. 25:13 Well, of course it is. I'd know him anywhere.
  226. 25:24 Did you see that? Oh. When he just did a whole one and part of another one. You mean one and a quarter? Very easy.
  227. 25:40 Oh, my God. That's one more.
  228. 25:44 Now, show it over. Oh, my God. Thank you. Where are you going now? What's going on? I have a date with a couple of remnants. Oh, my God.
  229. 25:55 Bye, girls. Bye.
  230. 26:00 Oh, hello, Peter. Hi, Eric. Hi. Well, what do you make of that? Oh, my God.
  231. 26:06 Wonder if I can file my application.
  232. 26:08 Well, I didn't know you could swim, Henry. I thought if you fell in the water, you'd drown. Well, you see, I... You see, it was like this. When he was six feet old, his father took him out in a boat and threw him into 11 years of water. And it's been sink or swim ever since. Thanks, old boy. I've had breakfast. I'll see you later.
  233. 26:38 They're amazing. The point is, what are we going to do about it? Now, don't you worry. I can handle Henry all right. Is this toast brown enough for you, dear? Yes, I think so. Two lumpsters? That's right, Angel. Cream, huh? Just a spot, baby.
  234. 27:08 I suppose it's modern and all that, but I think it's outrageous.
  235. 27:17 What?
  236. 27:19 Look at that. What? They've no right to print that. I'll sue them. Well, it doesn't do you justice, Eric. It really doesn't. Justice? Justice? Is that all you've been saying? Eric, it's allowed. Oh, look. There they are again.
  237. 27:35 Come on, Sheila.
  238. 27:38 Oh!
  239. 28:08 Oh, no, no. Beastly things, these bicycles, aren't they? Well, don't abuse them. They got us away from those awful reporters. Yeah, and probably into jail for larceny, too.
  240. 28:31 Sheila, we can't go on with this impossible situation.
  241. 28:34 I'm gonna have a word with Tuttle tonight and put an end to this whole fantastic episode.
  242. 28:38 How do you think I feel hearing people call you Mrs. Tuttle? Tuttle? Such a silly name. Oh, I know, darling. It's too dreadful. I must have been out of my mind. Yes, you must. Well, now, wait a minute. What do you think about the time that you... Well, there's Henry. We never get rid of that fellow. And with a blonde.
  243. 29:05 Ha ha! Hello! Hello!
  244. 29:08 A little morning constitutional. Very stimulating. Well, Henry, I didn't know you could ride. Oh, yes, but not a bicycle.
  245. 29:18 Oh, Sheila, I want you to meet Miss Van Orden. Helen, this is my wife.
  246. 29:21 How do you do?
  247. 29:22 Miss Van Orden I'm sorry. This is mr. Eric Reynolds an old friend who came along to help out on the honeymoon well how cozy?
  248. 29:30 How do you do, Miss Van Orth? Come, Sheila.
  249. 29:36 There you are.
  250. 29:42 Give him his head, Eric.
  251. 29:45 We'll see you later.
  252. 29:50 Show it later.
  253. 29:51 Yes, yes, let's do it.
  254. 29:55 Let's do our best.
  255. 29:56 Mm-hmm.
  256. 30:04 Yeah.
  257. 30:10 Eric! Papa! Look!
  258. 30:15 Oh.
  259. 30:18 for you.
  260. 30:19 darling you're not accomplishing a thing but you look so uncomfortable dear look could you shove it sort of uh to me from you uh
  261. 30:25 That's right. Oh, darling, don't press quite so hard.
  262. 30:34 Oh, I wonder where he picked her up.
  263. 30:38 Now, darling, how can you possibly expect me to be interested in where he picked? I... I... well, this thing draped all over me, I mean...
  264. 30:44 Well, one thing's certain. I'm not travelling any further on this instrument. No, I don't think you are.
  265. 30:49 Do you know those bicycles belong to my children?
  266. 30:54 Well, Sheila...
  267. 30:56 Is it possible that you made a mistake?
  268. 30:58 Right.
  269. 30:59 Well, of course, I mean, you know very well that our bicycles have those, uh, those, um, whatchamacallums? - Uh, radios. - Yes, that's right, radios. Yeah, radios. Take the machine, Johnny. Yeah, take the machine, Johnny.
  270. 31:11 Nice little boy. Nice little girl. No, no, no, no, no.
  271. 31:18 Well,
  272. 31:19 I'm glad to have seen you. Yes, it was nice to have met with you too. Goodbye. Come, children.
  273. 31:28 Aha!
  274. 31:30 Charming children.
  275. 31:31 So?
  276. 31:32 We won't back.
  277. 31:34 I don't see the point of ducking those reporters anyway. They're quite nice fellas, really.
  278. 31:57 Back at 7, James. Thank you.
  279. 32:10 Hi, Philip. Eric?
  280. 32:20 She and I are going over to the Gables tonight to the dinner dance.
  281. 32:24 That's if you've no objections, Henry. Not at all. Sheila speaks very highly of your dancing. Sure, she'll enjoy it. Well, that'll leave you free to be with me. That is, if you don't mind, Mrs. Tuttle. Oh, not at all, Miss Van Orden. I think it's awfully nice of you because I wouldn't want Henry to be alone. We'll dine aboard the yacht and it'll be like old times. You know, I never lie on a moonlit deck or listen to that lovely Hawaiian thing, Paradise Isle, without thinking of you, Henry. Henry.
  282. 32:48 Oh, you've known Henry quite some time then? Oh, yes indeed. Why, we met on a cruise of the island two or three years ago. You know, Henry really made that trip for me. Oh, that must have been while I was still in school. Oh, you'll forgive me, darling, but... But you've a smudge of dust on that sweet little nose of yours.
  283. 33:33 Lovely. Isn't it?
  284. 33:37 Eric's selected. It's his favorite of my entire trousseau.
  285. 33:41 Eric has excellent taste. Hasn't he? Cigarette? Yes.
  286. 33:55 Thank you. Why is it pleasant out here tonight. Music. Moonlight. All there's a falling star. Make a wish.
  287. 34:12 Oh that must be Eric. Honey I don't want to go. Honey. So would I.
  288. 34:22 Come in.
  289. 34:29 - Oh, darling. - Oh, darling.
  290. 34:31 I'll give you a little bit.
  291. 34:35 Oh, hello, Henry. You don't mind, of course, old man.
  292. 34:37 Why should I object?
  293. 34:39 I'm only the man she married. Yeah, that's right.
  294. 34:41 There you are, my sweet. I'll put them on. We'll be right back. Ah, cigarette. That one? Like so.
  295. 34:57 Now, look here, Taro. I want to get out of here. Oh, no, really? When are you leaving? I mean, you must understand, this is hardly the sort of honeymoon that I'd planned. Nor I, but...
  296. 35:07 Here we are. Yes, here we are. And we can't get out of here until something's done about it. We? Yes. Sheila and me. Oh, uh, well, how are you going to handle it? I, uh, well, you're the lawyer. Aye, it isn't up to me. It's up to talking to the first part. So far, she's handled everything delightfully. Personally, I'm, I'm very happy.
  297. 35:28 You are? Good heavens.
  298. 35:45 Did we come to any conclusion? Not that I know of. I thought we did, yeah.
  299. 36:02 I'm going to go.
  300. 36:09 Oh, hello, folks.
  301. 36:10 Well, Henry, I didn't know you played tennis. No, you didn't know I played tennis, did you? Tennis? I should say he does. He taught me two years ago at Palm Beach, and I've won three cups already.
  302. 36:19 Proud of me? What do you think? Sheila, I want you to meet Miss Evans, Claire, my wife. How do you do, Mrs. Tuttle? How do you do? This is Mr. Eric Reynolds, who just came along to me. Isn't it a lovely morning, Miss Evans? Perfectly gorgeous, Mr. Reynolds. We're going to meet Helen. Have a nice day. Don't look for us till this evening. Nice to have met you both. See you later.
  303. 36:49 Well, he certainly seems to be having a good time. I can't think of what a weight that takes off my mind.
  304. 37:06 Oh, this is wonderful.
  305. 37:07 Alone together, away from all that nonsense.
  306. 37:10 I think it's all too silly.
  307. 37:12 I can't understand all those girls simply throwing themselves at Henry's head. Oh, it's the publicity. Oh.
  308. 37:17 Oh, publicity alone wouldn't have been enough.
  309. 37:19 There must have been something in Henry all along that none of us ever suspected.
  310. 37:23 Oh, you skittles. Now, now, don't antagonize it, dear. You merely make it mad.
  311. 37:28 Well, I'm certainly not going to stay here and get stung just to keep a mosquito in a good humor.
  312. 37:32 All the places alive with them.
  313. 37:34 Yeah, it's the water. Well, let's get out of here. Come on.
  314. 37:38 You bring the things, dear.
  315. 37:41 Yes, sweet.
  316. 38:05 Eric!
  317. 38:05 Yes, my sweet.
  318. 38:13 Oh, this is lovely. It's meadow, isn't it?
  319. 38:16 Oh, beautiful.
  320. 38:25 On my shoulder, honey. Oh.
  321. 38:28 Yes.
  322. 38:30 You know, Eric...
  323. 38:32 It just dawned on me that it's probably the glamour of that Van Orden girl that appeals to Henry. All those ostentatious yachts and country houses and things. Now darling, that's none of our business.
  324. 38:44 Oh!
  325. 38:48 Oh, Eric.
  326. 38:49 Eric Bowles. Oh!
  327. 38:51 Don't be silly, they're cars. Cars are all right. Well, not by me, they're not. Oh, get them on.
  328. 38:56 Trespassing, huh?
  329. 38:57 Can't you folks read? Of course we can read.
  330. 39:00 Where did that come from?
  331. 39:02 Now, don't tell me you didn't see it. That sign says no trespassing and that's what it means.
  332. 39:07 Now get.
  333. 39:08 We were just leaving, but don't let a little authority go to your head on us.
  334. 39:12 Oh, pretty fresh, ain't ya? Let me help you, Doctor. Ah, striking an officer, huh? Resistant arrest. You'll go to jail for this. Come on, get it.
  335. 39:21 Come on!
  336. 39:22 Huh.
  337. 39:28 Well, this is a fine mess.
  338. 39:30 Could I have some more coffee, darling?
  339. 39:33 Here, pour it yourself.
  340. 39:34 Thank you, sweet.
  341. 39:35 Don't sweep me. If it wasn't for you, we wouldn't be in here.
  342. 39:38 Why me?
  343. 39:40 I didn't pick the spot to picnic. No, but you poked the policeman.
  344. 39:43 I didn't poke him on purpose.
  345. 39:44 If I had, he'd still be out and we wouldn't be in. Well, I can see nothing's going to be done until I find Henry.
  346. 39:50 Henry is probably out with that Van Orden girl. Oh, he is, is he?
  347. 39:55 that fan-orban girl.
  348. 39:57 She's the type who merely says, "I'm going to do this thing."
  349. 40:00 there, so you're going to do that.
  350. 40:02 What are you mumbling about? Nothing. I'm talking to myself. Nobody better to talk to. Thank you.
  351. 40:08 She's in the habit of taking what she wants. And if she wants Henry, well, she'll probably take him. As far as I've been searching, heaven. Anybody in heaven. Don't you talk about Henry when he's not here. I'll talk about Henry any way I please.
  352. 40:19 As a matter of fact, if Henry were here, I'd tell him a few things. That's the last day.
  353. 40:22 I'm sorry.
  354. 40:24 Heh!
  355. 40:25 Maybe you two could fight better outside.
  356. 40:28 Come on.
  357. 40:29 All right.
  358. 40:31 Well, I'm very glad to see that you've come to your senses at last, officer.
  359. 40:34 Yeah.
  360. 40:35 It's a good thing for you too.
  361. 40:37 that you know Miss Van Alten
  362. 40:38 Oh, she got herself.
  363. 40:46 Oh, he did, did he? Well, I stay here. No, you don't. I'm not going back there alone.
  364. 40:51 What I can't understand, young woman, is how you can go around with a sap like this
  365. 40:55 When you got a nice fellow like Tuttle for a husband.
  366. 40:57 Now look here, officer.
  367. 40:59 That first suck that I gave you was a mistake.
  368. 41:01 This one. - Yeah? Well, go ahead and do it. Do it!
  369. 41:05 Skip it.
  370. 41:22 Of course you can ignore me if I'm too personal, but... but what's it all about, Henry? Huh? Oh, forgive me, Helen. I'm afraid I'm not even being decently polite. What's what all about? Oh, this little three-cornered honeymoon and... and you and... Helen, will you please understand that I don't want to talk about it? You don't have to, Henry Tuttle. I'm way ahead of you. You're in love. I have been for a long time. You seem to be the first one to have suspected it.
  371. 41:52 But you're sweet, Henry, and if I can help you, just give me a cue and I'll play my part and try to like it. Helen, you're a brick. Well, I suppose your little bride will be coming home from jail any minute now, so I'll be running along. But you're coming tonight, Henry. I most certainly am.
  372. 42:42 It was lucky for us that Henry got it.
  373. 42:43 Oh, nothing of the sort. I have influential friends myself.
  374. 42:47 You notice he didn't wait.
  375. 42:48 Probably too occupied with Helen Van Orden.
  376. 42:51 I was wondering...
  377. 42:53 I'm wondering what?
  378. 42:54 Well, whether he'd really be happy with her or not.
  379. 42:57 I think I should stay married to him long enough to give him a chance to get over it.
  380. 43:01 Oh, you do, do you?
  381. 43:02 Well, I'm going to have something to say about that.
  382. 43:05 Well, Eric, I feel very responsible for Henry. Oh!
  383. 43:08 Drat Henry! Haven't you put me through enough today without cursing at me?
  384. 43:13 You may consider our engagement broken.
  385. 43:16 Oh, Sheila!
  386. 43:22 Tell of my dreams I love you
  387. 43:26 I asked you
  388. 43:30 *singing*
  389. 43:35 If I could just...
  390. 43:38 Hello.
  391. 43:38 Hello.
  392. 43:43 Oh yes, I do a lot of things.
  393. 43:57 Don't mention it.
  394. 43:59 You didn't come by yourself, did you know I was busy. I sent the money down by special messenger.
  395. 44:05 Da da da da da da da da, there's only one.
  396. 44:10 Girl of mine. You can't get her out of your mind, can you?
  397. 44:14 Ooh.
  398. 44:15 The girl of your dreams.
  399. 44:16 Van Orden.
  400. 44:18 Don't be silly.
  401. 44:21 Well, I'm off. Thanks for the use of the room.
  402. 44:23 Where are you going?
  403. 44:25 Um...
  404. 44:25 Garden point.
  405. 44:26 Hmm?
  406. 44:28 Miss Van Ordens.
  407. 44:30 Da da da da dee da da
  408. 44:32 That's not the reason.
  409. 44:39 Eric Reynolds' room, please.
  410. 44:42 He's not in.
  411. 44:49 Oh.
  412. 44:50 Oh, hard boiled eggs.
  413. 44:55 Picnic!
  414. 45:04 Na-da-da-da-da-da-da!
  415. 45:06 Ah!
  416. 45:08 Girl of life!
  417. 45:10 James!
  418. 45:21 Beautiful, huh? Well, I'm glad you like it. That's it.
  419. 45:39 Henry, you're not fooling me for one moment. Helen, that's very unkind. Why, you know you're not having a good time. But I am.
  420. 45:51 I certainly must be an awful failure if I can't make you take your mind off your troubles. Oh, you're doing a very good job.
  421. 46:00 Sheila.
  422. 46:12 All right. Run along. Now, trail.
  423. 46:21 Sheila, this is a surprise. I can't see why it's surprising for a man to find his own wife at a party where he is himself. If you want to put it that way.
  424. 46:32 Well, Mrs. Tuttle, how very charming. I didn't think you'd mind, Miss Van Orden, since my husband is such a welcome guest. Mind? Why, Henry and I are terribly pleased, aren't we, Henry? Yes, yes, certainly we are.
  425. 46:51 I had the pleasure of crashing. Where's Eric? He went into town. On his bicycle? Sorry. Yes, he does seem to be a rather unique person, doesn't he? That's exactly what I like about him. Oh, yes. I suppose you understand him. Of course, I imagine he grows on one. Not at all. You see, you either like Eric or you don't like him, right off. Oh, really? How interesting. Well, well, do I intrude? Oh, no, Clifford.
  426. 47:18 Mrs. Tuttle, this is Mr. Van Fleet.
  427. 47:20 This is a great pleasure, Mrs. Tuttle.
  428. 47:22 Mr. Van Fleet? Well, aren't you dancing? Oh, may I? With me.
  429. 47:27 Why not? You will excuse us.
  430. 47:57 You do everything well. You even dance better than anybody else. That is my inspiration. Henry, you never used to say things like that. You never gave me half a chance.
  431. 48:19 Will you play Paradise Isle, please?
  432. 48:34 Henry, you remember?
  433. 48:38 You don't mind, do you, dear, for old times' sake? Not at all.
  434. 48:57 Pound trees sway while treadwinds sigh. Soft guitars of lullaby.
  435. 49:39 I won't keep him long, dear. That's quite all right.
  436. 49:43 Well, it's a marvelous night. For what? Well, for a party like this. Music, moonlight, romance.
  437. 50:13 sick and tired of the word. Oh, no. Not you. You were made for it. You know, it seems difficult to think of you as a married woman, Mrs. Tutter. You seem such a child. That's right. I am only a child. And it's long past my bedtime. Good night.
  438. 50:49 *gunshot*
  439. 50:52 Where?
  440. 50:53 That was very cute.
  441. 50:55 Mmm.
  442. 50:58 Oh.
  443. 50:59 Charming of you, Mrs. Tuttle.
  444. 51:02 Henry are out and latted out with Henry.
  445. 51:06 Paradiso.
  446. 51:07 Remember, Henry?
  447. 51:09 You don't mind, do you?
  448. 51:12 I won't keep him long.
  449. 51:15 Oh, that woman like the choker!
  450. 51:20 Oh.
  451. 51:23 No!
  452. 51:26 Oh, ho, ho, ho, ho, ho.
  453. 51:33 *thunk*
  454. 51:43 Oh.
  455. 51:47 with
  456. 51:57 for
  457. 52:00 I'm not.
  458. 52:02 Oh, so did you.
  459. 52:03 Yes.
  460. 52:04 When you can't come in.
  461. 52:06 Why not?
  462. 52:07 Well, you forget that I broke our engagement.
  463. 52:10 Oh, there. Don't be silly.
  464. 52:17 Eric, I don't want you here.
  465. 52:19 Henry isn't home.
  466. 52:20 Well, that seems difficult to believe.
  467. 52:22 Oh, can't you understand? I don't want to see you anymore.
  468. 52:26 Oh, now, honey, honey, you're all upset.
  469. 52:29 Now, I know I've been a fat head over this business, but...
  470. 52:32 We'll pack up and get out of here, and we'll see your lawyer in the morning. Naturally.
  471. 52:36 Henry's my lawyer.
  472. 52:37 Well, you can't expect him to get us a divorce.
  473. 52:39 All right, we'll see my lawyer. Oh, that one.
  474. 52:42 What's the matter with him? Well, what's he ever done compared to Henry?
  475. 52:45 Henry.
  476. 52:46 What is this Henry business?
  477. 52:48 Is it possible that you're taking this marriage seriously?
  478. 52:50 Have I ever done anything to make you think I don't take marriage seriously?
  479. 52:54 You got into this business through a madcap idea of your own.
  480. 52:57 Which has made monkeys of us all. Well, maybe you feel like a monkey. But I don't.
  481. 53:01 And certainly Henry doesn't.
  482. 53:03 Well, if he doesn't, he's certainly behaving like one. I never saw a man go so completely playboy in my life. There's only a pose, Eric.
  483. 53:09 Actually, I think the poor boy is very unhappy. Yes, you think so, because it flatters your vanity to think so. I suppose it flattered my vanity for you to go to a movie, where you should have been at our wedding. Well, I showed up eventually, didn't I? Yes, an hour late. Fifteen minutes.
  484. 53:21 Now what is more, if you hadn't gone off half-cocked, we'd have been spared all this nonsense. Are you blaming me? Were you impossible, egotistical idiot?
  485. 53:29 If you won't get out...
  486. 53:30 I'll lock myself in my room. Oh, no, you don't. You're not going to let me down like this. I've got my prestige to consider. Prestige? Well, why didn't you consider that before? You know, what you need is a jolly good spanking. Oh, you wouldn't dare. Oh, wouldn't I? I am buying intruding. Yes, in effect, you are.
  487. 53:47 This is between Sheila and me.
  488. 53:49 Look here, Tuttle, I resent this interference. Reset? That's the word. It reminds me of something I've wanted to do for a long time. And what may that be? Knock your block off. It's perfectly all right with me.
  489. 54:03 Oh!
  490. 54:06 Oh, Henry, I didn't know you could fight.
  491. 54:10 Get up and I'll do it again.
  492. 54:12 Quite unnecessary.
  493. 54:13 All right.
  494. 54:15 You've made me see the daylight.
  495. 54:17 Obviously, Sheila and I are temperamentally unsuited.
  496. 54:20 I, uh...
  497. 54:22 Wish you both the best and happiness.
  498. 54:24 If by any chance... there any, er...
  499. 54:29 I'll send them a pair of bicycles.
  500. 54:32 Oh!
  501. 54:33 All right.
  502. 54:34 That was most cowardly.
  503. 54:39 Well, I mean, what's weird? I've had the most hectic honeymoon. Oh, yes, I understand that thoroughly.
  504. 54:49 Look, there's one thing I do resent.
  505. 55:01 Oh, Henry, I think you're wonderful.
  506. 55:03 Get in there and pack. Packed?
  507. 55:05 Yes, we're leaving.
  508. 55:06 Maybe. I'm just beginning to enjoy myself. Well, you'll enjoy yourself in Reno, too. Reno? Oh, hey, I...
  509. 55:12 I won't go to Reno! Do you hear me? I won't go!
  510. 55:23 Why are you ordering me to Reno?
  511. 55:25 Order you.
  512. 55:26 What's your plan?
  513. 55:28 That was a long time ago.
  514. 55:31 I've changed my mind. I've made up mine.
  515. 55:37 I want divorce you.
  516. 55:39 Then I'll divorce you.
  517. 55:43 Well, you can't. You haven't any grounds. You forget that I'm a lawyer.
  518. 55:49 Well, what grounds have you?
  519. 55:51 You'll read them in my complaint. Oh, that's not fair. I haven't any lawyers.
  520. 55:56 You'll find plenty of them in Reno.
  521. 55:59 You married me, Henry Tuttle.
  522. 56:01 And I'm your wife.
  523. 56:03 I'm beginning to like married life.
  524. 56:06 And I won't go to Reno. All right, stay here. I'm off to New York.
  525. 56:12 Hello?
  526. 56:13 Henry Tuttle speaking.
  527. 56:15 Yes, I want to get a reservation on the 110.
  528. 56:17 To New York.
  529. 56:20 You can't go to New York. That's desertion. All right, sue me.
  530. 56:24 Oh.
  531. 56:24 Oh, Harry!
  532. 56:25 I think I want to pay you!
  533. 56:29 You missed.
  534. 56:31 You can't leave me alone!
  535. 56:34 You won't be alone.
  536. 56:35 Here's Snokems.
  537. 56:39 Henry Tunnel! If you do this to me...
  538. 56:42 You'll be sorry. You're... You're horrible.
  539. 56:46 I'll do something different.
  540. 57:00 All right.
  541. 57:03 Sheila!
  542. 57:06 Come back here, you little fool! I don't know!
  543. 57:11 Don't you come near me! You'll fall! I don't care. I don't care what happens if you're going to divorce me. I'm not going to divorce you, woman.
  544. 57:20 Let's say you love me.
  545. 57:21 I love you. I'm saying this every minute.
  546. 57:24 all right i love you
  547. 57:27 Say he'll never leave me.
  548. 57:29 I'll never leave you.
  549. 57:30 As long as you live? As long as I live.
  550. 57:33 Now will you come back?
  551. 57:36 *laughter*
  552. 57:39 Oh, Henry!
  553. 57:41 Little Fred! Don't look down. Don't look down. Come on, now look at me.
  554. 57:43 I've got you! You sap. You wonderful little sap.
  555. 58:15 Oh, oh!
  556. 58:22 Oh, Henry.
  557. 58:24 I love you.

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