0:121 of 1 shots sampled
Brideless Groom (1947)
No renewal found Free in the US since 1 January 1976, on the registry's reading: registration LP1195 of 1947 by Columbia Pictures Corp., Hollywood was not renewed in the volumes searched. Record.
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- brideless_groom on the Internet Archive; released 1947
- Read
- 124 shots over 16:38 · 45 beats in 15 sequences · 195 transcript lines · JSON
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- Brideless Groom No renewal found
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- Wikimedia Commons, public domain
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How this page was made
124 shots over 16:38, read from the Internet Archive copy brideless_groom (brideless_groom.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Brideless Groom No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 124 shots judged colour), average shot 8.1s long, a frontal face detected in 30% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1947 (Internet Archive).
45 beats in 15 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. 45 of 45 beats annotated, 45 passed the checks, 0 flagged.
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
0:12Sequence 2 from 0:25
2. Private office
Model synopsis: A man in a dark suit gestures while speaking to a woman in a light blouse; another man enters and interacts with them. The scene takes place indoors, with dialogue indicating a musical or instructional context.
Named: Professor (t:0:39), Miss Tinklemeyer (t:0:38), Doctor (t:0:47). 3 people observed.
“Now, you see, Miss Tinklemeyer,” 0:38 · “That's the way it should be sung. Shall we try it again? I'll try anything for you, Professor. Oh, that's fine, fine.” 0:39
1:031 of 1 shots sampled
3. Living room
Model synopsis: A man in a suit stands beside a piano while a woman in a dress sings; another man sits at the piano. The setting is an interior room with furniture and a bookcase.
3 people observed.
1:111 of 1 shots sampled
4. Living room
Model synopsis: A man in a tuxedo stands near a piano while another man sits at it; the scene is indoors with curtains and a lamp visible. No dialogue or on-screen text is present in this beat.
2 people observed.
5. Living room
Model synopsis: A man in a suit conducts a woman singing while another man plays piano; the singer reacts with surprise and the pianist grimaces. The transcript includes musical direction and exclamations during the performance.
- Man in suit conducts woman singing [frame:1]
- Man conducts woman, woman holds sheet music [frame:2]
- Woman laughs, man in suit looks surprised [frame:3]
- 1 more under Evidence and details.
3 people observed.
“No, no. You are too portissimo. Too allegro, too quantro. Oh, is that bad? It ain't good. You're supposed to be singing about the voices of …” 1:23 · “You want it more like a bird! That's it.” 1:36
2:221 of 1 shots sampled
6. Private office
Model synopsis: A man in a tuxedo stands beside a woman in a frilly dress holding sheet music; a seated man in a suit watches. The transcript includes screams, exclamations, and dialogue about vocal lessons and gargling with razor blades.
3 people observed.
“We've done enough for the day. You might hurt your voice. You know, bend it, crack it, or break it or something.” 2:34 · “Oh, Professor, you're so considerate. I'm just crazy about you.” 2:34
7. Private office
Model synopsis: Two men discuss a recently deceased uncle's will, which requires one of them to marry within 48 hours to inherit $500,000. They decide to look for a bride, with one suggesting calling women from a phone booth down the hall.
- The man in the tuxedo reacts with surprise to the inheritance condition. [frame:2]
3 people observed.
“How would you like to be married to a dame like that?” 2:55 · “I ought to be a little more careful. Well, shut up and listen. Do you remember your Uncle Caleb?” 2:59
4:101 of 1 shots sampled
8. Private office
Model synopsis: Three men in suits stand indoors; one hands coins to another while speaking. No names are spoken, and no on-screen text is visible.
- Three men stand together; one hands coins to another. [frame:1]
3 people observed.
“Oh!” 4:07 · “Here, here's six nickels. That makes 17. You ought to hit the jackpot with one of them.” 4:08
9. Private office
Model synopsis: A man in a suit and bow tie makes a phone call while others watch; the call is to a woman named Ginger Grey, whom he asks to marry him. The scene ends with the man and another person struggling with a telephone receiver and a buck, causing a commotion.
- A man is seen talking on the phone, smiling. [frame:2]
- The man on the phone reacts with surprise after the call. [frame:2]
- Two men struggle with a telephone receiver and a buck, causing a commotion. [frame:4]
Named: Shem (t:4:26), Ginger Grey (t:4:34). 4 people observed.
“Give me Susquehanna 2222.” 4:21 · “Is this Ginger Grey?” 4:34
10. Hallway
Model synopsis: A man in a suit is shown in a hallway and then interacting with another man near a telephone. The transcript indicates they are attempting to use the phone while one is holding the receiver in an unusual position.
- A man in a suit walks down a hallway while adjusting his tie. [frame:1]
- Two men stand close together near a telephone, one holding the receiver to his ear. [frame:2]
- The man in the suit adjusts his collar while speaking. [frame:3]
- 1 more under Evidence and details.
2 people observed.
“Hi.” 5:18 · “Easy, easy, easy. Get off your foot. Look at what I got here.” 5:18
11. Private office
Model synopsis: A man in a suit is seen in various poses in an interior room while speaking about a situation involving a book and a heart. Another person is visible in a dark frame, appearing to be restrained.
- Man in suit stands with arms outstretched. [frame:1]
- Person appears to be restrained and leaning forward. [frame:2]
- Man in suit looks upward, standing near a vase of flowers. [frame:3]
- 1 more under Evidence and details.
2 people observed.
“Wait a minute. If I come around like this one...” 5:45 · “Well, it don't feel as good as what I did.” 5:52
12. Hallway
Model synopsis: A man in a suit is seen in a hallway, then reacts to someone off-screen. The transcript contains a greeting spoken during this interval.
- A man in a suit reacts with his mouth open to someone off-screen. [frame:2]
2 people observed.
“How you doin'?” 6:20
13. Private office
Model synopsis: Two men and a woman are in a room; one man is grabbed by the face, another is seen with a distorted face, and the woman speaks to the man in the suit. The dialogue suggests a proposal and urgency to leave.
- A man in a hat grabs another man's face. [frame:1]
- A man in a suit and a woman stand facing each other, the man holding a small object. [frame:2]
- A man with a distorted face peers through a doorway. [frame:3]
- 1 more under Evidence and details.
3 people observed.
“Get your hand out of my face. That ain't my hand, it's your hand. All right, you asked for it.” 6:26 · “Would you like to get married? What? Get married. Well, I don't know. But you are kind of cute at that. Oh, it's not me. It's him.” 6:36
14. Living room
Model synopsis: A man is urged to prepare for a deadline while others discuss a woman named Miss Hopkins. The group is in a room with furniture and a clock, and one man is being groomed.
- A group of men stand together in a room, one speaking. [frame:2]
- A man in a vest is shaving while another man holds his arm. [frame:3]
- A man applies shaving cream to his face. [frame:4]
Named: Shep (t:7:14). 5 people observed.
“You've got to get out of us. All right. There isn't much time left. You know that, don't you? All right. What happened?” 6:48 · “Who's the new dame? A Miss Hopkins.” 7:12
15. Private office
Model synopsis: A man in a suit is startled while another man holds a towel and a box; later, a man with a towel on his face is told to hold still. A character named Mo is mentioned, and a story about inheriting money is discussed.
- A man in a suit kneels and looks startled. [frame:1]
- A man holds a towel and a box while standing. [frame:2]
- A man in a vest stands near a seated man with a towel on his face. [frame:3]
- 1 more under Evidence and details.
Named: Mo (t:7:44). 4 people observed.
“Oh, oh, Mo! Mo! I'm blind! You're pointing my eye out! Get a towel, Mo! Get a towel! Oh, ho, ho, ho, ho, ho, ho!” 7:44 · “Say, I forgot to tell you, when the afternoon papers come out, you're going to be famous. How come?” 8:15
Sequence 3 from 8:39
8:411 of 1 shots sampled
16. Other
Model synopsis: A person is bent over on the floor in a dimly lit interior space, with another person standing nearby. No dialogue or on-screen text is present in this beat.
- A person is bent over on the floor. [frame:1]
2 people observed.
Sequence 4 from 8:43
17. Living room
Model synopsis: A man in a white shirt is visible in a room with bookshelves and a lamp; another man in a suit is seen ironing. No names are spoken, and no time of day or period is established.
- A man in a white shirt is seated in a room with bookshelves. [frame:1]
- A man in a suit is ironing. [frame:2]
2 people observed.
“Oh, poor man, seven years old, I've got a look.” 8:46 · “Oh!” 8:53
18. Private office
Model synopsis: A man in a suit kneels and examines something while another man stands nearby; later, one man holds the other's arm as he reacts to a mirror. A third frame shows a close-up of a table with objects and a hand. The transcript includes exclamations about a head being off and a mention of half a million dollars.
- A man in a suit kneels and examines something in his hands. [frame:1]
- A man stands in front of a mirror, reacting to his reflection. [frame:2]
- One man holds another man's arm as he looks at himself. [frame:3]
- 1 more under Evidence and details.
3 people observed.
“Hey, I cut off my head. I cut off my head. Mo, my head is off. Mo, my head is off. My head is off.” 9:06 · “And as pretty as a picture. Yeah, but Nate. Oh, get going. This means half a million dollars. I know what it means.” 9:15
19. Private office
Model synopsis: Two men in suits encourage a third man who then walks away from the camera. The dialogue suggests encouragement before an event. No named individuals appear.
- Three men stand close together; one pats another on the back. [frame:1]
- One man walks away from the camera toward a doorway. [frame:2]
3 people observed.
“You look good. You look great, kid. You're a cinch. Go to it.” 9:35 · “Oh, come on, come on.” 9:38
9:471 of 1 shots sampled
20. Private office
Model synopsis: Two men peek from behind a door frame into a room containing a wooden chair. The scene is shot in black and white with studio lighting.
2 people observed.
21. Private office
Model synopsis: A man in a suit opens a door and greets a woman; they embrace while another man watches from behind a door. A director calls 'Cut it' after the scene.
- A man opens a door and greets a woman. [frame:1]
- A man peeks from behind a door and points. [frame:2]
- A man and woman embrace and kiss. [frame:3]
- 1 more under Evidence and details.
3 people observed.
“Help me.” 9:52 · “Hello. Oh, hello. Come in. Cousin Basil. Oh, I'm so happy to see you. I, I... I've just been dying to meet you. You're even cuter than that …” 9:56
22. Living room
Model synopsis: A woman greets a man she believes is her cousin Basil, then reacts with shock and anger when she realizes he is not. The man is later seen being dragged down a hallway by another man.
- A man is dragged down a hallway by another man. [frame:4]
Named: Miss Hopkins (t:10:37), Cousin Basil (t:10:24). 3 people observed.
“Oh, you must be exhausted after your long trip. Sit down. Let me look at you, Cousin Basil.” 10:24 · “Yes, this is Miss Hopkins.” 10:37
23. Private office
Model synopsis: A woman in a light dress is surrounded by men in suits in an indoor setting; one man holds her arm while another speaks. A transcript line mentions a rushed marriage license and a 'dreamboat,' indicating a sudden proposal or wedding plan.
- A woman is held by two men while another man stands nearby. [frame:1]
- The woman stands alone in the center as men gather around her in a room with a piano. [frame:2]
5 people observed.
“Get up, get up. What happened, kid? Can I help it if I ain't cousin Basil? Oh, Professor, are you all right? Oh, I'm fine. Oh.” 11:00 · “Professor, this is so sudden. You mean you'll really marry him? Oh, of course. He's my little old dreamboat. Your little dreamboat is sailin…” 11:14
Sequence 5 from 11:46
11:551 of 1 shots sampled
24. Private office
Model synopsis: Two men are in a room; one is on the phone, reacting to news about women who learned of $500,000. The other man stands beside him, listening. The transcript indicates the call is from an apartment clerk.
- A man holds a telephone receiver to his ear and appears to shout into it. [frame:1]
2 people observed.
“Hello?” 11:46 · “Mr. Howard!” 11:49
Sequence 6 from 12:05
25. Living room
Model synopsis: Four men are in a room with a piano; one is searching inside it while others watch. A voice urges them to hurry, mentioning a ring and the time being a quarter of six.
- A man leans over a piano, looking inside. [frame:2]
- A man is bent over the piano, appearing distressed. [frame:3]
- A man is lying face down on the piano, hands gripping it. [frame:4]
4 people observed.
“Come on, pal. We've got to make this fast. Have you got the ring?” 12:05 · “Oh! It wasn't a piano.” 12:11
26. Living room
Model synopsis: A man covers his face in distress while another man stands nearby; the transcript includes apologetic exclamations. The setting appears to be an interior room with furniture and a framed picture on the wall.
- A man covers his face with his hand. [frame:1]
- Another man stands nearby, partially visible. [frame:2]
2 people observed.
“Oh!” 12:42 · “Oh, I'm awful. Sorry. So am I.” 12:43
27. Private office
Model synopsis: A man is tangled with wires near a piano while others react; one man falls to the floor as another holds a long object. The scene takes place indoors with multiple men in suits and a piano visible.
- A man falls to the floor near a piano while others stand around. [frame:1]
- A man holds a long object while another lies on the floor. [frame:2]
5 people observed.
“Oh!” 12:59 · “Oh, he's all tangled up with wires. All right, well, back him up and we'll break him out of the way.” 12:59
13:241 of 1 shots sampled
28. Private office
Model synopsis: A man in a suit kneels while others stand around him in a room with furniture and a wall-mounted object; someone speaks about getting a ring and preparing for a kickoff. No names are spoken that can be linked to visible individuals.
- A man kneels while others stand around him in a room. [frame:1]
4 people observed.
“Easy. Now wait. Get the stuff off. Oh, oh, oh.” 13:14 · “I'm a few minutes left and no ring, no nothing. Wait a minute, fellas. Wait a minute.” 13:21
29. Private office
Model synopsis: A group of people in formal attire are gathered in a room, reacting to a situation involving a bride and a proposal. Two men in suits are seen standing together, while others appear to be in a state of surprise or urgency.
- A group of people are gathered in a room, reacting to a situation. [frame:1]
- A man in a suit is being held by a woman while others look on. [frame:2]
- Two men in suits are standing together, looking concerned. [frame:3]
- 1 more under Evidence and details.
Named: Toodles (t:13:45). 5 people observed.
“Who is this character?” 13:42 · “She's the bride. Oh, yeah? Not while I got my strength.” 13:45
14:111 of 1 shots sampled
30. Living room
Model synopsis: A group of people in formal attire are gathered in a room, with some embracing and others standing nearby. No dialogue or on-screen text is present in this beat.
6 people observed.
Sequence 7 from 14:11
14:131 of 1 shots sampled
31. Sidewalk
Model synopsis: A close-up shot shows the lower legs and feet of two people walking on a cobblestone surface. One person wears dark trousers and shiny shoes; the other wears a light-colored skirt or dress and dark heels.
2 people observed.
Sequence 8 from 14:14
14:151 of 1 shots sampled
32. Private office
Model synopsis: A group of people are gathered in a room; one man is being held by others while another man stands nearby. No dialogue is present in this beat.
5 people observed.
Sequence 9 from 14:17
14:181 of 1 shots sampled
33. Cobblestone street
Model synopsis: A person's lower legs and feet are visible walking on a cobblestone surface. No other people, objects, or dialogue are present in this beat.
- A person walks on cobblestones. [frame:1]
1 person observed.
Sequence 10 from 14:18
14:201 of 1 shots sampled
34. Other
Model synopsis: A woman stands in a room while a man lies on the floor and another man leans over him. The setting appears to be an interior space with plain walls and minimal furnishings.
3 people observed.
Sequence 11 from 14:21
14:221 of 1 shots sampled
35. Private office
Model synopsis: A woman in a white dress leans over a seated man while another man in a suit stands nearby; a bicycle hangs on the wall. No dialogue or on-screen text is present in this beat.
3 people observed.
36. Private office
Model synopsis: A woman pleads with a man in a suit who appears to be an officiant, while another man in a suit reacts with surprise. The scene takes place indoors, with a window and curtains visible in the background.
- A woman raises her hand and pleads with an officiant. [frame:1]
- A man in a suit reacts with surprise while another man holds a book. [frame:2]
4 people observed.
“Oh, no, Justice, please. Please. Hurry up.” 14:24 · “Yes, you're just in there. Hold hands, you love bird.” 14:24
Sequence 12 from 14:36
14:371 of 1 shots sampled
37. Living room
Model synopsis: A person in a suit has a birdcage over their head, seated on a floral-patterned couch. The background includes a framed picture on the wall.
1 person observed.
Sequence 13 from 14:37
38. Living room
Model synopsis: A woman in a dark dress strikes another person with a birdcage; the struck person bends over. Another woman holds up the birdcage, revealing a man inside. Three women in uniform-like attire stand together, one speaking.
- A woman strikes another person with a birdcage. [frame:1]
- The struck person bends over in pain. [frame:2]
- A woman holds up a birdcage containing a man. [frame:3]
- 1 more under Evidence and details.
7 people observed.
“Oh, my goodness.” 14:39 · “Ow! Oh! Oh, no!” 14:47
39. Private office
Model synopsis: Two men stand in a room with firearms on the wall as one holds a gun; a woman in a hat is then seen with two other women before a chaotic scene where a man is struck; finally, a woman sits at a desk holding a gun. A proposal is rejected during this sequence.
- A man holds a gun while standing next to another man in a room with firearms on the wall. [frame:1]
- Three women are gathered, one facing the other two. [frame:2]
- A man is struck and recoils while another man watches. [frame:3]
- 1 more under Evidence and details.
6 people observed.
“You wouldn't hit a lady with that.” 14:53 · “Use this, it's bigger. Oh, no.” 14:55
40. Living room
Model synopsis: A man in a suit is seen holding a shotgun while another man is grabbed from behind in a room with a lamp and door. A woman in a dark dress and gloves smiles while leaning on a table, with a painting visible behind her.
- A man in a light suit is grabbed from behind by another man. [frame:1]
- A man in a dark suit holds a shotgun while another man is being restrained. [frame:2]
- A woman in a dark dress and gloves leans on a table, smiling. [frame:3]
3 people observed.
41. Private office
Model synopsis: Two men in suits are in a room; one stands while the other sits at a desk. A woman in a suit is seen from behind as a man adjusts her collar.
4 people observed.
42. Private office
Model synopsis: A man in a suit screams while seated; another man is held by the hair; a woman pleads with someone named Mr. Buzzard. The setting appears to be an interior room with furniture and framed art.
- A man in a suit screams while seated in a chair. [frame:1]
- A woman gestures dramatically while standing over a man lying on the floor. [frame:2]
- A woman grabs a man by the hair while he grimaces. [frame:3]
- 1 more under Evidence and details.
Named: Larry (t:15:33), Mr. Buzzard (t:16:00). 6 people observed.
“I'm getting a headache! Oh, it's your headache. Oh! Oh, Larry, enough to put this down! Larry! Hold still, hold still, Larry! Oh!” 15:33 · “I've got a troll out of those. Now what do you say? I give up on Marriott.” 15:43
16:111 of 1 shots sampled
43. Private office
Model synopsis: Two men are in a room; one grabs the other by the lapels while speaking. The setting appears to be an interior space with a door and furniture visible.
- One man grabs another by the lapels. [frame:1]
2 people observed.
Sequence 14 from 16:15
16:201 of 1 shots sampled
44. Private office
Model synopsis: A group of people stand in a room; one man speaks to another who appears surprised. A woman in a white dress stands between them as others look on.
5 people observed.
“We made it. It takes a clock and you're married.” 16:19 · “What happened? What happened? You're married, kid. Say something!” 16:21
Sequence 15 from 16:24
16:311 of 1 shots sampled
45. Other
Model synopsis: The final beat shows a title card reading 'The End' with a laughing face in the background and a voice shouting 'Help! Help!' at 16:25. No characters or actions are visible beyond the title card and the audio cue.
- The title card 'The End' is displayed with a laughing face [frame:1]
“Help! Help!” 16:25
Transcript
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 195 segments kept, 51 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.
- 0:22 Ah!
- 0:38 Now, you see, Miss Tinklemeyer,
- 0:39 That's the way it should be sung. Shall we try it again? I'll try anything for you, Professor. Oh, that's fine, fine.
- 0:47 If you please, Doctor.
- 0:50 Drop that little circle.
- 0:53 Doctor!
- 0:54 Oh!
- 0:55 Lay.
- 1:23 No, no. You are too portissimo. Too allegro, too quantro. Oh, is that bad? It ain't good. You're supposed to be singing about the voices of spring, not the eruption of a volcano. Give with the throat, not with the fellows. Oh, oh, Professor. Oh, no.
- 1:36 You want it more like a bird! That's it.
- 1:39 That's it. Give me the bird.
- 1:41 *sad sound*
- 1:43 Oh! Oh!
- 1:47 Look.
- 1:49 Oh!
- 1:51 Play.
- 1:57 *Screaming*
- 2:02 Oh, my God.
- 2:20 Ah! Ah!
- 2:27 Hurray!
175 more segments
- 2:33 That's enough.
- 2:34 We've done enough for the day. You might hurt your voice. You know, bend it, crack it, or break it or something. Oh, Professor, you're so considerate. I'm just crazy about you. Don't forget, we've got another lesson Tuesday. Gargle with old razor blades. All right, Professor. I know you wouldn't want anything to happen to my throat.
- 2:52 Except to have somebody cut it.
- 2:55 How would you like to be married to a dame like that?
- 2:57 Don't even say that.
- 2:58 Oh!
- 2:59 I order. You order what? I ought to be a little more careful. Well, shut up and listen. Do you remember your Uncle Caleb? Do I? Why, that old tightwad heatsteel flies from a blind spider. But Shemp, he's... He's a loss and a weasel. Yeah, well, he just died and left you 500,000 bucks. Just like that old skin flint.
- 3:14 500,000 bucks! Poor old Uncle Caleb. Like I was saying, he was a swell guy. Give me the shirt off his back and throw in the buttons too. But there's one little catch.
- 3:27 You get the dough provided you're married. So... Married? No. No, fellas. I'm gonna faint. Oh.
- 3:36 Or... Or what?
- 3:37 If you get married, within 48 hours of the reading of the will. What time was that? Six o'clock a night before last. You just got seven hours to get yourself a bride. It can't be done. No woman is interested in me. Maybe not, pal. But if you look real hard, you might find one that's interested in a half a million bucks. Maybe you've got something there. You're darn right he has. Do you know any girls? I've got a lot of numbers, but I haven't had much luck with them lately. Well, you can't get killed for trying. Where's the phone? There's a booth down the hall. Well, what are we waiting for? Come on. Down the hall.
- 4:07 Oh!
- 4:08 Here, here's six nickels. That makes 17. You ought to hit the jackpot with one of them.
- 4:11 Go ahead.
- 4:21 Give me Susquehanna 2222.
- 4:26 Say, he's been in there over an hour. What do you get nervous about? When Shem paws on the charm, no dame can resist him. I hope you're right. I hope you're right.
- 4:33 Hello?
- 4:34 Is this Ginger Grey?
- 4:36 It is? Well, this is your little snoogums.
- 4:39 I'm about to do you a big favor. Will you marry me? Oh.
- 4:43 Oh!
- 4:44 Oh, hey, any luck?
- 4:49 I've got one phone number and one nickel left.
- 4:51 Well, start using it.
- 4:53 Oh...
- 4:55 You clumsy ox, you. Let that go. It will go here someplace. Let's find it.
- 5:00 Take it over that side. Take it over that side. Look out. Don't get that buck off of me. Oh, no.
- 5:07 Take this receiver. I got it. I got it. Oh, God.
- 5:11 Oh, I just think that. Wait a minute. All right. Get this out of here. Here. All right.
- 5:18 - Hi.
- 5:18 Easy, easy, easy. Get off your foot. Look at what I got here.
- 5:21 What is that? One of those? Yeah, wait a minute. It means around under my arm.
- 5:25 then up here around the neck
- 5:27 Put your hand over here. Oh, all right. All right.
- 5:30 - Oh, all right. - Wait a minute.
- 5:32 - All right. - All right.
- 5:35 Now, wait a minute.
- 5:36 Can you dial from there? No, can you? Yeah.
- 5:45 Wait a minute. If I come around like this one...
- 5:49 Get up in this one.
- 5:51 How's that?
- 5:52 Well, it don't feel as good as what I did.
- 5:55 This. Wait, wait, wait, wait. I'll take it easy. How about...
- 5:59 Will you make it no place fast?
- 6:02 Let's get at this thing right the right way. You won't always get this off. All right, wait a minute.
- 6:06 All right. Can't stare at him. It started with the book, didn't it?
- 6:11 No!
- 6:13 Where's your heart?
- 6:20 How you doin'?
- 6:26 Get your hand out of my face. That ain't my hand, it's your hand. All right, you asked for it.
- 6:31 Ow! Wait a minute.
- 6:35 Famous.
- 6:36 Would you like to get married? What? Get married. Well, I don't know. But you are kind of cute at that. Oh, it's not me. It's him.
- 6:45 Oh!
- 6:48 You've got to get out of us. All right. There isn't much time left. You know that, don't you? All right. What happened?
- 6:55 That's what I want to know.
- 7:00 Wait a minute.
- 7:04 *crickets*
- 7:06 Did you get a load of that?
- 7:07 What is she? I wonder who she is.
- 7:09 We'll soon find out.
- 7:11 - Oh boy. - Yes.
- 7:12 Who's the new dame? A Miss Hopkins.
- 7:14 Miss Hopkins, did you hear that kid? And good looking too. Go get her, Shep.
- 7:19 Did he? Oh, wait a minute. You can't propose to a girl looking like that.
- 7:24 We gotta give you the works, come on.
- 7:30 Stand still, will you? We gotta get going. It's 3 o'clock now. Yeah? And if you don't matter a girl by 6 o'clock, we're out of the money.
- 7:41 I said stand still.
- 7:43 *Bell rings*
- 7:44 Oh, oh, Mo! Mo! I'm blind! You're pointing my eye out! Get a towel, Mo! Get a towel! Oh, ho, ho, ho, ho, ho, ho!
- 7:52 Hey, where are the towels?
- 7:54 in the bottom drawer.
- 7:59 I got it.
- 8:04 You sure look funny with a bust of brown collar.
- 8:06 Hold that.
- 8:07 Oh.
- 8:10 Where are you?
- 8:13 Here.
- 8:15 Say, I forgot to tell you, when the afternoon papers come out, you're going to be famous. How come?
- 8:20 I gave the story to the reporters. Yes, sir. Shemp Howard to inherit a half a million bucks.
- 8:24 Let's get going, kid.
- 8:28 Pfft.
- 8:30 Knock, knock.
- 8:31 I'm telling you to hold still now. I'm warning you.
- 8:34 What's that good?
- 8:35 Here!
- 8:37 Oh, stay out.
- 8:46 Oh, poor man, seven years old, I've got a look.
- 8:53 Oh!
- 8:56 How do you like that?
- 8:59 Oh.
- 9:02 I said stand still. Oh, oh.
- 9:05 Oh!
- 9:06 Hey, I cut off my head. I cut off my head. Mo, my head is off. Mo, my head is off. My head is off.
- 9:14 Oh, there I am.
- 9:15 And as pretty as a picture. Yeah, but Nate. Oh, get going. This means half a million dollars. I know what it means.
- 9:24 Here you are.
- 9:27 Boy, am I tired.
- 9:29 Where do I throw this water?
- 9:35 You look good. You look great, kid. You're a cinch. Go to it.
- 9:38 Oh, come on, come on.
- 9:52 Help me.
- 9:56 Hello. Oh, hello. Come in. Cousin Basil. Oh, I'm so happy to see you. I, I... I've just been dying to meet you. You're even cuter than that lady said you were.
- 10:16 Oh boy, success!
- 10:17 Yeah, listen to those kisses.
- 10:21 Okay.
- 10:22 Cut it.
- 10:24 Oh, you must be exhausted after your long trip. Sit down. Let me look at you, Cousin Basil.
- 10:33 Now, don't you go away.
- 10:36 Hello?
- 10:37 Yes, this is Miss Hopkins.
- 10:39 Your cousin Basil?
- 10:41 Well, then who is? I was just... How dare you pretend to be my cousin Basil? I'll take you a thing or two. You won't. Don't you dare strike me. Who? Taking advantage of a poor, white, helpless woman. Oh, my God.
- 10:53 Boy, your kisses are getting loud. You, you, you horrible person, you.
- 11:00 Get up, get up. What happened, kid? Can I help it if I ain't cousin Basil? Oh, Professor, are you all right? Oh, I'm fine. Oh.
- 11:11 All I wanted to do was propose but-- - Propose?
- 11:13 Oh, God.
- 11:14 Professor, this is so sudden. You mean you'll really marry him? Oh, of course. He's my little old dreamboat. Your little dreamboat is sailing. Oh, oh, oh, oh, wait a minute.
- 11:26 You're gonna save away from a half a million bucks? We only got two hours left.
- 11:29 Come on, get going. Come on.
- 11:36 Come right in, folks!
- 11:40 Say, here's the license. My pal wants to get married in a rush. Oh, it's splendid. Oh, excuse me.
- 11:46 Hello?
- 11:48 Who?
- 11:49 Mr. Howard!
- 11:50 You see there?
- 11:52 Hello?
- 11:53 Yes?
- 11:54 What?
- 11:55 How many of them?
- 11:57 Wow.
- 12:00 That was the clerk at the apartment. Those dames you phoned this morning found out about the 500 grand in the papers.
- 12:05 Come on, pal. We've got to make this fast. Have you got the ring?
- 12:08 Why, certainly.
- 12:10 Certainly I got it.
- 12:11 Oh! It wasn't a piano.
- 12:15 Get it.
- 12:17 You see anything?
- 12:18 Yeah, wires.
- 12:21 Listen, you. What?
- 12:22 You know, I think the piano's out, too.
- 12:24 Come on.
- 12:26 I think I see. Oh. Oh. Get up. Get me out.
- 12:32 My face. Oh, my face.
- 12:33 You want to spoil my looks? Impossible. Never mind your face and get that ring. It's a quarter of six.
- 12:42 Oh!
- 12:43 Oh, I'm awful. Sorry. So am I.
- 12:59 Oh!
- 12:59 Oh, he's all tangled up with wires. All right, well, back him up and we'll break him out of the way. Oh, my. Oh, piano. Shut up. Hey, sit him down. We'll get a new grip.
- 13:13 Okay.
- 13:14 Easy. Now wait. Get the stuff off. Oh, oh, oh.
- 13:17 You'll get in the messes every time. Give me a round.
- 13:21 I'm a few minutes left and no ring, no nothing. Wait a minute, fellas. Wait a minute.
- 13:27 Here's the ring. How do you like that? Get out of here.
- 13:30 Okay, partner, we're ready for the kickoff.
- 13:32 All right.
- 13:33 Join hands, you lovebirds.
- 13:36 - Wait a minute, wait a minute.
- 13:42 Who is this character?
- 13:45 She's the bride. Oh, yeah? Not while I got my strength. Tell me, Toodles, didn't you propose to me? Yes, but I'm with you. Didn't you? Yes, but you turned me down. That was before I read the papers. Now I accept. Okay, Tuss, let her rip. Don't even propose to me, sir. Oh, wait. Look at that. We better do something fast.
- 14:05 Yeah. Wait a minute. What's going on here?
- 14:24 - Oh, no, Justice, please. Please. Hurry up. - Yes, you're just in there. Hold hands, you love bird.
- 14:39 Oh, my goodness.
- 14:47 Ow! Oh! Oh, no!
- 14:53 You wouldn't hit a lady with that.
- 14:55 Use this, it's bigger. Oh, no.
- 15:03 Will you marry me? Never.
- 15:33 I'm getting a headache! Oh, it's your headache. Oh! Oh, Larry, enough to put this down! Larry! Hold still, hold still, Larry! Oh!
- 15:43 I've got a troll out of those. Now what do you say? I give up on Marriott.
- 15:50 Oh, my God.
- 16:00 Oh, Mr. Buzzard, please, please hurry. Hold hands, you lovely bird.
- 16:12 How do you mean, how am I?
- 16:19 We made it. It takes a clock and you're married.
- 16:21 What happened? What happened? You're married, kid. Say something!
- 16:25 Help! Help!
Also from 1947
The Red House 
Angel and the Badman 
Dishonored Lady 
Sing a Song of Six Pants Every free film of 1947 with a copy
Also from Columbia Pictures Corp., Hollywood
His Girl Friday 
Disorder in the Court 
Penny Serenade Similar frames
Slaves in Bondage By the average clip vector of the keyframes; a measurement, not a judgement