## 🎬 A Bride for Henry (1937) – Full Movie – Public Domain – Comedy | Romance | Screwball
**A Bride for Henry** is a 100% high-energy 1937 screwball comedy starring **Anne Nagel**, **Warren Hull**, and **Henry Hull**. Directed by **William Nigh**, this film is a high-visibility example of the "marriage-of-convenience" trope that dominated 100% of the romantic comedy market during the late 1930s. It features a high-contrast narrative where a jilted socialite marries her lawyer out of spite, leading to a 100% high-stakes battle of wits. The film is high-key recognized for its 100% witty dialogue and the high-level comedic performances of its lead trio, delivering a high-scale charm typical of Monogram Pictures' "A-list" efforts.
As a 1937 production that entered the **Public Domain** due to a failure to renew its copyright, it has become a high-level staple for classic romance collectors. It remains 100% essential for those documenting the high-velocity career of Anne Nagel and the high-tension evolution of the pre-war Hollywood comedy.
---
### 📖 Plot Summary
The story follows a high-stakes romantic revenge plot that leads to 100% unexpected and high-contrast emotions.
* **The Jilted Bride:** Sheila Curtis (Anne Nagel) is left at the altar by her 100% irresponsible fiancé, Eric (Henry Hull), on their high-visibility wedding day.
* **The Spite Marriage:** To save face and exact 100% high-level revenge, Sheila convinces her lawyer, Henry (Warren Hull), to step in and marry her immediately.
* **The Honeymoon Charade:** Sheila intends for the marriage to be 100% temporary, but Henry has been high-key in love with her for years and initiates a high-level plan to win her over.
* **The Jealousy Game:** When the original fiancé returns, a high-tension triangle forms, leading to 100% comedic misunderstandings and high-contrast social awkwardness.
* **The Romantic Realization:** The narrative culminates in a high-speed, 100% heartfelt finale where Sheila realizes her "substitute" husband is her high-level true match.
---
### 🎥 Style & Legacy
* **Monogram Pictures Quality:** Features the 100% polished production design and high-level wardrobe that Monogram used for its high-visibility "prestige" features.
* **Screwball Comedy Dynamics:** The film is high-key famous for its 100% rapid-fire banter and the high-contrast "battle of the sexes" themes.
* **Anne Nagel’s Performance:** Known for Nagel's 100% charismatic and high-level portrayal of a sophisticated woman dealing with high-stakes romantic chaos.
* **William Nigh’s Direction:** Demonstrates the 100% steady and high-level pacing that Nigh brought to dozens of high-scale Hollywood productions.
* **Public Domain Accessibility:** Because it is in the public domain, *A Bride for Henry* is a 100% vital asset for romantic comedy archives and is high-key accessible for high-CTR thumbnail creation focusing on 1930s glamour.
---
#ABrideForHenry #AnneNagel #1937Film #FullMovie #PublicDomain
**A Bride for Henry** is a 100% high-energy 1937 screwball comedy starring **Anne Nagel**, **Warren Hull**, and **Henry Hull**. Directed by **William Nigh**, this film is a high-visibility example of the "marriage-of-convenience" trope that dominated 100% of the romantic comedy market during the late 1930s. It features a high-contrast narrative where a jilted socialite marries her lawyer out of spite, leading to a 100% high-stakes battle of wits. The film is high-key recognized for its 100% witty dialogue and the high-level comedic performances of its lead trio, delivering a high-scale charm typical of Monogram Pictures' "A-list" efforts.
As a 1937 production that entered the **Public Domain** due to a failure to renew its copyright, it has become a high-level staple for classic romance collectors. It remains 100% essential for those documenting the high-velocity career of Anne Nagel and the high-tension evolution of the pre-war Hollywood comedy.
---
### 📖 Plot Summary
The story follows a high-stakes romantic revenge plot that leads to 100% unexpected and high-contrast emotions.
* **The Jilted Bride:** Sheila Curtis (Anne Nagel) is left at the altar by her 100% irresponsible fiancé, Eric (Henry Hull), on their high-visibility wedding day.
* **The Spite Marriage:** To save face and exact 100% high-level revenge, Sheila convinces her lawyer, Henry (Warren Hull), to step in and marry her immediately.
* **The Honeymoon Charade:** Sheila intends for the marriage to be 100% temporary, but Henry has been high-key in love with her for years and initiates a high-level plan to win her over.
* **The Jealousy Game:** When the original fiancé returns, a high-tension triangle forms, leading to 100% comedic misunderstandings and high-contrast social awkwardness.
* **The Romantic Realization:** The narrative culminates in a high-speed, 100% heartfelt finale where Sheila realizes her "substitute" husband is her high-level true match.
---
### 🎥 Style & Legacy
* **Monogram Pictures Quality:** Features the 100% polished production design and high-level wardrobe that Monogram used for its high-visibility "prestige" features.
* **Screwball Comedy Dynamics:** The film is high-key famous for its 100% rapid-fire banter and the high-contrast "battle of the sexes" themes.
* **Anne Nagel’s Performance:** Known for Nagel's 100% charismatic and high-level portrayal of a sophisticated woman dealing with high-stakes romantic chaos.
* **William Nigh’s Direction:** Demonstrates the 100% steady and high-level pacing that Nigh brought to dozens of high-scale Hollywood productions.
* **Public Domain Accessibility:** Because it is in the public domain, *A Bride for Henry* is a 100% vital asset for romantic comedy archives and is high-key accessible for high-CTR thumbnail creation focusing on 1930s glamour.
---
#ABrideForHenry #AnneNagel #1937Film #FullMovie #PublicDomain
Category
🎥
Short filmTranscript
00:02The End
00:36THE END
01:15Oh, you look lovely.
01:18Lovely? Lovely for what?
01:20All dressed up and no place to go.
01:22Left waiting at the altar.
01:24No bridegroom.
01:25Oh, he'll be here.
01:26I told that adelpated, irresponsible man
01:29that if he ever kept me waiting again,
01:30he'd be sorry for us.
01:32Sheila, please.
01:33Doesn't that man think there's anything important
01:35about getting married?
01:36About getting married to me?
01:37And show yourself.
01:39Our guests.
01:39Our guests.
01:40They're probably whistling through their fingers
01:42and stamping their feet.
01:43If they're still here.
01:44Sheila, you mustn't.
01:45You mustn't, dear.
01:47Oh, a bridal bouquet.
01:49Pretty thing, isn't it?
01:52Hello.
01:53So, where's the bridegroom?
01:55Well, that's what I'd like to know.
01:57Where's the bridegroom?
01:58No, no, no, no, dear.
01:59Calm yourself.
02:01Calm yourself.
02:01You'll spoil everything.
02:03Think of those people downstairs.
02:05That's what I am thinking about.
02:07They came here to see a wedding, didn't they?
02:09Well, they're going to see one.
02:10But you can't have a wedding without a bridegroom.
02:12There'll be a bridegroom.
02:13Who's downstairs?
02:15Fred, George.
02:16Get Henry for me.
02:17Henry?
02:18Henry who?
02:18Henry Tuttle, my lawyer.
02:20But you don't need a lawyer.
02:21Oh, yes, I do.
02:22Now you're going, am I?
02:24Oh, I'm going.
02:25Oh.
02:40No bridegroom, eh?
02:46Well, we'll see.
02:54Oh, there you are.
02:56Henry, something has happened to Sheila.
02:58Come at once.
03:00What's wrong?
03:01You've always gotten me out of jams before, haven't you, Henry?
03:04Yeah, plenty of them.
03:04Well, this is the biggest one I was ever in,
03:06and you've got to get me out of it.
03:07How?
03:08Marry me.
03:08Oh, you can't do this.
03:10It's crazy.
03:10Mother, this is my wedding, not yours.
03:12It's all very simple, and you're an attorney.
03:14All you have to do is change the license.
03:16No, you can't, dear.
03:17It isn't done.
03:17This is horrible, horrible.
03:20Yeah, but what about Eric?
03:21Are you going to argue or marry me?
03:23Are you serious?
03:25Do I look playful?
03:28Give me that license.
03:44Leave me waiting at the church, Willie.
03:59Come in.
04:04How are you doing?
04:05Oh, all right.
04:07Oh, no, isn't that silly.
04:09Well, it's not so silly.
04:10That's an old custom that has a great deal of significance.
04:13Well, it's silly to me.
04:14Anyway, it's all over, thank goodness.
04:16Right.
04:17You know, I never thought I'd be lucky enough to manage this.
04:20Oh, you were wonderful, really.
04:21Except for a little nervousness.
04:23And I'm very grateful, Henry.
04:25Eric would have shown up eventually,
04:26but this will teach him a lesson.
04:28Next time, he'll be more punctual.
04:30Next time?
04:31Yes.
04:31Oh, would you put this over here?
04:38I won't be so lenient with him.
04:42I may be a little bit stupid,
04:43but just where does our marriage fit into this picture?
04:47Oh, our marriage is a purely social gesture
04:49to save a purely social situation.
04:52I see.
04:54Bridegroom fails to show.
04:56I double for bridegroom, save your face,
04:58and help teach bridegroom to be a better boy hereafter.
05:00Exactly.
05:02I wouldn't be surprised if Eric took a plane
05:04and came right down after us.
05:07Just how long you calculate
05:09you'll need my services as a standard.
05:11Oh, not long.
05:12As soon as the publicity dies down,
05:14I'll go to Reno and do it all very quietly,
05:17and everything will be straightened out for everybody.
05:20You could choose a vacation, Henry.
05:23Oh, here it is.
05:25What?
05:26A wedding present for my Letitia.
05:28A picture of Eric as a baby.
05:35Pardon me, please.
05:36Where are you going?
05:37Going out to the club car
05:38and get quietly but effectively plastered.
05:41Oh.
06:06Well, I think this will do very nicely, don't you, Henry?
06:08Yeah, it's comfortable.
06:09Home-like.
06:12Oh, it's charming.
06:14Too bad there's only one bedroom.
06:18But, uh, yes, I think you'll manage quite nicely on the couch.
06:37Thank you, sir.
06:40Thank you, sir.
06:41Thank you, sir.
06:41It's, uh, it's unusually hot for this time of year, isn't it?
06:44Yes, it is, sir.
07:05Yes, it is, sir.
07:07Henry, have you got...
07:08Oh, yes.
07:14Well, the trunks are here.
07:15Now we can start getting into something cool.
07:17Good.
07:37Thank you, sir.
07:53What is it, Henry?
07:54Do you mind if I come in and get a few things out of my trunk?
07:57Oh, wait just a minute.
08:02You may come in now, Henry.
08:06Little snoooms.
08:11Henry, be careful.
08:13Sorry.
08:20I hope my trunk being in your room won't embarrass you.
08:23Not at all.
08:24Why should it?
08:31Henry, would you move those over onto that bed?
08:33Because I've decided to sleep here.
08:35I like the light on my right.
08:36Right.
08:37Yes, right.
08:41I hope you won't be too uncomfortable on the dive-in.
08:44Oh, not at all.
08:45Not at all.
08:46I'll be as comfortable there as, uh, anywhere.
08:50Practically.
08:52Well, it's too bad we had dinner on the train.
08:54Otherwise, we might have killed some time.
08:56Oh, we can play cards.
08:59Honeymoon Bridge.
09:00Perfect.
09:01Ducky.
09:13What a marvelous orchestra.
09:14Should be.
09:15It's Georgie Stolls.
09:16Well, Henry, I didn't know even you orchestra leaders' names.
09:19Well, I guess I must have run it on one of the cards that live around the rooms.
09:22Would you like the dressing go down?
09:24Oh, no.
09:25People might look at us archly, and I can't endure being looked archly at.
09:29Can you?
09:29What?
09:30Archly, isn't it?
09:32Never archly.
09:35Excuse me.
09:45There you are.
09:54Oh, how sweet.
09:56Oh, this thunder.
10:04Oh, isn't that lovely.
10:07Oh.
10:08Oh, they're from you.
10:09Well, that's very thoughtful of you, Henry.
10:11Here, put them in water.
10:16Hello?
10:18Who?
10:20Henry, it's for you.
10:25Thanks, you know.
10:27Hello.
10:29Oh, hello there.
10:29How are you?
10:33Oh, yes.
10:34Yeah.
10:35Oh, thanks a lot.
10:37Are they newspapers?
10:38No, no, I haven't.
10:41A what?
10:43A caveman?
10:45Oh, yes, that's me all over.
10:47A fast worker.
10:48No, I don't dare give them the chance to think.
10:51Oh, yes.
10:51We're very, very happy.
10:53Yes, indeed.
10:54Well, I want you to meet my wife.
10:55She's an awfully nice little person.
10:57Very much of a homebody and all that sort of thing.
11:02What?
11:04No.
11:05No, no, I'm glad you called.
11:07Tomorrow?
11:08Oh, fine.
11:09Fine.
11:10Right-o.
11:12Goodbye.
11:16Sorry.
11:17Well?
11:18My plate?
11:19No, I mean, who was it?
11:21Who?
11:21On the phone.
11:22Oh, hello.
11:24After all, I have a right to know with whom you talk.
11:26I'm your wife.
11:28Huh?
11:29Oh, well, he was a chap I used to know in law school.
11:32He has a cottage around here somewhere.
11:33You'll meet him.
11:33I don't want to meet him.
11:35I want to know what he said.
11:36Oh, he said he wanted to meet you.
11:39Henry Tuttle, he said something about the newspapers.
11:42Now, what was it?
11:43Oh, the newspapers.
11:44I...
11:45Excuse me.
11:46The traffic seems to be getting terrific.
11:51Well, Charlie, I'll tell you.
12:05Tell the graph?
12:06Hmm?
12:10Nothing serious, I hope.
12:11Oh.
12:11Oh, no.
12:12Oh, no.
12:13Oh, no.
12:13It's all in fun.
12:14It's all.
12:20I just saw your ad in the headlines.
12:24Headlines. Newspapers.
12:26Here we are, free, self-respecting, upstanding, independent American citizens.
12:31Pursued and persecuted by the press.
12:33Well, my dear young lady, you've been in the headlines before.
12:35Oh, I wouldn't expect you to appreciate it, but this is different.
12:39The kind of girl who can get married without it being smeared all over the country
12:41in every sensational publication?
12:44Was that kind of a marriage?
12:45A what?
12:47Uh, natural for the reporters.
12:49Oh, a natural. Well, I call it unnatural.
12:52Inhuman and disgusting.
12:54Well, is nothing sacred?
12:55Have they no respect for the bonds of matrimony?
12:58Stay where you are, I'll answer that.
13:04Well, Eric! How nice to see you.
13:08Where is he?
13:15Well?
13:16Well?
13:17Well?
13:18Uh, don't you think you owe me an explanation?
13:20Oh, Eric, don't say no.
13:21Now, Sheila, please.
13:22This is between Tuttle and myself.
13:23You stole my fiancé.
13:25That's between Sheila and me.
13:26You didn't show up.
13:27That's between me and Sheila.
13:29Telephone, excuse me.
13:32Hello?
13:34Reporters?
13:34No reporters.
13:35No reporters.
13:36No reporters.
13:40Have you seen this?
13:51You want to take that attitude?
13:52Oh, Eric, wait a minute.
13:53Wait a minute.
13:54Henry's really been very kindly considerate.
13:56And he sent me those lovely flowers.
13:59Oh, he did, did he?
14:00Uh-huh.
14:01Uh, no, the roses.
14:08Ah, thanks.
14:09Thanks for the flowers.
14:10But you might hold them like that.
14:11A little higher.
14:11There you are.
14:12Watch the birdie.
14:12Snap it, boys.
14:13Grab it.
14:13Was there a fight?
14:14No.
14:15Your mother objected to the match?
14:16No.
14:16Another woman?
14:17Of course not.
14:17Rope an engagement several times?
14:19Well, yes.
14:19Reynolds kidnapped.
14:20No absurd.
14:21Are you both happy?
14:22Oh, yes, indeed.
14:22We're very, very happy, aren't we, darling?
14:24Yes.
14:24Hold it.
14:24Take it, boys.
14:25And how's everything about you, Reynolds?
14:27Mind giving us a statement?
14:28Well, I've...
14:30Well, aren't they both my closest friends?
14:31Their happiness is mine.
14:33Ah, thanks.
14:34That's all we wanted to know.
14:35Come on, boys.
14:35Let's go home.
14:37And your happiness is ours.
14:39Well, we'll be seeing it.
14:43Now, look here, Tuttle.
14:44I'm warning you, as man to man.
14:47Hold it.
14:47I'll be right back.
14:58Now, another surprise, Sheila.
15:00Ah, champagne.
15:02And from Uncle Fred.
15:03I'll get another glass.
15:06Well, this is something.
15:11Paul Roger.
15:13Twenty-seven.
15:14Here it is.
15:16You know, this was a very happy thought on Uncle Fred's part, darling.
15:19Darling.
15:20Tuttle.
15:21I resent that.
15:22In fact, I resent everything.
15:24Sheila.
15:25What have you got to say for yourself?
15:26What have I...
15:27What have you got to say for yourself?
15:29Where were you?
15:30Did you forget there was a wedding?
15:33I...
15:33I went to a movie.
15:35A movie?
15:35Henry!
15:36Did you hear that?
15:37He went to a movie.
15:38How was the show, Eric?
15:39I don't know.
15:40I went to sleep.
15:40Asleep?
15:41Now, listen, Sheila.
15:42You know I wouldn't deliberately go.
15:43As a matter of fact, there was a little bachelor party last night.
15:45And, uh...
15:47Well, when I woke up this morning, I...
15:48I was at a movie.
15:50You know, I've always wondered what sort of people go to movies early in the morning.
15:54Well, now you know.
15:57Oh, I think that's sweet.
15:59For you, Eric.
16:02To the bride.
16:04To Sheila.
16:08To Uncle Fred.
16:10Heaven bless him.
16:11Uncle Fred.
16:12Bless him.
16:17To three on a honeymoon.
16:18Oh, I think that's sweet.
16:20And to those who go to movies early in the morning.
16:23Now look here, Tuffle.
16:24I resent that.
16:25That's the third time today you've resented something.
16:28What are you going to do about it?
16:28Don't you hit him, Eric.
16:30Very well, dear.
16:31If it makes you feel any happier.
16:33Yes.
16:33And we'll talk the whole thing over the morning at breakfast.
16:36Yes.
16:36Alone.
16:45You shouldn't have stopped me.
16:46I ought to thrash you.
16:47Oh, don't, Eric.
16:48No.
16:49Well, uh...
16:50Perhaps another time.
16:52Good night, my sweet.
16:53Good night.
17:04Good night.
17:04I resent your attitude toward Eric.
17:06Now don't you start resenting things.
17:09Oh.
17:09Too much, eh?
17:10Well, I hope you'll be able to sleep it off.
17:13What, on that thing?
17:16Do you mind if I go in and get some more things out of my trunk?
17:18Oh, no, no.
17:20It's all right.
17:27This must be very unsatisfactory for you, Henry.
17:30That's putting it mildly.
17:31I mean about your trunk.
17:33Well, of course.
17:34What do you think I meant?
17:35Well, one hardly knows.
17:37Frankly, you amaze me.
17:39I'm just an average, normal individual.
17:41The fact that you seem to have completely overlooked.
17:44Oh, well, now we're going to have to try to get along.
17:46I don't want people to think you're only my lawyer.
17:48With Eric hanging around on this honeymoon,
17:50who are they going to think I am?
17:53Oh, now, wait a minute.
17:55Just because we're in a situation that's a little awkward
17:57is no reason for you to lose your temper.
17:59My temper?
18:00I'm losing my identity.
18:02That's right.
18:02Shout at me.
18:03Shout at me.
18:07I'll tell you one thing.
18:09Reynolds has got to clear out of here.
18:12Is that so?
18:14I suppose you think you can tell me who will
18:16and who will not stay in this hotel.
18:18Well, that's the thing we're living here.
18:19You understand?
18:20It isn't a very long.
18:21That's right.
18:22Keep it up.
18:23Keep it up.
18:24Well, whether you like it or not,
18:26he's going to stay here.
18:27He's going to stay because I want him here.
18:30We've planned and planned this honeymoon
18:31and the places we'd go and the things we'd do
18:34and we're going to do them.
18:39All right, go ahead and do them.
18:40Do anything you please.
18:41But I'm putting an end to this business of being pushed around.
18:44First, I get pushed into marrying you
18:46and then you start pushing me out.
18:47Now, Henry, please.
18:48Now, listen to me.
18:50I've been in love with you for years.
18:51You knew that.
18:52That's why you asked me to marry you
18:53and that's why I marry you.
18:54At the same time, I don't think you're perfect.
18:56I do think you have possibilities.
18:58Now, see here, Henry.
18:59The point is this.
19:01You're a spoiled, willful, headstrong brat.
19:03Now, take this business of you marrying me offhand.
19:05It was quite in keeping with your general arrogance.
19:08Well, Henry, I can't understand you.
19:10You've always been so kind and patient.
19:12Yeah, but from now on, things are going to be different.
19:14You just bear that in mind, Mrs. Tuttle,
19:16and everything will be fine and dandy.
19:18I'm sorry I ever married you, Henry Tuttle.
19:28Give me a pillow and some covers.
19:47I resent it.
19:51Come on.
21:00Henry?
21:02Now you mustn't feel bad about last night.
21:05We're all a little on edge from the champagne.
21:09Henry.
21:11Henry.
21:20Henry.
21:23Henry.
21:24Henry.
21:24Henry.
21:24Henry.
21:33Henry.
21:34Henry.
21:35Henry.
21:35Henry.
21:36Henry.
21:47Henry!
21:53Oh!
22:30Good morning. Good morning. You look very domestic. I'd rather you didn't sleep on the balcony. The windows and the
22:41people. Oh, I didn't sleep on the balcony. Oh, you didn't? No. Where were you? Out.
22:48All night? Mm-hmm. That's a habit of mine. Sometimes I come in late. Sometimes I never come in at
22:53all. Oh. Oh, would you like some breakfast? Could I send some up for you? I'm having breakfast with Eric.
23:00Oh, I forgot. Will you give my apologies to the dear boy for my attitude last night? He's an awfully
23:05nice chap. Thank you. See you later. Are you going so pleased? No. Well, what might that be? It might
23:14be laundry. Well, why don't you call the boy and have
23:17him come for it. Flannels. I washed them myself. Oh.
23:32Come on.
23:34Well, we'll be right back.
23:45Come on.
23:46Come on.
23:48Come on.
23:50Come on.
23:51You go ahead, Laura, I haven't made a problem.
23:53No, thank you.
23:56A large tomato juice,
23:58porridge,
24:00kibbutt herring,
24:01bacon, two eggs,
24:03white toast,
24:05and a pot of tea.
24:07Grapefruit and toast and coffee.
24:10Doris, is that the lucky bridegroom?
24:13Lucky, not the bridegroom.
24:16Oh, I don't know.
24:17The gal has her points.
24:19Yes.
24:19Have you forgiven me?
24:20Yes.
24:21Did you sleep well, my sweet?
24:22Yes, and you?
24:24Never close my eyes, dear girl.
24:26I just kept thinking and thinking.
24:28Well, you haven't lost your appetite.
24:30Oh, no, but I couldn't help worrying.
24:33You know, we rentals always do.
24:37You look so beautiful.
24:46What's the matter?
25:09Why, it's Henry.
25:13Well, of course it is. I'd know him anywhere.
25:25Did you see that?
25:26No.
25:27Well, he just did a whole one and part of another one.
25:30You mean one and a quarter?
25:32Very easy.
25:42One more.
25:44Show's over.
25:48Where are you going now?
25:50I have a date with a couple of redheads.
25:55Bye, girls.
25:57Bye.
26:00Oh, hello, Kayla.
26:02Hi, Eric.
26:03Well, what do you make of that?
26:06I wonder if I can file my application.
26:09Well, I didn't know you could swim, Henry.
26:10I thought if you fell in the water, you'd drown.
26:13Well, you see, I...
26:14You see, it was like this.
26:14When he was six feet old,
26:16his father took him out in a boat
26:17and threw him into 11 years of water.
26:18And it's been sink or swim ever since.
26:20Uh, thanks, old boy.
26:21I've had breakfast.
26:22I'll see you later.
26:35You know, Henry rather amazes me.
26:38Well, the whole thing's rather amazing.
26:40The point is, what are we going to do about it?
26:43Now, don't you worry.
26:44I can handle Henry all right.
26:52Is this toast brown enough for you, dear?
26:54Yes, I think so.
26:59Two lumpsters?
27:01That's right, Angel.
27:05Freeman?
27:07Just a spot, baby.
27:10I suppose it's modern and all that.
27:12But I think it's outrageous.
27:17What?
27:19Look at that.
27:21What?
27:22They've no right to print that.
27:23I'll sue them.
27:24Well, it doesn't do you justice, Eric.
27:26It really doesn't.
27:27Justice?
27:27Justice?
27:28Is that all you can say?
27:29Eric, not so loud.
27:30Oh, look.
27:31There they are again.
27:35Come on, Sheila.
27:39Come on.
27:44There they are.
27:46Whoo!
27:47Let's go ahead.
27:47Take it.
27:52Oh, my God!
27:58Let's go ahead.
27:59All right.
28:00I've got to talk.
28:00Let's go ahead.
28:02Let's go ahead.
28:12Honey, you hurt yourself?
28:13Oh, no, no.
28:19Beastly things these particles, aren't they?
28:20Well, don't abuse them. They got us away from those awful reporters.
28:24Yeah, and probably into jail for larceny, too.
28:31Sheila, we can't go over this impossible situation.
28:34I'm going to have a word with Tuttle tonight and put an end to this whole fantastic episode.
28:38How do you think I feel hearing people call you Mrs. Tuttle?
28:42Tuttle? Such a silly name.
28:43Oh, I know, darling. It's too dreadful. I must have been out of my mind.
28:47Yes, you must.
28:49Now, wait a minute. What do you think about the time that you...
28:53Well, there's Henry.
28:57We never get rid of that fellow.
28:59And with a blonde.
29:07Hello.
29:07Hello.
29:10A little morning constitutional.
29:13Very stimulating.
29:14Well, Henry, I didn't know you could ride.
29:16Oh, yes, but not a bicycle.
29:19Oh, Sheila, I want you to meet Miss Van Orden.
29:20Helen, this is my wife.
29:21How do you do, Miss Van Orden?
29:24I'm sorry, this is Mr. Eric Reynolds, an old friend who came along to help out on the honeymoon.
29:28Well, how cozy.
29:30How do you do, Miss Van Orden?
29:33Come, Sheila.
29:37There you are.
29:42Give him his head, Eric.
29:45See you later.
29:48Goodbye.
29:50Shall we later?
29:51Yes, yes, let's do.
29:55Let's do our best.
30:10Eric!
30:11Papa!
30:12Look!
30:19Darling, you're not accomplishing a thing.
30:21But you look so uncomfortable, dear.
30:23Look, could you shove it sort of to me from you?
30:26That's right.
30:27Oh!
30:28Darling, don't press quite so hard.
30:35Oh, I wonder where he picked her up.
30:38Now, darling, how can you possibly expect me to be interested in where he picked her?
30:41Well, this thing draped all over me.
30:42I mean...
30:44Well, one thing's certain.
30:45I'm not travelling any further on this instrument.
30:48No, I don't think you are.
30:50Do you know those bicycles belong to my children?
30:53What?
30:54Well, Sheila, is it possible that you made a mistake?
30:58Right.
30:59Well, of course not.
31:00I mean, you know very well that our bicycles have those, uh, those, uh, what you call them?
31:04Uh, radios.
31:05Yes, that's right, radios.
31:06Yeah, radios.
31:08Take the machine, Johnny.
31:10Take the machine, Johnny.
31:12Nice little boy.
31:14Oh, nice little girl.
31:15No, Annie.
31:16No, no, no, no.
31:18Well, uh, I'm glad to have seen you.
31:20Yes, it was nice to have met with you, too.
31:22Goodbye.
31:23Come, children.
31:28Ha-ha!
31:29Ha-ha!
31:30Charming children.
31:32So?
31:32We walk back.
31:34You know, I don't see the point of ducking those reporters anyway.
31:37They're quite nice for us, really, you know?
31:57Back at seven, James.
32:10Back at seven, James.
32:11Eric.
32:12Ah.
32:13Well, how was your ride back, Plessy?
32:15Oh, we didn't, uh...
32:16Oh, delightful, thank you.
32:17What do you have?
32:18Oh, we just ordered, thank you.
32:21Uh, Sheila and I are going over to the Gables tonight, uh, to the dinner dance.
32:24That's if you've no objections, Henry.
32:25Well, not at all.
32:26Sheila speaks very highly of your dancing.
32:28Oh, for sure she'll enjoy it.
32:29Well, that'll leave you free to be with me.
32:31That is, if you don't mind, Mrs. Tuttle.
32:33Oh, not at all, Miss Van Orden.
32:34I think it's awfully nice of you because I wouldn't want Henry to be alone.
32:38We'll dine aboard the yacht and it'll be like old times.
32:41You know, I never lie on a moonlit deck or listen to that lovely Hawaiian thing, Paradise Isle, without thinking
32:46of you, Henry.
32:48Oh, you've known Henry quite some time then?
32:50Oh, yes, indeed.
32:52Well, we met on a cruise of the island two or three years ago.
32:55You know, Henry really made that trip for me.
32:58Oh, that must have been while I was still in school.
33:01Oh, you'll forgive me, darling, but you've a smudge of dust on that sweet little nose of yours.
33:33It's lovely.
33:34Isn't it?
33:37Eric selected it.
33:38It's his favourite of my entire trousseau.
33:42Eric has excellent taste.
33:44Hasn't he?
33:47Cigarette?
33:47Yes.
33:58Why, if it is pleasant out here tonight.
34:00Hmm.
34:02Music, moonlight.
34:04Oh, there's a falling star.
34:06Make a wish.
34:12Oh, that must be Eric.
34:14Funny, but I'd almost forgotten about him.
34:17Funny.
34:18So would I.
34:22Come in.
34:29Oh, darling.
34:30Oh, darling.
34:31How beautiful you look.
34:35Oh, hello, Henry.
34:36You don't mind, of course, old ma'am?
34:37Why should I object?
34:39I'm only the man she married.
34:40Yeah, that's right, yeah.
34:42There you are, my sweet.
34:43I'll put them on.
34:43I'll be right back.
34:46Ah, cigarette.
34:49Have one?
34:50Think so.
34:51Oh, thank you.
34:57Now, look here, Tuttle.
34:59I want to get out of here.
35:00Oh, no.
35:01Really?
35:01When are you leaving?
35:02I mean, you must understand, this is hardly the sort of honeymoon that I'd planned.
35:06Nor I, but here we are.
35:09Yes, here we are.
35:10And we can't get out of here until something's done about it.
35:12We?
35:13Yes.
35:14Sheila and me.
35:15Oh.
35:16Well, how are you going to handle it?
35:19I...
35:20Well, you're the lawyer.
35:21Hi, it isn't up to me.
35:23It's up to the topic of the first part.
35:25So far, she's handled everything delightfully.
35:27Personally, I'm very happy.
35:29You are?
35:29Good heavens.
35:30Well, I'm all ready.
35:33Okay, sweetie.
35:35Eric and I are going on a picnic tomorrow, Henry.
35:37Would you like to join us?
35:38Well, thanks, no.
35:38I have other plans.
35:40Oh.
35:40Well, good night.
35:41Good night.
35:42Good night.
35:42Good night.
35:44Oh, uh, did we come to any conclusion?
35:47Uh, not that I know of.
35:49I thought we did, yeah.
35:52I'll go.
35:57Oh.
36:09Oh, hello, folks.
36:10Well, Henry, I didn't know you played tennis.
36:12You didn't know I played tennis, did you?
36:14Tennis.
36:14I should say he does.
36:15He taught me two years ago at Palm Beach, and I've won three cups already.
36:19Proud of me?
36:20What do you think?
36:21Sheila, I want you to meet Miss Evans, Claire, my wife.
36:24How do you do, Mrs. Tuttle?
36:25This is Mr. Eric Reynolds, who just came along to...
36:28Isn't it a lovely morning, Miss Evans?
36:30Perfectly gorgeous, Mr. Reynolds.
36:32We're going to meet Helen. Have a nice day.
36:34Don't look for us till this evening.
36:36Nice to have met you both.
36:44See you later.
36:44Here you are.
36:47You're going swimming with us today?
36:48Sorry, sorry, girl.
36:50Well, he certainly seems to be having a good time.
36:52Sorry, sorry, girl.
36:53I can't think of what a weight that takes off my mind.
37:06Oh, this is wonderful.
37:08Alone together, away from all that nonsense.
37:10I think it's all too silly.
37:12I can't understand all those girls
37:13simply throwing themselves at Henry's head.
37:16Oh, it's the publicity.
37:17Oh, publicity alone wouldn't have been enough.
37:19There must have been something in Henry all along
37:21that none of us ever suspected.
37:24Oh, mosquitoes.
37:25Now, now, don't antagonize it, dear.
37:27You'll nearly make it mad.
37:28Well, I'm certainly not going to stay here and get stung
37:30just to keep a mosquito in a good humor.
37:32Oh, the place is alive with them.
37:34Yeah, it's the water.
37:36Well, let's get out of here.
37:37Come on.
37:38You bring the things, dear.
37:40Yes, sweet.
37:51Yes, sweet.
38:04Eric!
38:05Yes, my sweet.
38:13Oh, this is lovely.
38:15It's meadow, isn't it nice?
38:16Oh, it's beautiful.
38:25On my shoulder, honey.
38:26Oh.
38:31You know, Eric,
38:32it just dawned on me
38:33that it's probably the glamour
38:34of that Van Orden girl
38:35that appeals to Henry.
38:37All those ostentatious yachts
38:39and country houses and things.
38:40Now, darling, that's none of our business.
38:48Oh, Eric.
38:50Eric Bowles.
38:51Oh.
38:51Don't be silly.
38:52They're cows.
38:52Cars are all right.
38:53Well, not by me.
38:54They're not.
38:55Oh, get along.
38:56Trespassing, huh?
38:57Can't you folks read?
38:59Well, of course we can read.
39:00Where did that come from?
39:02Now, don't tell me you didn't see it.
39:04That sign says no trespassing
39:06and that's what it means.
39:07Now, get.
39:08We were just leaving,
39:09but don't let a little authority
39:11go to your head, officer.
39:12Oh, pretty fresh, ain't you?
39:14Let me help you, doctor.
39:15Ah!
39:16Striking an officer, huh?
39:17Resistant arrest.
39:18You'll go to jail for this.
39:20Come on.
39:20Get.
39:21Come on.
39:22Yeah.
39:28Well, this is a fine mess.
39:29Ah.
39:30Could I have some more coffee, darling?
39:33Here.
39:33Pour it yourself.
39:34Thank you, sweet.
39:35Don't sweep me.
39:36If it wasn't for you,
39:37we wouldn't be in here.
39:39Why me?
39:40I didn't pick the spot to picnic.
39:42No, but you poked the policeman.
39:43I didn't poke him on purpose.
39:45If I had, he'd still be out
39:46and we wouldn't be in.
39:47Well, I can see nothing's going to be done
39:49until they find Henry.
39:51Henry is good.
39:51probably out with that van orden girl oh he is is he that van orden girl she's the type who
39:58merely
39:58says i'm going to do this old dear so you're going to do that what are you mumbling about
40:03nothing i'm talking to myself nobody better to talk to thank you she's in the habit of taking
40:09what she wants and if she wants henry well she'll probably take him as far as i've been searching
40:13heaven anybody in heaven don't you talk about henry when he's not here i'll talk about henry
40:18any way i please as a matter of fact if henry were here i'd tell him a few things that's
40:22the last egg
40:23i'm sorry maybe you two could fight better outside come on well i'm very glad to see that you've come
40:33to your senses at last officer yeah it's a good thing for you too that you know miss van orden
40:38oh she got us out well give her my compliments and say no thank you better by the name of
40:44tattle
40:44put up the money oh here's my husband oh he did did he well i stay here no you don't
40:49i'm not going
40:50back there alone what i can't understand young woman is how you can go around with a sap like this
40:55when you got a nice fella like tattle for a husband now look here officer the first sock that i
41:00gave you
41:00was a mistake this one yeah well go ahead and do it do it skip it
41:22of course you can ignore me if i'm too personal but but what's it all about henry huh oh forgive
41:29me
41:30helen i'm afraid i'm not even being decently polite what's what all about oh this little
41:34three-cornered honeymoon and and you and helen will you please understand if i don't want to talk about
41:39it you don't have to henry tunnel i'm way ahead of you you're in love i have been for a
41:46long time
41:47you seem to be the first one to have suspected it well some girls do get all the breaks but
41:54you're
41:54sweet henry and and if i can help you just just give me a cue and i'll play my part
41:58and try to like it
42:01helen you're a brick well i suppose your little bride will be coming home from jail any minute now so
42:06so i'll be running along but you're coming tonight henry i most certainly am
42:42it was lucky for us that henry got us oh nothing of the sort i have influential friends myself
42:46you notice he didn't wait probably too occupied with helen van orden i was wondering
42:53wondering what well whether he'd really be happy with her or not
42:58i think i should stay married to him long enough to give him a chance to get over it oh
43:02you do do you
43:02well well i'm gonna have something to say about that well eric i feel very responsible for henry oh
43:08drat henry haven't you put me through enough today without cursing at me
43:13you may consider our engagement broken oh shira
43:21my dreams i love you
43:33if i could just hope hello hello
43:43oh yes i do a lot of things
43:47doesn't it matter to you that i spent the afternoon in jail well i did all i could i bailed
43:53you out
43:53didn't i yes thank you eric and i thank you very much don't mention it you didn't come by yourself
44:01did you know i was busy i sent the money down by a special messenger
44:08there's only one girl of my dreams you can't get her out of your mind can you who the girl
44:16of your
44:16dreams van orden don't be silly well i'm off thanks for the use of the room where are you going
44:25a garden party who's miss van orden's
44:39eric reynolds room please he's not in thank you
44:50eric reynolds room please he's not in thank you
44:51oh hard-boiled eggs
44:55picnic
45:09girl of life
45:39you know you're not having a good time
45:42well you know you're not having a good time
45:45but i am
45:53i certainly must be an awful failure if i can't make you take your mind off your troubles
45:58oh you're doing a very good
46:01sheila
46:22sheila this is a surprise
46:24i can't see why it's surprising for a man to find his own wife at a party where he is
46:28himself
46:28if you want to put it that way
46:32well mrs tussle
46:34i didn't think you'd mind miss van orden since my husband is such a welcome guest
46:40mind why henry and i are terribly pleased aren't we henry
46:45uh yes yes certainly we are
46:48this is a lovely party in fact it's quite the loveliest i've ever had the pleasure of crashing
46:53uh where's eric he went into town on his bicycle
46:57i'm sorry
46:58yes he he does seem to be a rather unique person doesn't he that's exactly what i like about him
47:04oh yes
47:05i suppose you understand him of course i i imagine he grows on one
47:10uh not at all you see you either like eric or you don't like him right off oh really how
47:15interesting well well do i intrude oh no clifford mrs tuttle this is mr van fleet
47:20this is a great pleasure mrs tuttle mr van fleet well aren't you dancing oh may i with me why
47:28not
47:30you will excuse us
47:59you do everything well you even dance better than anybody else that's my inspiration henry you
48:04never used to say things like that never gave me enough a chance
48:19don't you
48:20will you play paradise i'll please
48:34henry you remember
48:38You don't mind, do you, dear, for old times' sake?
48:41Not at all.
49:06The trade winds sigh, soft guitars of lullabies.
49:24In my paradise.
49:39I won't keep him long, dear.
49:41That's quite all right.
50:01Well, it's a marvelous night.
50:04For what?
50:06Well, for a party like this.
50:10Music, moonlight, romance.
50:13Sorry, but I'm sick and tired of the word.
50:15Oh, no. Not you.
50:18You were made for it.
50:20You know, it seems difficult to think of you as a married woman, Mrs. Tuttle.
50:25You seem such a child.
50:28That's right. I am only a child.
50:31And it's long past my bedtime. Good night.
50:52Well, that was very cute.
50:58Oh, charming of you, Mrs. Tuttle.
51:02Henry and I are delighted, aren't we, Henry?
51:06Paradise Isle. Remember, Henry?
51:09You don't mind, do you?
51:12I won't keep him long.
51:15Oh, that woman like the choker.
51:24I won't keep him long.
51:26Hello, my husband.
51:27Oh, my God.
51:46Well, I'll have to walk her.
52:02Oh, so it's you.
52:04Yes.
52:05Well, you can't come in.
52:06Why not?
52:07Well, you forget that I broke our engagement.
52:10Oh, that.
52:12Don't be silly.
52:17Eric, I don't want you here.
52:19Henry isn't home.
52:21Well, that seems difficult to believe.
52:22Oh, can't you understand?
52:24I don't want to see you anymore.
52:26Oh, now, honey, honey, you're all upset.
52:29Now, I know I've been a fathead over this business,
52:31but we'll pack up and get out of here,
52:33and we'll see your lawyer in the morning.
52:35Naturally.
52:36Henry's my lawyer.
52:38Well, you can't expect him to get us a divorce.
52:40All right, we'll see my lawyer.
52:41Oh, that one.
52:42What's the matter with him?
52:43Well, what's he ever done compared to Henry?
52:45Henry?
52:46What is this Henry business?
52:48Is it possible that you're taking this marriage seriously?
52:51Have I ever done anything to make you think
52:52I don't take marriage seriously?
52:55You got into this business
52:56through a madcap idea of your own,
52:57which has made monkeys of us all.
52:59Well, maybe you feel like a monkey,
53:00but I don't, and certainly Henry doesn't.
53:03Well, if he doesn't, he's certainly behaving like one.
53:05I never saw a man go so completely playboy in my life.
53:07That's only a pose, Eric.
53:09Actually, I think the poor boy is very unhappy.
53:11Yes, you think so,
53:12because it flatters your vanity to think so.
53:14I suppose it flattered my vanity
53:15for you to go to a movie
53:16when you should have been at our wedding.
53:18Well, I showed up eventually, didn't I?
53:19Yes, an hour late.
53:20Fifteen minutes.
53:21Now, what is more,
53:22if you hadn't gone off half-cocked,
53:23we'd have been spared all this nonsense.
53:24Are you blaming me?
53:26Were you impossible,
53:28egotistical idiot?
53:29If you don't get out,
53:30I'll lock myself in my room.
53:32Oh, no, you don't.
53:33You're not going to let me down like this.
53:34I've got my prestige to consider.
53:36Prestige?
53:37Well, why didn't you consider that before?
53:39You know, what you need is a jolly good spanking.
53:41Oh, you wouldn't dare.
53:42Oh, wouldn't I?
53:44I am by intruding.
53:46Yes, as a matter of fact, you are.
53:47This is between Sheila and me.
53:49Now, look here, Tuttle,
53:50I resent this interference.
53:51Reset?
53:52That's the word.
53:53It reminds me of something
53:53I've wanted to do for a long time.
53:55And what may that be?
53:56Knock your block off.
53:58It's perfectly all right with me.
54:06Oh, Henry, I didn't know you could fight.
54:10Get up and I'll do it again.
54:12It's quite unnecessary.
54:15You've made me see the daylight.
54:17Obviously, Sheila and I are temperamentally unsuited.
54:20I, uh, wish you both the best of happiness.
54:25If by any chance,
54:26if there are any, uh,
54:30I'll send them a pair of bicycles.
54:35That was most cowardly.
54:40Well, uh,
54:41I mean, you must realize
54:41I've had the most hectic honeymoon.
54:44Oh, yes, I understand that thoroughly.
54:45So nice to have had you with us.
54:47Oh, thanks.
54:47Delighted.
54:49Look, there's one thing I do resent.
55:01Oh, Henry, I think you're wonderful.
55:04Get in there and pack.
55:05Pack?
55:05Yes, we're leaving.
55:07Leave it?
55:07I'm just beginning to enjoy myself.
55:09Well, you'll enjoy yourself in Reno, too.
55:11Reno?
55:11Oh, Henry!
55:13I won't go to Reno.
55:15Do you hear me?
55:15I won't go.
55:23Why are you ordering me to Reno?
55:26Ordering you?
55:26What's your plan?
55:28Well,
55:29that was a long time ago.
55:31I've changed my mind.
55:33I've made up mine.
55:37I won't divorce you.
55:39Then I'll divorce you.
55:43Well, you can't.
55:44You haven't any grounds.
55:46You forget that I'm a lawyer.
55:49Well, uh,
55:50what grounds have you?
55:52You'll read them in my complaint.
55:54Oh, that's not fair.
55:55I haven't any lawyers.
55:57You'll find plenty of them in Reno.
55:59You married me, Henry Tuttle,
56:01and I'm your wife.
56:03And I'm beginning to like married life.
56:06And I won't go to Reno.
56:07All right, stay here.
56:09I'm off to New York.
56:12Hello.
56:13Henry Tuttle speaking.
56:15Yes, I want to get a reservation on the 110.
56:17To New York.
56:19Now, thank you.
56:20You can't go to New York.
56:22That's, that's desertion.
56:23All right, sue me.
56:25Oh, Henry.
56:26Henry, I think I want to pay you.
56:27Oh!
56:29You missed.
56:31You can't leave me alone.
56:33You won't be alone.
56:35Here's Snokems.
56:39Henry Tuttle,
56:41if you do this to me,
56:42you'll be sorry.
56:44You're horrible.
56:46I'll do something desperate.
56:48Oh, no!
56:50No!
57:03Sheila!
57:07Come back here, you little fool.
57:09I won't.
57:12Don't you come near me.
57:13You'll fall.
57:14I don't care.
57:15I don't care what happens if you're going to divorce me.
57:18I'm not going to divorce you.
57:20Then say you love me.
57:21I love you.
57:22Say it as if you mean it.
57:24All right, I love you.
57:27Say you'll never leave me.
57:29I'll never leave you.
57:30As long as you live?
57:31As long as I live.
57:34Now will you come back?
57:35Yes.
57:39Oh, Hillary.
57:41Hillary, I'm frightened.
57:42Don't look down.
57:43Come on, look at me.
57:46That's a girl.
57:47That's a girl.
57:48Get easy, does it.
57:50Eddie, give me your hand.
57:52That's it.
57:53That's it.
57:54Come on.
57:55I've got you.
57:56I've got you.
58:00You sap.
58:02You wonderful little sap.
58:22Oh, Henry, I love you.
58:27Come on.
58:33You play.
58:36Oh, well, you boy.
58:45I'm terminateова.
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