Plot
Through her "Contacts & Contracts" company, marriage broker Mae Swasey's life's work is to put couples together. When one of her clients, Ina Kuschner, is jilted at the altar by X-ray technician Matt Hornbeck, it's a disappointment to Mae.
When she pays a visit to Matt, a confirmed bachelor who nearly got married just for Ina's father's money, Mae accidentally reads a personal letter belonging to Kitty Bennett, a model. Kitty returns for the letter she left and becomes angry when Mae admits to reading it, even lecturing Kitty on the dangers of dating a married man.
Kitty comes to apologize for her unkind words later. Mae talks her into breaking up with the married man, then tries to fix her up with Matt by pretending that she swallowed an earring and requires an X-ray. It turns out Mae's own sister Emmy once broke up a marriage, stealing Mae's husband.
Matt and Kitty become a couple, but when Mae's ulterior motives are revealed, they no longer want anything to do with her. Mae goes away to a resort to think things over, where behind her back, Kitty tries to arrange a relationship with Dan Chancellor, a wealthy bachelor. Mae and Kitty become friends again, but Mae decides that Dan would actually be a better catch for Emmy.
Read more about this topic: The Model And The Marriage Broker
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)