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:
“There saw I how the secret felon wrought,
And treason labouring in the traitor’s thought,
And midwife Time the ripened plot to murder brought.”
—Geoffrey Chaucer (1340?–1400)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“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)