she rebukes him as she now thinks her father is right about him, and vows to get a job. Betty finds work at an upmarket restaurant. The mysterious man shows up again and invites Betty to his table. She becomes uncomfortable with the stranger and is relieved when her boyfriend arrives on the scene. The mysterious man leaves after handing her a note that advises her to call him if she ever needs any help. The boyfriend openly disapproves of Betty's job. He leaves after a still-angry Betty dances wildly to provoke him. The boyfriend soon returns with Betty's father. He is outraged at Betty's lowly job and confesses he lied about the loss of their fortune to teach her a lesson. Rather than being pleased, Betty is further angered by both her father and boyfriend. She turns to the mysterious man who offers to take her back to America. Betty gladly accepts but is later horrified to find she has been locked in her cabin. She imagines the worst about the mysterious man's intentions and is both relieved and delighted when her boyfriend arrives and releases her from the cabin. They soon reconcile. The boyfriend hides in the bathroom when they hear the mysterious man approaching. He enters with her father who confesses he hired the man to follow and protect her. The boyfriend is furious and misunderstanding the situation, bursts from his hiding place to attack the man. Betty's father pacifies the boyfriend's anger by telling him he no longer disapproves of their wedding. The reunited couple start discussing the wedding, but soon start bickering over the arrangements. Reception Hitchcock's second comedy was this time poorly received, following the critical and commercial success of his first film in the genre, The Farmer's Wife. Although his expanding visual technique continued to draw recognition and praise, they were not enough to distract from the film's lack of an engaging plot. The "mysterious man" at the beginning of the film proved to be misleading, which aroused further displeasure from critics. Variety, although impressed with the technical aspects, was dismissive of the film. The reviewer felt "The story is of the weakest, an excuse for covering 7,000 feet of harmless celluloid with legs and close-ups". Hitchcock would later voice his unhappiness with the film in François Truffaut's book-length interview Hitchcock/Truffaut, when he said the film had no story to tell. Preservation and