Bunny Watson [Katharine Hepburn] is the sharp, quick-witted documentalist in charge of the reference library at the Federal Broadcasting Network in Midtown Manhattan, where a team of librarians tackles every question from the public, big or small, with cases solved and referenced with calm efficiency. At the center of this world is Bunny’s long-running romance with Mike Cutler [Gig Young], a rising network executive who dreams of climbing higher, even if marriage isn’t on the horizon yet. The dynamic between Bunny and Mike is seasoned by years of familiarity and a subtle tension, set against the hum of a busy city and the steady tap of typewriters.
Into this routine steps Richard Sumner [Spencer Tracy], a methodical methods engineer and the inventor of EMERAC — the Electromagnetic Memory and Research Arithmetical Calculator, nicknamed Emmy — a massive, gleaming early computer that could reshape how the library works. Richard’s arrival is not just about technology; it’s a test of how the library and its people will adapt to a machine that promises speed and precision but also threatens to upend long-standing roles. Bunny’s initial resistance softens as she discovers Richard’s intelligence, depth, and charm, a combination that unsettles her—but also intrigues her.
The staff, including Peg Costello [Joan Blondell], are unnerved by the prospect of being replaced by a machine, a fear that blooms into a larger anxiety about job security and the future of the library’s human touch. The tension spills into an incident at Bunny’s apartment that Mike witnesses, underscoring a growing romantic rivalry and the possibility that Emmy could influence more than just the workload. Behind the scenes, a quiet corporate maneuver looms: the network is quietly contemplating a merger, and to keep competitors from sensing a shift, the existence of Emmy must remain understated.
A dramatic, almost playful crisis follows when an innocuous but seemingly salacious slip occurs: a pink “layoff” slip printed by a version of EMERAC circulates as if the entire staff has been fired, even reaching the president. It’s a carefully staged illusion, designed to test the system and the staff, revealing how the machine can both create chaos and illuminate competence. In truth, the pink slip is a miscue: Emmy’s disruptions are part of a broader strategy to help the employees handle the extra work that comes with expansion, not to replace them. The incident makes Bunny and her colleagues confront the idea that technology can be a partner rather than a threat, provided it is guided by human judgment and purpose.
As the plot unfolds, Richard openly reveals his romantic interest in Bunny, challenging her belief that Emmy will always claim the spotlight. Bunny’s doubts waver as she tests the limits of the machine, pressing Emmy beyond what anyone expects. Richard resists fixing or controlling the situation for as long as possible, choosing restraint over coercion, but the moment comes when he must act; he finally consents to a decisive, emergency shutdown of Emmy to preserve the human dimension of their work and life.
In the end, the personal and professional paths converge: Bunny recognizes that love and partnership can coexist with technological progress, and she accepts Richard Sumner’s marriage proposal, embracing a future where human connection guides even the most formidable innovations. The story balances warm humor with thoughtful reflection on work, agency, and affection, illustrating how a city, a library, and a genius machine can coexist when people choose collaboration over fear.
