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Paper, sir? Paper, �ady? Paper?

Paper, sir? Paper, governor?

Feature's a society scanda�. ''Lady Wren to 'te�� a��' in �ibe� defense.''

Paper, governor?

Dar�ing, do stop going on and on.

We'll HaVe luncH at tHe club.

That terrib�e Ange�e.

Hurry, Pierre, there's that terrib�e Sybi�.

A�� c�ear now, dar�ing.

One more, p�ease. One more.

Cou�d you autograph this copy, p�ease? �y wife and � �ove it.

One more.

Si�ence. Si�ence in court.

-Are you ready to resume, Sir Percy? -Perfect�y, �y Lord.

� was in the course of my cross-examination of Lady Wren.

Thank you.

Now, Lady Wren, you have acknow�edged authorship of this biography...

entit�ed Les Girls.

� have.

This is your first venture into �iterature?

How kind of you to ca�� it �iterature, Sir Percy.

�'d on�y aspired to write a few amusing anecdotes.

When you wrote that the p�aintiff, Ange�e Ducros, attempted suicide...

for the �ove of a man who rejected her, was that �itt�e anecdote...

intended to amuse?

�t seemed to me to be readab�e. And it was true.

�f that's what you're getting at.

Do not concern yourse�f with what �'m getting at. Just answer my questions.

You are aware, Lady Wren, are you not, that if certain statements...

made in your book are fa�se or mis�eading...

then �adam Ducros has been most crue��y �ibe�ed...

for which she can just�y c�aim damages.

The story of my �ife in the theater may read �ike fiction...

but everything �'ve written in that book happened exact�y as � remembered it.

That is not for us, but for the jury to decide.

Wasn't that �ast observation a comment rather than a question, Sir Percy?

�f Your Lordship so wishes.

Now, in Chapter Seven, which you've entit�ed ''A�� For Love''...

you suggest that �adam Ducros not on�y attempted suicide for the �ove of a man...

but for a man who was not then, and is not now, her husband.

Do you swear under oath that that is to be the truth?

�'m not a f�ighty woman who de�iberate�y fabricates something...

to injure the reputation of �adam Ducros.

Had � rea�ized she was going to materia�ize...

out of the past, c�aiming damages...

� might have omitted the chapter. But it did happen.

� must defend my statement. She did attempt suicide.

-�n Chapter Seven, which you've entit�ed-- -''A�� For Love.''

Thank you.

The opening sentence reads:

''Our va�iant �itt�e musica� act had decided to conquer Paris.''

-''�t was spring.'' -Yes, it was spring.

Spring is a chrono�ogica� truth, it happens once every year.

� can remember what � wrote. We were in Paris, that was true.

We were p�aying at the �usic Ha�� Parisien...

in an act ca��ed Barry NicHols and Les Girls.

lt Happened some years ago.

lt was our first engagement in Paris and l can recall tHe excitement we felt...

at being in tHis gay city in tHe world of tHe tHeater.

EVerytHing to us about Paris was exciting.

THe smells, tHe sounds, tHe taxi noises, eVerytHing.

l was sHaring a little flat...

witH an American dancer called Joy Henderson.

Hey, Sybi�!

There's a message from Barry, he wants us at the theater right away.

-What for? -Gee, � don't know.

Come on down, �'�� wait for you.

�adame, wou�d you ho�d on to these things for me, p�ease?

-OH, but yes. -Thanks.

Georgette, Hurry up.

Be quick.

Please dance, miss.

-�'m rep�acing �imi. -What for?

-Sit down. -But why?

� don't �ike comp�ications.

She's been carrying on with that Romanian necktie sa�esman.

THank you. THey'll call you.

What do you mean by ''carrying on''? He's going to give her a ring.

Oh, so you knew it a�� the time.

You didn't te�� me. That's what � ca�� �oya�ty.

�r. �anescu wants to marry �imi. She wants a home, it's not a fe�ony.

You want a home, you go to a rea� estate agent. You don't come to me.

-P�ease-- -� don't ask for gratitude.

But when � hired �imi, she crossed the stage �ike...

her rear end was made out of o�d Venetian g�ass.

Have you any idea how much time...

� put in day and night teaching her how to dance?

-Especia��y nights. -�f � need jokes, �'�� hire a comedian.

Come on, come on, wHat's Holding us up?

lt's your turn, miss.

WHat do you do? Do you sing, dance?

� am Ange�e.

We��, go right ahead.

THat's enougH.

But � didn't finish it yet.

�t was bad because � was nervous. Can � take it from the beginning again?

Come here, p�ease, dear, come here. P�ease, it's a�� right.

-� know it was bad, but-- -Are you good at picking up routines?

-� think, very good. -Good. Show me some cHaines.

Come here, kids.

-OH, tHese Heels. THey Hurt me. -Take off your sHoes. l understand.

Yes, tHat's fine. Would you try for me tHe glissade assemble?

slowly, witH a smile.

Yes, Very good.

Why do you want this job with me, an American act?

�'ve seen you dance.

Then you know what the act is.

-Come here, kids. You free to trave�? -Yes.

Get in the midd�e, ta�� one.

Let's see. Nope. Take it the other way. And back again.

We're gonna trave� around Europe. � want someone who can stick with us.

-� can. -You can?

-You married? -No.

-Engaged? -Oh, no.

THat's all, eVerybody. THat's all. THat's all.

THank you. THank you Very mucH. THat's all.

We��, you're now one of Les Girls.

Oh, merci!

-OH la la-- -This is Sybi� and this is Joy.

-He��o. -How are you?

We got to work fast. Let's grab some �unch and come back and rehearse.

� was �ooking for a p�ace to �ive because � was on tour.

Have you kids got room for Ange�e?

The f�at isn't exact�y e�egant but if Joy doesn't mind--

� never mind saving rent.

You're both do��s. We got to grab some �unch.

Get back quick�y. 1 :15 sharp.

-Come. -You can change in there.

Gir�s, �isten.

There's on�y one thing � have to insist on.

No comp�ications.

But she's right.

� don't interfere with my gir�s' private �ife...

but � don't �et it interfere with their work. � have a few simp�e ru�es.

And � have to insist on them. � ca�� them my ''Three P's.''

The gir�s have to be prompt, persistent and perfect.

Everyone's born with two �egs. Being a good dancer isn't good enough.

-She's here. -Open the door.

�'ve got it. You made it.

He��o. We�come to Liberty Ha��.

Oui. �s there a p�ace where � can put my �itt�e things?

Of course there is. Just push something aside.

-� have a few �itt�e �uggage. -Bring them in.

Remove those things over there.

Hurry up.

lf you please.

Oui, madame.

-Quite a �oad of c�othes you have. -�y mama makes them.

How sweet.

Does your mama make perfume, too?

These? �t's a �itt�e weakness of mine. � �ove to co��ect perfume.

-You may he�p yourse�ves if you wish. -Where were you working before?

� was �ast in a ba��et ca��ed Le Coquerico. A�� about chickens.

-Did you �ay an egg? -� do not understand.

Joy means, ''did you get fired?''

Oh, no. � quit.

Nobody cou�d see me behind a�� those feathers.

�t's important to be seen if you want to get ahead.

You wi��. We saw you dance.

You are very kind.

-Not everyone has been kind to me. -So � notice.

-That's o�d. -Yes, but this isn't o�d.

That's my fiance, Pierre Ducros.

Fiance! You to�d Barry you weren't engaged.

They'�� never meet. Pierre �ives in La Porte.

What if he came to Paris and to the theater?

Never. Pierre thinks �'m studying to be a nurse.

He's so sweet. He gave me this watch.

�t cost his grandfather 100,000 francs.

-You know why? -Why?

Listen.

So sweet.

B�imey, there's dear o�d Dad.

Gir�s!

-Hurry it up, kids. You got ha�f an hour. -Right.

He �ives here?

Yes. And if he finds out you're engaged, you're a canned frog.

How wi�� he find out? Sure�y neither of you....

We are friends and one doesn't betray a friend, no?

No. One does not betray a friend.

� want you to know when the be�� rings we'�� be in your corner, honey.

-Bring the soup. -� wi��.

Do you want some bread?

A�� right, hurry, gir�s.

Hurry, p�ease. You got one quick change, Ange�e, here.

Fee� my heart, you can a�most hear it pounding.

-Does it chime the hour? -Oh, Joy, rea��y.

Be ready for tHe final act.

Curtain in fiVe minutes.

Do you think �r. Barry was p�eased with me?

Yes, � think he was p�eased.

You'�� know when he's not.

�s he unhappy to be away from his wife?

He fe�� in �ove with himse�f the first time he �ooked in a mirror.

-He's been faithfu� ever since. -That's not fair.

What she rea��y means is Barry's very ambitious and the act a�ways comes first.

You are in �ove with him maybe?

Are you kidding?

-He be�ongs to you, then. -What a question.

-� �ike him. -What about Pierre?

Pierre is in La Porte. And �'m in Paris.

-� mustn't a��ow myse�f to be despondent. -ViVe la France.

We're gonna go to the f�at and have some cheese or something.

-Do you want to come with us? -You buy your own food?

We don't grow it.

With Paris fu�� of men who are rich and hungry?

That's such a bore. Besides, there's the o�d �anguage barrier.

To say nothing of the mora� barrier.

To me it's immora� for a beautifu� gir� to eat a�one.

Tonight, � rescue a poor banker from �one�iness.

Better wind Pierre's watch. � think it's running down.

No, you don't understand.

Pierre �oves me, we might get married one day.

�f his parents consent. But that's not tomorrow.

-And tonight is tonight. -What you do is none of our affair.

�f you have a dinner date, keep it. � hope you have a wonderfu� dinner.

-� intend to. -Good.

Don't you ever knock before you wa�k into a room?

What for? You got secrets?

� think we fina��y got it. A rea� act. No comp�ications.

You stick around, you and � got to rehearse.

-Tonight? -Sure. You don't know those routines.

But it's not possib�e. � have an engagement tonight. With an unc�e.

�ake it tomorrow.

-But he �eaves Paris tomorrow. -And tonight is tonight.

-�'ve got a reputation at stake. -So has she.

The poor gir�'s exhausted, can't you rehearse her tomorrow?

�y unc�e, he wou�d be very sad.

Your unc�e ain't running the act. On stage. 10 minutes.

A�� right. We'�� take it once again from where you pu�� the rope.

Did � do wrong?

Honey, it was nothing. There was no excitement.

�'m not a potato. �'m a man you're supposed to be in �ove with.

� wish you were a potato. �'m hungry. And tired. �t's been a�ready two hours.

-Do you want this job? -Yes.

Then we'�� rehearse unti� you do it right. Don't pu�� so hard on the rope.

The �ast time � a�most went on my ear. Okay. Start the music.

-That's more �ike it. -Now, may � go to eat?

Te�� you what. �'m gonna break a ru�e.

� never mix business with anything e�se.

But, you've done so we��, �'�� buy you some supper.

With wine?

The sky's the �imit. A who�e g�assfu�.

And so, Barry paid for Her supper.

He eVen bougHt Her wine. Not a good wine.

But quite good enougH for a beginning.

� wou�dn't mention this to any of the gir�s.

Rehearsa� at 1 1 :00.

ln tHe weeks tHat followed, it migHt HaVe struck certain people as odd...

certainly not me, tHat Angele needed so mucH reHearsal.

l decided to HaVe a talk witH Her.

Wou�d you mind if � said something very persona�?

You te�� me what it is and �'�� te�� you if � mind.

� shou�d hate to see you hurt.

-And who wi�� hurt me? -Are you seeing Barry?

Why?

You see...

some men take very casua��y what you and �...

and possib�y your friend from La Porte, regard as rather serious.

You Eng�ish.

When wi�� you �earn that �ove is a souff�e, not a pudding?

� didn't say that �'m meeting Barry.

We��, that got you nowhere.

-At �east my conscience is c�ear. -Your conscience?

Do not ta�k �ike the pudding. Love is a souff�e.

So sweet.

And if our �itt�e friend, she eat too much...

be�ieve me, she get very, very sick.

-Bonjour. -Bonjour, Barry.

HaVe fun!

Come on.

That's our Barry. Strict�y business. No comp�ications.

-Where do you suppose they're headed? -To the woods, if you ask me.

But �'ve done my duty. � think �'�� write home to Gera�d.

What a dear, sweet, patient dar�ing he is.

�'d write home to my dar�ing, but he isn't quite so patient.

He's marrying my cousin.

-We've paid the rent, haven't we? -�'�� get it.

Bonjour.

Can you tell me if Miss Angele liVes Here?

Yes, Miss Angele liVes Here.

She's not in.

-Do you expect her soon? -She didn't say.

Say, you're Pierre What's-his-name, aren't you?

-Yes, � am. -Come in.

Come on.

After you.

� arrived this morning to surprise Ange�e.

�t's too bad you didn't come a minute ear�ier...

or you wou�d have succeeded.

-Monsieur. -Do you know where Ange�e has gone?

Yes, of course.

Every Sunday she...

does vo�unteer work.

-We��, that's good for her. -Yes.

Do you know that when � first met Ange�e she was very shy.

She was even afraid of men.

Now she has more courage.

-You don't mind-- -Wou�d you �ike some wine?

Thank you. You don't mind if � stay here, do you?

Not at a��.

�t's been such a �ong time since we have seen each other, you know.

-Wou�d you �ike some wine? -� never touch it.

You have known Ange�e �ong?

� never fee� as if it's a question of hours and days, do you?

-You are nurses? -� beg your pardon.

� mean, do you work with Ange�e at the hospita�?

Oh, no.

No, we f�unked out, cou�dn't tuck a sheet.

�'m sorry. But Ange�e, she goes ahead?

By �eaps and bounds.

She has such a gift for app�ying herse�f.

Good.

� have come to Paris today.

Yes?

She may have to�d you. We hope some day to get married.

No!

Oh, that s�y �itt�e pussycat.

She has not shown you the watch � gave her?

-She adores it. -She even s�eeps with it.

� am not without the gui�e, mademoiselle.

� want to be remembered.

Each hour it rings a tiny be��.

What's that?

�y heart.

When you touch me, it p�ays �itt�e tunes.

Does anything happen to you when � touch you, Barry?

You set off a fire a�arm.

And Sybi�, has she ever set off a fire a�arm?

She never even started a fire.

-And Joy? -She never even �it a match.

You want to know something? � don't be�ieve you.

Do you want to know something?

� didn't expect you to.

Why don't you dance in America?

We��, in America �'m just another American dancer.

And over here �'m something specia�.

Wi�� you go home one day?

One day.

You are never �one�y?

Now and then.

� think you shou�d be in �ove. �t wou�d be good for you.

Why?

You wou�dn't be �one�y and you wou�d be something specia�.

We��, � am.

-�n �ove? -Something specia�.

� don't think you know what it means to be rea��y in �ove.

-Sha�� � te�� you? -�f you �ike, sure.

To me, Barry, rea� �ove is �ike....

� can't ta�k when you kiss me.

We��, � can't kiss you when you ta�k.

Rea� �ove is when sudden�y you sight...

someone for whom you yearn.

-How are you? -OH, it's you, Barry!

Haven't seen you in a whi�e.

-How are you? -Good.

HaVe you been out in tHe country?

-Am � intruding? -He��o. Why, not at a��.

Your unc�e is waiting upstairs for you.

-�y unc�e? -Unc�e Pierre from La Porte.

�y unc�e from La Porte. Pierre.

Excuse me, Barry, �'ve got to see my unc�e from La Porte.

We��, that was a very good rehearsa�. Yes.

Getting a�ong fine. �aking a �ot of progress.

�aking time, too, aren't you?

� am embarrassed, � have ta�ked to you of nothing but Ange�e.

-Wonderfu� gir�, do you think? -Oh, yes. Very.

Mon cHer, how are you?

Why didn't you write? � wou�d have been waiting.

Do not sco�d. � didn't know you wou�d be working.

Working? Oh, we��, �, yes, we--

Oui.

Why didn't you write Pierre...

you were doing vo�unteer work at that orphanage?

-You are too generous with your time. -�uch.

-Everything a�� right? -So far.

Then �'m sure Monsieur Pierre wi�� excuse us.

�'ve promised to wash Joy's hair.

You �ucky gir�.

� have missed you, �itt�e ange�.

Let me �ook at you. You are pa�e.

-You took me by surprise, mon coco. -Guess why �'ve come to Paris.

-Guess what � have brought you. -� can't guess. Te�� me.

�y parents.

Oh, your parents.

�y mother and my father. They are to meet you at �ast.

But �'m afraid, Pierre.

�'m on�y a nurse. � have no dowry.

-They may not �ike me. -They wi�� adore you.

Tomorrow night we are to have dinner with them.

But � can't. �'m working.

At the hospita�. � won't be free unti� after 1 1 :00.

Don't worry. Then, we sha�� have a �ate supper instead.

And whi�e we wait, we can.... � sha�� take my mother to a theater.

Oh, no, don't.

There's nothing good in Paris.

You're wrong. You are good.

Sweet, �one�y gir�.

Come away from there.

Ange�e's gonna have to be better than Houdini to get out of this one.

Our �itt�e French souff�e may soon become the pudding...

if she does not take care.

�t's Ange�e. � must see you.

Come in.

There's something � must know, and � must know tonight.

-Wi�� � take you to supper? Yes. -Don't joke. P�ease.

How wou�d you fee� if � decided to give up the theater and went away?

-Don't you joke either. -�'m serious. How serious are you?

What's got into you? Everything was fine yesterday.

On stage.

-Pick up your train, baby, you're on. -Do you �ove me? Do � mean anything--

Of course � �ove you. Come on. Get out on stage. � got to change my pants.

Now, go!

Someone's in for troub�e.

� just spotted Pierre and his parents sitting up in the box.

-Are you sure? -See for yourse�f.

-Pierre's in the audience. -What?

Pierre's up in that box with his parents. �'m not joking, �ook.

They mustn't see me! They mustn't!

-What are you trying to do? Wreck the act? -There's a thing � must exp�ain.

What excuse cou�d you have for doing that?

There's someone out there who mustn't see me.

What are you saying? Those peop�e pay to see you.

You got a ha�f a minute to change.

WHat's tHe matter?

-Ange�e, are you sick? -You must get changed. �t's a�� right.

He cou�dn't have recognized you.

Your mother wou�dn't have recognized you.

He's so angry.

�f you don't hurry, we're a�� gonna be in troub�e.

� cannot go out there!

You have to. You can't �eave Barry stranded on the stage.

�'ve �ost Barry and now �'�� �ose Pierre.

Hurry!

Ange�e, you'd better hurry. Come on!

She got a �itt�e excited but it won't happen again.

Barry NicHols and Angele. One minute.

Pu��.

Pu��.

Pu��!

Bring down tHe curtain. Hurry up. Hurry up.

Where is she? Where is she?

On stage, on stage!

Have you �ost your mind?

-Barry-- -Get out!

P�ease.

�f you're not out of here in one minute, �'�� throw you out of that door.

What's got into you?

� don't know. P�ease trust me.

Trust you? Nobody's ever pu��ed that on me before.

�'�� exp�ain tomorrow, �--

You'�� not exp�ain tomorrow, tonight, or any other time!

You mustn't do this to me after we.... � �ove you.

-Oh, you poor dar�ing. -Oh, honey.

� �ove him. He doesn't know how much � �ove him.

� �ove him. He doesn't care.

-He isn't worth crying about. -Hurry back to the f�at.

Pierre wi�� show up. Get there before he does.

Joy and �'�� stay away, so you've got the f�at to yourse�ves.

� want to die.

Dar�ing, you'�� fee� so much different tomorrow, � promise you.

Hurry. Take a taxi, now. Don't waste any time.

Ange�e!

He�p! Au secours!

Oh, p�ease. He�p!

Dar�ing, Ange�e.

She said she wanted to die.

�f it hadn't been for my prompt action, she'd certain�y have got her wish...

a point she seems to have over�ooked. And she recovered and disappeared.

� didn't know she'd eventua��y married Monsieur Ducros.

Or that she'd read my �itt�e book of memoirs or �'d never have mentioned it.

�t's the du��est chapter in the book.

And a�� that you wrote was the truth.

Every word.

�'m a �itt�e confused, Lady Wren...

as to how you can remember so accurate�y...

scenes which you cou�d not possib�y have witnessed.

� reported them as Ange�e repeated them to me.

According to your account, the incident you described...

occurred in the year 1949 when you were p�aying at the �usic Ha�� Parisien.

We p�ayed there for months. Every Paris newspaper wou�d confirm that.

�t was at the �usic Ha�� Parisien...

that you saw Pierre Ducros in the audience?

What wou�d you say, if � to�d you that Pierre Ducros wi�� swear, under oath...

that he was not in the �usic Ha�� Parisien that night.

That he'd never been inside the �usic Ha�� Parisien in 1949...

or any other year in his entire �ifetime?

�y dear Sir Percy, if you'�� refer to my book again...

� think you'�� notice that never at any time did � say � saw him.

But that is precise�y what the book imp�ies.

No, you're quite mistaken.

� said that Joy to�d me that Pierre was in the audience.

Never at any time did � say ''� saw him.''

Heaven knows � can't see 10 feet without my g�asses anyway.

Si�ence. Si�ence.

Picture, p�ease. One more.

-Excuse me, gent�emen. Thank you. -No, p�ease. No pictures.

�ust be quite a shock after a�� these years...

for a chap to �earn the truth about his wife.

Poor devi�. � fee� sorry for him.

Big smi�e, Lady Wren.

-Big smi�e this way, p�ease, Lady Wren. -One more, p�ease.

Another one, p�ease, Lady Wren.

Over this way, p�ease.

Drive on, Travers, wi�� you?

And you to�d me my watch was �ost.

�t was �ost.

Barry borrowed it and �ost it. � had no way of rep�acing it.

-P�ease be�ieve me. -How can � be�ieve you?

You �ied to me about the theater.

Oh, that!

�'m so sorry � hurt you.

� didn't intend it, Pierre.

Are you going to withdraw the �ibe� suit?

No.

Tomorrow, you'�� hear my side of the story.

� am not sure � care to hear it.

Don't go out. Don't �eave me a�one.

Listen, � �ove you, Pierre.

From what � heard in court, those words come easi�y.

You don't know what you're doing to me.

�'m not worried that you might consider suicide over my going.

That honor be�ongs to Monsieur Barry a�one.

''What happened to Pierre's watch?''

''Lies! A�� �ies! ''

''French dancer promises true story today.''

�t is not true.

�n what manner is it not true, �adam Ducros?

�ost�y in what Lady Wren has �eft out...

of her amusing �itt�e anecdotes.

Why don't you te�� �y Lord and jury just what did happen, in your own words.

�'m sure my �earned friend can have no objections to that.

Not at a��, provided the words are her own.

Proceed.

What Lady Wren says about my joining the act is true.

The three of us �ived together, that's true.

And it was spring, that's true.

But that is a�� that is true.

l'll neVer forget tHe loVely flower market near our flat.

Joy and l Had become good friends.

sHe Had been Very nice to me since l Had joined tHe company.

We always did tHe marketing for our little family and we didn't mind...

tHat sybil Had no interest in sucH common domestic duties.

We tHougHt it was fun.

-� beg your pardon, do you speak Eng�ish? -Nothing e�se.

These house numbers are rather mystifying.

Do you know if a young Eng�ishwoman, Sybi� �organ, �ives here?

We �ive together.

This is �uck. �'m an o�d friend of hers from London, Gera�d Wren.

-� be�ieve she's gone for a wa�k. -Wa�k?

�f you'�� wait here, � sha�� go run up and see.

� thought she was expecting me. � sent her a cab�e. Do you know if she got it?

She cou�dn't have. You know, �'d wait. �t's a �ong wa�k up.

-Yes, Joy? -Ye�� out of the window!

-American? -Poughkeepsie.

� think � wi�� dash up.

An interesting thing about Poughkeepsie...

it's south of C�averack, and it's west of �ahopac...

it's east of Nyack and it's north of Hackensack.

Bit of a sticky wicket, what?

Sybi�.

He��o, o�d gir�.

Now, why do you two a�ways insist on wearing the same c�othes.

You rea��y are the most extraordinary coup�e �'ve ever....

�'m going to make some tea. �'ve �ost my cozy.

Where's my tea cozy? Tea cozy. Tea cozy.

-Tea cozy, who's got my tea cozy? -Oh, Sybi�.

-Sybi�, you promised you wou�dn't. -� don't know what you're ta�king about.

Where did you get it?

We searched the who�e p�ace before we �eft.

You're being very suspicious and very unp�easant.

No, don't go out there, there's someone downstairs you don't want to see.

Who? Where?

He says he's a friend from London.

�t must be Gera�d.

Sir Gera�d Wren.

Rich as Croesus and mad about me.

Have him come up and � sha�� te�� him again, ''No, dear boy.

''No, � wi�� not marry you.''

Oh, no. You must not see him.

Gera�d!

Sybi�, wait. Wait.

Lie down.

We have a rehearsa� this afternoon and you must be in condition.

Love�y, rich. Love�y, rich pussycat.

�'�� be right back.

Promise not to move.

� doubt very much if � cou�d.

-�'m terrib�y sorry, but she's out. -Out?

Co�d! She has a very bad co�d. She probab�y went out for some sunshine.

-� hope she's taking something. -She is.

What a pity. � have to catch the 4:20 p�ane home.

�f Sybi� does get back in time, you might ask her to ring me at our Paris office.

-Of course. -Thanks awfu��y. And te�� her to take care.

-We wi��. -'Bye.

What can we do with her, Joy?

� have an idea, but there's a �aw against it.

Come on.

� am the naughty cigarette gir�.

And a�� the men, they want my cigarettes.

Put the coffee on. �'�� get the bed ready.

-Fi�� the bath. -With gin.

She wants some more of her cough medicine.

Don't be hard on her, Joy, she's a sick gir�.

Deep, deep inside her.

�f she isn't sick now, she's gonna be soon.

But why does she drink? There must be a reason.

There is. She �ikes it.

� found where she's been hiding it.

Where?

-Gin. -But what did she do with the perfume?

She probab�y drank that, too.

He��o, gir�s. Oh, hi.

�t's a �ove�y afternoon. � thought we'd wa�k to the theater.

Where's Sybi�?

Barry, cou�d we rehearse without her this afternoon?

-Why? -She isn't fee�ing we��.

-What's the matter? -Sort of a co�ogne poisoning.

No, don't go in there. She's as�eep.

What's the matter?

�'m no good, Barry.

�'m no good.

Nobody wants my cigarettes.

-That does it. -We can rehearse without her.

�'ve had enough of this cough medicine routine. �'m gonna rep�ace her.

-She's sick. -She is out.

Can you take care of Sybi�? �'ve got to ta�k to Barry.

Remember, she's a sick gir�.

She's out. She's through. She's not that good.

Barry, if you �et her go, it wi�� be the end of her.

That's just too bad, she's not my responsibi�ity.

-Why do you think she does a�� this? -Because she's a �ush.

She's a heartbroken gir� trying to forget.

Let her forget in some other dance act.

You're so b�ind.

She drinks because she's hope�ess�y in �ove with you, Barry.

-�n �ove with me? -Desperate�y.

Why, you're nuts.

�t's true. Haven't you seen the way she watches you?

Yes, she watches me for a chance to sneak out for a snort.

You're so heart�ess.

You're ki��ing this gir� and you don't even suspect it.

-She hates me! -She �oves you.

�s that her fau�t?

What am � supposed to do?

Be kind to her and he�p her forget you.

How, by drinking with her?

Let her stay with the act.

Save another human being from se�f-destruction, Barry.

You rea��y think she's gone on me?

� know she is.

-She's never acted �ike it. -She has pride.

Look, Ange�e, �'m not b�ind. �--

No, just modest.

� thought � knew women.

� can stand her crying, but � cannot stand her singing.

�'�� go in and have a ta�k with her.

Has he been hitting the perfume bott�e, too?

� �ike that. � never knew you cou�d sing opera.

We��, of course � can sing opera, you si��y man.

That's why �'m dancing.

How do you fee�?

What do you care?

You're one of my gir�s. � care a �ot what happens to you.

� think � ate a bad oyster.

That's not fata�.

� don't think you have enough to do in the act.

How about me working up some new routines for you?

� �ike the o�d routines.

But, � wanna feature you.

Why?

� don't think the act is taking advantage of what you have to offer.

What have � got to offer?

Ta�ent, beauty. And you sing �ike an ange�.

Then you're not angry with me?

Angry? Why shou�d � be angry?

Because �'m a�ways getting ptomaine.

That's not your fau�t.

You've just got to keep away from bad oysters.

Don't worry, � understand everything.

You can be so sweet.

� think you better get some s�eep.

We've gotta he�p that kid.

lt's a strange tHing about trutH, it can often make enemies of loVers.

But a lie can make loVers of enemies.

Barry gaVe up drinking...

and insisted tHat tHe rest of us set a good example, too.

-What'�� you gir�s have? -Tea.

-�i�k. -A g�ass of water.

-Nothing. -Tea, mi�k, water, nothing?

That's correct.

And so Les Gir�s became Les Gir� Scouts.

We were going on tour tHat nigHt.

Joy and l Had packed for sybil and of course, sybil was packing for Barry.

l was worried about Her.

Now then, there's one thing � insist on in my act...

p�enty of comp�ications.

� won't interfere with your private �ives if you watch my Three P's:

Pick�es, pins and poop-poop-a-doop.

�arve�ous.

� do find you Eng�ish very amusing.

Come here, o�d gir�, give us a kiss, won't you?

-Goodness gracious. -� think it's funny, too.

How cou�d � have been so wrong? About you?

About me?

You won't be�ieve me, but � didn't �ike you when � first met you.

-Now? -Now you make me fee� �itt�e...

and he�p�ess and tiny and frai�.

A�� the absurd things that � know �'m not.

Since we're on a truth kick, � thought of you as a co�d-b�ooded hoot ow�.

-Rea��y. -Hooting at everything � did.

� don't mind being compared to a hoot ow�. They're rather sweet.

But you don't rea��y think of me as ''co�d-b�ooded,'' do you?

A�� Americans think the Eng�ish are.

Oh, no. The Eng�ish....

Now, take the Latins, they �ight up �ike a paper fire.

-You're more �ike hard coa�. -Heavy and �umpy. Thanks.

No.

Hard coa� is s�ow to burn, but once it starts...

there's quite a b�aze.

And for a �ong time.

-Honey? -Yes, my �ove.

Honest�y, hot or co�d, � cou�dn't care for you more than � do.

But we��, you know me.

� know you.

Dear, sweet cautious Barry.

There'�� be no comp�ications.

We'�� be �ate. We'�� be �ate. What's the train schedu�e?

The train ''shedu�e''?

-We��, � ''sharce�y'' remember. -''Sharce�y.''

-''Shertain�y.'' -You're just too ''shi��y.''

And you're just too too-too.

Look at me, �'m dancing.

Crazy.

Hot dog.

Ho�d on, o�d gir�, we'�� miss our train.

�f we miss the train we'�� go by p�ane.

-� fee� �ike a banjo. -How's that?

Everybody's picking on me.

But wHat l HaVe to tell all took place tHe week we were in Granada.

senorita?

No, gracias. � wait. � expect someone.

A gent�eman? He is here.

Gera�d, what on earth are you doing in Granada?

For the �ast two hours �'ve been trying to find you.

� must say it was worth the bother.

We��, as a�ways, you �ook superb�y hea�thy, extreme�y rich and jo��y nice.

-Nice enough to marry? -Why, �'m sure of it.

You'�� have no troub�e in finding a wife.

How's your father?

You have abso�ute�y no interest in my father.

-Oh, how nice. -Hi.

What?

-Gera�d Wren. Barry Nicho�s. -He��o.

How do you do? �f you'd �ike to have a drink with us?

Thanks, � wou�d.

-�t's Barry's act � dance in. -� know.

� was hoping she's had enough of this career nonsense.

Just why, my friend, shou�d that concern you?

Since �'m the chap she's gonna marry--

-� didn't know that. -Nor do �.

Gera�d knows that my foo�ish �itt�e heart has been won over by the theater.

Why not come back to London? Our theater's as good as any in the wor�d.

We'�� p�ay London a�� right, but not unti� � get the proper setup.

�y own revue, the right house, the right peop�e.

This may interest you, one of our theaters is going vacant.

-Your theaters? -Our banks own them.

-Same thing. -�s he kidding?

Unfortunate�y, no.

�t's the Christopher �ar�owe, where Sybi� was p�aying when we first met.

Do you remember how bad�y you sang?

-Why, �'ve improved. -Oh, you must have.

No, � don't see why you shou�dn't have the �ar�owe...

with a �itt�e financia� backing, of course.

American enterprise does very we�� in West End show business.

And � say British enterprise isn't so bad either.

You know, o�d man, if this is meant to be a bribe...

�'m definite�y interested.

You'�� want Sybi� costarred, of course.

-No, � mere�y want her in London. -We��, rea��y!

� see, the big men ta�king business. � must be quiet?

Yes, p�ease. The name, though.

The Christopher �ar�owe, it doesn't--

�t's not very suitab�e for musica� shows, is it?

-But it cou�d easi�y be changed. -To the Barry Nicho�s Theater.

This gir� has good ideas. Just where is it?

�n Charing Cross Road. That can be changed to Barry Nicho�s Bou�evard.

That'�� come �ater.

Why don't we have supper tonight? Just the three of us.

-Ta�k over detai�s? -Tonight is--

Tonight is fine.

You know, � �ike the way your friend works.

-Quick decisions. -� �ike the way your friend works.

Don't you both think you're working a �itt�e too hard?

Your order?

-Tea. -Champagne.

An aspirin.

-Where's our friend? -What?

-Where's our friend? -�'m gonna be very candid with you.

� don't want you to see Barry again.

We��, why not?

We��, there are severa� reasons why �'d rather the show wasn't put on.

� am not ready to go back to London. � am not good enough yet.

� �ike the act the way it is.

�'ve never had so much fun. P�ease don't spoi� it.

-Aren't you being a �itt�e se�fish? -Very se�fish.

�f � were a man �'d have nothing to do with me.

Be an ange� and kiss me goodbye.

�s having fun that important?

Don't worry, �'�� grow up someday.

� do appreciate your patience and understanding.

Quite frank�y--

Gera�d, p�ease. Before he gets here.

Have a heaven�y trip and do remember me to your father.

Where's he going, Sir Gera�d?

-He's not having supper with us. -No?

We��, � had a �itt�e ta�k and exp�ained a few things.

You're good enough to get a�ong on your own.

We��, sure. But what are you ta�king about?

� knew you wou�dn't want him to be under any i��usions.

What did you te�� him?

That you and � were �overs.

-Oh, you didn't. -� did.

You shou�d have seen his face. He turned the most extraordinary shade of green.

-The co�or yours is now. -You're crazy.

-What's he going to think? -We��, we're �overs.

-Wi�� you stop saying that. -Sybi�.

-� thought over what you just said-- -� know what she said...

be�ieve me, there's not a word of truth in it.

Not one word.

� don't doubt what she to�d me, � mere�y questioned the wisdom of it.

Sybi�, � do understand why you want things to go on as they are.

� know the fun you're having.

Let's not jump to conc�usions. There's been no fun.

�y dear fe��ow, � think � know Sybi� we�� enough to know what she enjoys.

-Let's take it easy. -Barry--

No, we've got to straighten this out now.

Sybi� and �, we might have foo�ed around a �itt�e bit...

you know how it is on the road, but we're not �overs.

Just what did you say?

We��, � hate to ca�� anybody a �iar.

When she says--

�r. Nicho�s, you're speaking of the woman �'d intended to make my wife.

�'m terrib�y sorry--

You've got this a�� wrong.

PerHaps you'd like some wine?

Yes.

Thanks. Do you speak Eng�ish?

Eng�ish, no.

-To your HealtH. -To your HealtH.

THis is Very good. My wife makes it.

No, thank you. This is what � need.

-Cou�d � ta�k to you p�ease, Barry? -No.

P�ease come on out in the corridor. � must ta�k to you.

You can ta�k in here, he can't understand Eng�ish.

The eye is �ooking much better.

�t cou�dn't fee� worse.

Do you want some wine, miss?

No, thank you. �'m sorry it a�� happened.

�t wasn't my fau�t that the act was cance��ed.

We went through a�� that before.

-With your permission. -But you're angry.

� can't stand it when you don't ta�k to me.

-Leave me a�one, wi�� you? Thanks. -Miss?

-Why can't we straighten this out? -�'m not interested.

� didn't know it was so important to have a show of your own.

�t isn't. With your permission.

�'�� make up with Gera�d. But p�ease stop su�king.

�t's the story of my �ife.

Even when � was a kid, if � brought a sick puppy home, it bit me.

Thanks.

� just don't understand why you're so angry.

Look, � tried to he�p you.

� even quit drinking myse�f and �ook at the appreciation � get.

Thank you.

� know how sweet you've been, Barry.

This is what makes me fee� rea��y awfu�. You know....

This is the �ast time �'m gonna be a boy scout.

When Ange�e to�d me that you were drinking...

because you were in �ove with me � thought �'d try to he�p you.

�'ve done my good deed.

Ange�e to�d you that � was drinking--

� broke the most important ru�e in my �ife for you. � got myse�f comp�icated.

Oh, yes, you did. �'ve been so terrib�y se�fish.

� wish � cou�d pin a meda� on you.

''To Barry Nicho�s for the sacrifices beyond the ca�� of duty.''

� don't want no meda�. �y eye is ki��ing me.

We were back in Paris...

but tHings Had cHanged.

THe nigHt we opened sybil was in Very HigH spirits.

Oh, a �itt�e dizzy spe��.

They keep the theaters so warm.

-Was it ghast�y? -We��, it was different.

-Sit down over here. -� was naughty, wasn't �?

-�aybe a coo� damp c�oth'�� he�p. -Wi�� you two get out for a second?

� wanna ta�k to Sybi�.

He wants to remind me to avoid oysters and he's quite right.

P�ease don't sco�d me.

�'m not gonna sco�d you. � think you better go home.

�aybe somebody there can he�p you.

No, you can he�p me, dar�ing. On�y you.

You were so sweet to me once.

-So very sweet. -Sybi�.

You mustn't worry about me. �'m gonna be perfect�y a�� right, honey.

P�ease don't sco�d me.

� have to bring someone in tomorrow morning to rep�ace you.

�'m sorry.

Sybi�!

What � feared had happened.

Poor Sybi� had �ost Barry and had decided...

�ife was not worth �iving.

� fainted and when � recovered she wasn't there.

She had been taken to the hospita�. And � never saw her again.

The act broke up and...

� married the on�y man that � ever �oved...

Pierre Ducros. We had a good �ife unti� this...

terrib�e book was pub�ished.

That is the truth.

That conc�udes my re-examination.

Sir Percy, �r. Outward...

since both �itigants under oath have to�d conf�icting stories...

on�y one of which can be true...

the other obvious�y perjury...

� must consider sending the evidence to the pub�ic prosecutor.

Court is adjourned unti� tomorrow.

-�rs. Ducros! -Ho�d it. Thank you.

Thank you very much.

Ho�d it there, p�ease.

Together. Over here, p�ease.

-Smi�e, now. -Another one, p�ease.

Just one more, over here.

Thank you very much.

One more now.

-Big smi�e, p�ease. -One over here.

-Ho�d it. -Thank you very much.

-How do you �ike London? -Thanks. Very nice.

-Do you �ike the c�imate? -Very much.

-�t takes some getting used to. -Thank you.

But she invented everything.

Everything?

This scar � got from your �over isn't invention.

Oh, Gera�d, �ook, must � exp�ain that a�� over again?

� to�d a stupid �ie. �t was point�ess of me.

Oh, give me a drink, wi�� you?

Wou�d you �ike it in a perfume bott�e?

No, � don't want a drink.

You cou�dn't be taken in by that absurd story.

You know �'ve a�ways had troub�e with my throat.

Sybi�, � don't mind paying any sum...

for the �ibe� damages but � wou�dn't give a brass farthing for our marriage.

''Judge warns truth or jai�.''

Paper. Paper, sir?

Barry?

What is your fu�� name?

Barry Nicho�s.

�r. Nicho�s, as a witness of the court, kind�y te�� the jury...

if you are fami�iar with Lady Wren's book, Les Girls.

Oh, yes. � read it on the p�ane trip from Ca�ifornia. � got in �ast night.

�t's quite a book.

-You are emp�oyed in Ca�ifornia? -Ca�ifornia, Washington, Oregon.

� own a chain of orange-juice stands.

Then you have retired from theatrica�s.

No, � have a te�evision show...

sponsored by Barry Nicho�s �ncorporated.

�r. Nicho�s, have you any know�edge of the evidence given in court...

by Ange�e Ducros?

There was hard�y anything e�se in the morning papers. � didn't skip a word.

Now, comparing her story...

to the one re�ated in...

Chapter Seven of Les Girls...

which, to the best of your know�edge...

is accurate and true?

We��, that's kind of hard to say, Judge, �y Lord.

Hard in what way, �r. Nicho�s? Can you c�arify that?

We��, there were bound to be misunderstandings.

You see, certain things happened...

that neither of the gir�s knew anything about.

Do you reca�� these certain things?

As though it were yesterday.

As both gir�s said, it was Paris and it was spring and � had this act...

ca��ed Barry NicHols and Les Girls...

but eVen in a great cosmopolitan city like Paris, l was a lonely man.

OH, around me were some of tHe most beautiful girls in tHe world, but...

l was no longer interested.

-Are you decent? -Yes, come in.

�t's a great audience tonight.

-They �oved the act. -Why not? �t's a �ovab�e act.

-You gir�s going out tonight? -Just Sybi� and �.

Joy wou�d rather go home with an o�d book.

�t wou�dn't hurt you two gir�s to stay home once in a whi�e....

Stay home once in a whi�e and read a book because....

We��, in this business you need a �ot of rest.

Dear o�d Dad forgets that his �itt�e gir�s have b�ossomed into womanhood.

-Good night. -Good night, gir�s.

-Good night, Joy. -� envy you, Joy.

Why?

We��, you're so se�f-sufficient.

You don't need a �ot of friends or companionship or men hanging around.

�t's a great gift.

You sound as though � were Hortense the Hermit, �iving down under a bridge.

� �ike companionship and � �ike men.

On�y, the ones � meet, companionship is not what they're �ooking for.

� know how you fee�.

�'m kind of �one�y myse�f tonight.

� thought, maybe we cou�d do something together if....

Are you gonna start that again?

-Start what? -Look, Barry, �'m tired.

This debate ended �ast night.

Joy, � wish you'd thought more of yourse�f.

Then maybe you'd rea�ize that a man...

can wanna be with you just to be with you.

For yourse�f.

For your mind.

For �aughs.

You said a�� that �ast night.

There.

-Was � a�� right? -You were a perfect �itt�e gent�eman.

� promise not to te��.

� know what your reputation means to you.

-Thanks. Good night. -�'m coming up.

-� said ''good night.'' -� know. �t's getting pretty monotonous.

Look, � to�d you, � can't offer you any supper.

A�� � have is a few carrots and some mi�k.

Cou�d you spare some sa�t?

What for?

� brought a�ong my own supper.

� wanna ta�k to you about something.

No kidding, it's important.

�t better be.

There's a �oose connection around here somep�ace.

Someday it's gonna b�ow us a�� up.

Light some p�ace, wi�� you p�ease?

A�� right, Barry, what do you want to ta�k about?

Books, vegetab�es, cau�if�ower...

Shakespeare, To�stoy, � don't care.

� come up here for a sociab�e visit, you act �ike a district attorney.

� to�d you � was tired.

Wou�d it make any difference to you if � to�d you...

�'m in �ove with you?

No.

When a man's rea��y in �ove with me, he'�� have more to say than that.

We��, what more can a man say that....

You mean marriage?

�'m an o�d-fashioned gir�, Barry.

� know, that's what � �ike about you. But not marriage.

That's a serious step.

Not that � haven't thought about it.

But, Joy, if that's what you want, why not?

� mean �'m a�� for it. � rea��y am, honest � am.

-Sweetheart. -Yes, Barry?

Let's do it right away.

Let's get engaged.

� suppose you be�ieve in �ong engagements?

We��, yes, to get to know each other better.

And rea��y make sure.

You know what � mean?

Yes, � think � do.

First �et me get comfortab�e, huh?

Joy!

What's in that green bott�e?

Sauerkraut juice.

� �ike it.

Joy, what are you doing?

S�ipping into something e�se.

Just a minute? �'�� be right with you.

Nothing better for a dancer's feet.

Now we were ta�king about our engagement.

That's right, so we were.

Wou�d you mind pouring a �itt�e more hot water in the basin for me, dear?

Not at a��.

You know it's amazing....

�t's just amazing how the average gir�...

�ooks �ike nothing at a�� without a �ot of rouge...

and e�aborate hairdos and attractive c�othes, but...

you...

you, especia��y in this �ight, you have a qua�ity...

a g�ow �ike a wonderfu� �mpressionist painting.

A painting of a dried-up o�d carrot.

Some day there's going to be a murder in this attic and it won't be a mystery.

You brought he�p this time. �f you wanna make troub�e--

No, we have enough troub�e.

We're here to ask for your he�p.

Why didn't you say so? Here, have a drink.

-Oh, thank you very much. -What's your prob�em?

Ange�e thinks that she has deceived me about her career.

But � know....

We have decided our on�y riva� is the theater.

Yes, of course. But what can � do?

-You cou�d dismiss them, Nicho�s. -You mean fire two of my best gir�s?

They wi�� be much happier.

Wou�d you promise to �ook after them...

cherish and protect them when they can no �onger dance?

�'m sorry, boys, but it took me a �ong time to bui�d up this act.

You don't actua��y need Sybi� and Ange�e.

You and Joy cou�d do superb�y, just the two of you.

Do you know what a dirty trick you're asking me to pu��?

-Contemptib�e. -Unpardonab�e.

But have you ever been in �ove?

Have � ever....

Have � ever....

That iceberg...

is sinking me in mid-ocean.

� sti�� have the theater, you know. �t's yours if you want it.

Joy might rather �ike being the most important gir� in the show.

Then you wi�� consider dismissing the gir�s?

Oh, no. That's too crue�. �t's....

You have a p�an?

Have � a p�an?

�t takes a rat to think �ike a rat.

Gent�emen, � give you Les Gir�s.

A�� but one.

Merci, madame.

-He��o, Barry. -He��o, Joy.

Madame--

� don't know why you have to go...

on su�king �ike a spoi�ed 10-year-o�d boy.

-Barry, what is it? -�t's nothing, p�ease.

-WHat's wrong? -lt's notHing.

-Twenty francs. -Can �?

No. �'�� see you at the theater.

Wi�� you get me a g�ass of water?

There is something wrong. Te�� me.

�f you just get me a g�ass of water �'�� be a�� right. P�ease.

-Here now. Drink this. -Thanks.

Are you sick?

�'d rather not ta�k about it. �ake your change.

You're acting so strange�y. You frighten me.

Frightening you is the �ast thing � wanna do, you know that.

Go on. �ake your change, wi�� you?

� guess � shou�d've stopped dancing the first time this happened.

What is it, Barry? What's happened before?

P�ease make your change, � don't wanna bother--

Barry, you're not bothering me. Have you seen a doctor?

-Dozens. -What'd they say?

-The same thing. -Barry.

Now �ook. � don't want you to worry. �'ve worried enough for a�� of us.

Go on, make your change.

�t's kind of ironica� for someone who �ikes to dance as much as � do.

Barry, is it your heart?

� don't wanna ta�k about it.

But if you've known about it, why haven't you stopped dancing?

�t's my �ife, you know that.

Now don't get the idea it's because � don't want you gir�s...

thrown out of work.

Natura��y that does concern me.

�'m not a hee�.

�t is your heart? �sn't it?

You've got to promise me you won't te�� the other gir�s.

Swear you won't te�� them. Swear it.

Oh, Barry. � swear it.

�f you don't want anyone to know your secret, �'�� keep it for you, Barry dear.

� swear it.

The awfu� part about it is...

he's been working every night against the doctor's orders.

-Oh, no. -�'m sure it's so we won't be out of a job.

-�t's too dreadfu�. -Did he say what it was?

Heart, but he wou�dn't admit it.

� wondered why he'd given up drinking a few weeks ago.

-And he's been so quiet �ate�y. -And his hands.

Joy, � noticed, they've been tremb�ing.

Poor, dear Barry. No onions.

There aren't many men who'd do what he's doing.

Not one.

You shou�d've seen his eyes, dark poo�s of suffering.

What are we going to do about it?

We can't �et him ki�� himse�f just for us.

Joy, he's gotta be�ieve he's got something to �ive for.

Don't say that, Sybi�. � fee� so gui�ty.

� know what �'m going to do.

Saturday � wi�� quit.

Saturday. He's not gonna sacrifice himse�f for me.

�'m proud of you.

�'m so proud of you.

We were so happy together.

Listen, tomorrow night we'�� have been together a year.

We'�� give him a party and te�� him then.

We'�� have to make it a gay, happy party.

The �ast one, maybe, together.

And you must swear not to te�� him the reason.

We��, rea��y, Joy!

We��, it don't say ''Barry Nicho�s.''

You are dreadfu�. But we �ove you anyway.

�t's been a happy, happy year. Thank you.

Do � need to te�� you?

-Let's have some champagne. -Yes, �et's do.

Champagne.

A man never had three finer kids. You hear that.

A toast just for us.

-A toast. -Thank you.

Here, Joy. That's good �uck. Good �uck.

-To another year. -�'�� drink to that.

-�any, many happy years, Barry. -�any.

To Les Girls.

�y gir�s.

-Bonjour, Ange�e, you're very swe��. -No. That's enough.

No! ''That's enough.'' You bourgeois French!

Joy, Joy, don't be coy.

Ho�d up your g�ass.

�t's a�� � can do to ho�d up my head.

�t's a�� you can do to ho�d up your pretty �itt�e head.

Sybi�!

Sybi�, Sybi�, �et's not quibb�e. Sybi�.

A�� Sybi� wants is �itt�e o�d beddy-bye. P�ease.

So you're throwing me out.

You shou�d, Barry. Ange�e?

Before you go, there is something Sybi� and � want to te�� you.

-You're gonna hate us, Barry. -�mpossib�e.

The truth is...

we want to give up the theater.

-Are you kidding? -No, Barry.

We've just �ost the taste for a career, that's a��.

And age isn't kind to dancers, you know.

Of course you're.... You're right, but...

�'d give up the act if you �eft me.

Barry, don't make us fee� �ike deserters.

Let us go. P�ease.

How about you, Joy?

�f Sybi� and Ange�e are giving up, � suppose � have to.

�f that's what you want � won't stand in your way.

-Oh, Barry, you're so dear to us. -So understanding.

-So kind. -So sweet.

-Can you forgive us? -Any time.

You shou�d go now.

Oh, Barry, you're so sweet.

-So dear. -So adorab�e.

-So kind. -So understanding.

That's where we came in, gir�s.

Come a�ong, Barry dear.

We do �ove you.

You can go to your Gera�d, but �'m not so fortunate.

Pierre is co�d to me.

�y Gera�d. � te�ephoned him this morning and he cou�dn't even remember my name.

Oh dear, �'m depressed again.

You didn't te�� them, did you?

Oh, Barry, � gave you my word.

�'m sorry, Joy.

But one gets suspicious when time is running out.

You must get some rest now, dear.

Joy, � know this is a si��y thing to ask but...

wou�d you mind seeing me home?

�'m a �itt�e shaky over a�� this.

Of course, dear.

-Wou�d you �ike to �ean on me? -No.

�'�� go out on my own two feet.

A�� those pictures of me.

Yes, you're a�ways with me.

�'m touched.

-Barry, �et me do that, p�ease. -Thank you.

�ay � get your robe for you? �n here?

P�ease don't. � hate to be a bother.

You're such a sweet kid.

Get some s�eep now, Barry.

Good night.

-Good night. -Don't go. Just for a minute.

We��, just for a minute.

Where'd you get that dress?

� bought it for your party.

-How do you �ike that? -� wanted to �ook especia��y nice for you.

-�t's beautifu�. -Thank you.

What is it? �s it si�k?

No. Peau d'ange.

Peau d'ange. Ange� skin.

�t sure fee�s �ike it.

-�t cost a fortune. -Not much back to it.

With this kind of a dress, you're paying for what they �eave out.

You sme�� good.

Oh, no, we mustn't. You mustn't get excited.

A �itt�e excitement's not gonna do me any harm.

No, �'m responsib�e. Te�� me, who c�eans up for you here?

Who cares?

Remember what the doctor to�d you?

The doctor to�d me not to dance. �'m not gonna dance.

You mustn't exert yourse�f.

-You know that. -Then stand sti��!

Don't make me run around tab�es.

�f you don't sit down and be ca�m, �'m going.

Okay. Let me die if � want to.

Now, that's better.

You rea��y don't know what's good for you.

� know what's good for me.

You don't know what's good for me. You're making a wreck out of me.

-Wou�d you �ike some water? -Why?

-You wanna soak your feet? -P�ease don't be cross with me.

�'m being strong for your sake.

Joy, � wanna confess something.

-Swear not to te��. -Haven't � proved you can trust me?

A�� right, �ook, there's nothin' wrong with me.

�'m putting on an act.

Nothing wrong with you?

You made a�� that up?

Joy, are you sorry �'m not dying?

� on�y did it for Pierre and Gera�d.

And the gir�s and ourse�ves, Joy.

And you swore me to secrecy knowing �'d te��.

-Don't get excited. -Don't you te�� me not to get excited!

Of a�� the �ow contemptib�e tricks....

Where's your sense of humor? � was on�y p�aying cupid.

Cupid? You?

-You dirty o�d fake. -Joy, remember my heart.

-Your heart? Ha, your heart! -Joy, remember you're a �ady.

When � think of what � paid for this dress....

Joy, p�ease.

P�ease, Joy, because if �....

Joy! Wait! P�ease.

Joy, � wanna te�� you that � �ove you. � can't �ive without you!

� �ove you.

� �ove you!

Joy, � �ove you! Do you hear me?

Everyone in Paris can hear you. Go home.

� wanna see you. � wanna apo�ogize.

�'m gonna stay here a�� night unti� you answer me! �'�� ye�� a�� night.

� �ove you.

You Americans. �n the name of peace, go up and te�� her quiet�y.

Let decent peop�e s�eep.

Joy, p�ease.

Joy!

Ange�e!

Sybi�!

That's what happened.

Both gir�s were �ying on the f�oor unconscious, overcome by gas.

-Both of them? -Both of them.

We got them to the hospita� and they recovered.

But we never got together again.

That was the end of Les Girls.

�r. Nicho�s do you mean to te�� this court...

that both of these �adies attempted suicide?

Why, no, sir.

Neither of them attempted suicide.

-Neither? -Neither. �t was an accident.

You see, the connection on that o�d heater was a�ways coming �oose.

When the gir�s recovered they never saw each other again so...

natura��y they each thought the other had turned on the gas.

And that is the truth?

Your Lordship, �'m under oath.

Thank you, �r. Nicho�s, that wi�� be a��.

�n view of what we have just heard...

the counse� may wish to reconsider their course of action.

�adam Ducros came into court to protect her reputation...

not for monetary consideration.

� don't think that my �earned friend can strenuous�y object...

if � move for withdrawa� of this case.

The Defense does not object, �y Lord.

�embers of the jury, it seems that you wi�� no �onger be troub�ed with this case.

Thank you. You are excused.

-What a beast�y trick. -But dar�ing, � �oved you.

-� wanted you. -Look, now don't speak to me.

-You've ruined my career. -But, Sybi�--

Don't speak to me!

Forgive me, �itt�e ange�. � sha�� never deceive you again.

Sybi�.

Now, we wi�� be sued.

Oh, dar�ing.

-� was a foo�! -� was the foo�.

No, � hate myse�f.

-Dar�ing, my dar�ing. -Oh, poor pussycat.

� was sitting in the back of the courtroom.

-You were very good. -We��, thank you, �rs. Nicho�s.

� did what anyone shou�d do in a court of �aw.

� to�d the truth.

Don't you be�ieve that?

Barry, we came to save their marriages, ours was fine.

What do you mean ''was''?

Sybi� and Ange�e cou�dn't have invented those stories comp�ete�y.

There must've been some truth in what they had to say.

-� remember. � can think right... -Here we go again.

Eng�ish