Bad Girls Do Cry (1965) - full transcript

A naive young girl goes to a model agency, where she is molested, shot up with drugs and forced to become a prostitute.

(intense music)

(dramatic music)

- [Sally] This is where
the story begins and ends.

This is my story, Sally Downs,

just another small town girl,

but this is not my town.

I came here for a visit

and wound up with a murder.

It's a good town.

Good industry, good sawmill.

Good buildings,



good climate,

good people, and bad people.

That's where my story begins.

Bad people.

It was a trip I had
planned for many months.

Mary and George had invited
me to stay with them.

If I liked it, I'd find a
job and become a native.

On a Sunday morning, I arrived by bus,

excited and full of joyous ambition.

I got my first bit of bad news.

When I found Marion's number,

they told me she'd been called away.

Her mother was desperately ill.

I thanked them and told them



I'd find a room for a day
or two, and then a job.

(pleasant music)

I found the room.

Not much, but clean and it would do

until I got myself situated.

(dreamy music)

The first thing to do

was tidy myself up and change clothes

so I could look for a job.

(dreamy music continues)

I put on what I thought was my neatest

and most likely to get a job dress.

Then I looked through
the late paper I bought.

The want ads, ah.

Let's see.

Waitress wanted, steady, nights.

1432 Lake Drive.

I'll give it a try.

(soft music)

- [Nick] I've been in three
and four times a night.

- I noticed.

You must be crazy about our coffee.

- [Nick] Hate the stuff.

- Aren't you doing it the hard way?

- [Nick] I wanted to talk with you.

- [Sally] About our coffee?

- [Nick] No, beautiful, about you.

Why does a beautiful doll like you

waste her time slinging hash?

- [Sally] It's a job.
What else would I do?

- [Nick] Did you ever think of modeling?

A lot of money and a fine future in it.

You got a lot in the ball.

Sounds like a gag, but
this is on the up and up.

All you gotta do is look pretty.

Here's my card.

Drop in tomorrow. I'll look for you.

- [Sally] Charm Model Agency.

Why not?

They think I'm pretty enough.

And then Al, Al with the clammy hands.

It would be a vacation,

maybe a career.

Why not?

(pleasant music)

Nick Moran, that was his name.

He was showing me pictures of
the models he'd been using.

Marge Courtney, Renee White,

Helane Marlot, and others.

He told me how well they had done

since they'd been with the agency.

It was exciting and I
drew intensely interested.

He explained that some of them

were earning as much as 20,000 a year.

He wanted me to raise my skirt.

"It was all right," he explained,

"That's how they can tell.

Higher.

A little higher.

A little higher.

Now walk around.

Fine."

He wrote something on a card,

and he said they were doing

a big magazine layout at that address.

"Just give the lady there the card."

I thanked him and almost
floated out of the office.

I didn't know what I was
letting myself in for

when I stepped into that house.

This is Herbert.

He's made this a second home.

Notice the phony mustache, the disguise.

He seems busy.

Oh, he is busy, working
on insurance papers.

He tells his wife he's
out selling insurance.

You'll probably find him here everyday.

Pixie, cute, harmless little man.

Harmless? Yes.

But he lies to his wife.

(mischievous music)

(dramatic music)

- Herbert, Sally.

(dramatic music continues)

You can undress here, honey.

The camera man will be ready in a minute.

(dreamy music)

(dramatic harp music)

- [Sally] What is this?

- What's the difference?

You're here, make the best of it.

Come here.

Now you can make a lot
of money, beautiful girl.

- Get away from me!

- I told you, you can make a bundle.

(Sally groans)

- What a cheap trick. I should've known.

- Come here.

- Get out!

(both groaning)

- That's the last time you'll do that.

- [Durkin] Well Blanche,
how was the take last week?

- Great.

Like I told you the new kid's
have been with us two weeks.

She's the only one they want.

- [Durkin] Is she taming down?

- [Blanche] She had to.

Nick's been straightening
her out with a needle.

- I want him behaving himself.

If this babe is that great,

tell him to mess with Juanita.

She digs him.

- [Blanche] You know how
Nick is about new stuff.

He gets all excited. It'll wear off.

- [Durkin] It better.

I don't want any slip ups.

I got a tip the house is being watched.

We wanna make as much
of a bundle as we can.

- [Blanche] You and me both.

I got my own inmate
that's dying to hug me.

Was that for love or were you
giving me a sobriety test?

- Both.

- [Jean] No, I'm not being
overly jealous, Gene.

It's just your conscience.

- [Gene] I beg your pardon, Jean.

I have nothing to hide.

- [Jean] Ha! Nothing?

Then why did you walk into the house

last night backwards?

- [Gene] I did not walk
into the house backwards!

It's that ridiculous wrap
around coat you bought me.

- [Jean] Don't shout at me, Gene.

- [Gene] I wasn't shouting, Jean.

- [Jean] One of us is going
to have to change our name.

I feel like I'm talking to myself.

It's almost psychiatric.

- [Gene] What you need is a rest,

in a nice quiet, institution.

- [Jean] Oh, you sneak!

You low down conniving sneak,

trying to get me out of the way

so you can carry on with Lana Porter,

that cheap redhead.

- [Gene] I wouldn't know.

- [Jean] You wouldn't know?

- [Gene] She never took off her hat.

- [Jean] I'm leaving you, Gene.

- [Gene] Don't be a fool, Jean.

- [Jean] Oh, at least if
you'd just change your name.

- [Gene] My mother chose that, it stays.

- [Jean] Good, then it
won't be crowded here

because I'm leaving.

- [Gene] Have you thought
of our child, Jean?

- Our child?
(doorbell rings)

- [Gene] Yes, our child.
Four year-old Gene.

- Oh our child, Gene?
- Yes, Jean.

- [Jean] Oh, you see what I mean?

I can't stand it. I'm leaving.

I don't ask for anything
like mink or diamonds.

Only the sound of another name.

Like Paul, or Ed, or even Laszlo.

I'm leaving.

- [Gene] You're not.

(static crackling)
- Broken neck.

(slow music)

- [Juanita] Why don't you go home

and make up with your wife.

- [Herbert] I can't.

She thinks I'm out selling insurance.

- Ouch!

While you're here, why don't
you sell me an accident policy?

(pleasant music)

- [Sally] I didn't want any part

of Hartley's pool parties.

I stayed back at the house.

I couldn't face the outside world.

I couldn't face myself.

- Tommy, the girls.

- Like what you see?

- Yeah.

- Johnny says you're something special.

Then I got a special girl for you.

Then we'll see you later?

(upbeat music)

(soft music)

(doorbell rings)

(woman blows raspberry)

(dramatic music)

(gentle music)

- Tommy, this is Sally.

- You know, this is the first time

I've ever been to a place like this,

but I've been kidded so much,

I had to take the plunge.

Don't you talk or something?

- [Sally] There's nothing to say.

What's the old expression?

Action speaks louder than words.

Let's not kid ourselves.

They're only interested in one thing here.

And so are you, for that matter.

- [Tommy] You're really bitter.

Why are you doing what you're doing?

- [Sally] Is this a quiz show
or are you here for a purpose?

- [Sally] You're beautiful. You know that?

- [Sally] I know a lot of things,
but I'm too tired to talk.

- [Tommy] I don't care what you say to me

or how tough you act,

I still think you're beautiful.

(gentle music)

I wouldn't even know where to start.

- How are things at the house?

Drunk again?

I warned you about that
drinking when you're there.

There's too much money
involved for baloney like that.

I'm not running any risks.

Nevermind what you think!

I'm the boss here.

- Yeah. Okay.

Yeah.

(water burbling)

Yeah.

- I hear this new kid is great.

I want you sober so you
can keep an eye on her,

a steady watch.

Now sober up and meet me in
15 minutes at the usual place

and bring the money with you.

Yeah.

(pleasant music)

- Let me tell you something.

Just 'cause you think I'm not a lady,

that don't mean you can
talk to me like I'm not.

'Cause I'm not.

Remember that, buster.

My mother was a lady.

My grandmother was a lady.

And my grandfather was a lady.

Anytime that you wanna
lose respect for me,

you do it in front of me

'cause I wanna be there too.

I've never missed an
appointment in my life.

Wait, wait, wait a minute.

Somebody's choking me.

Furthermore, you'll have to wait a while.

I'm all tied up.

(soft music)

- I missed you.

- You're kidding me.

- Do I kiss you like I'm kidding?

- I don't know. I don't
feel anything anymore.

(insects chirping)

- Took you long enough.

- Tell you why.

Trouble at the house.

- The new girl again?

- Bonnie's been giving her a hard time,

but she's quieted down a bit.

Kid's popular and Bonnie
ain't taken it nice like.

I can straighten her out though.

- Nick says this new kid is a doll.

- Looks wonderful.

- I don't want to no one bothering us.

- Some new John, a kid,
he's fallen for her

and I'm afraid it's serious.

- Afraid? Now quit clowning.

Keep him away!

The heavy loot likes this dame

and I don't want no two-bit
Romeo lousing up a good thing.

- He's just a punk kid.

Maybe he'll get over it.

- Maybe.

I'm not running a business on maybes.

Who is he?

- [Blanche] He's all right.

John Hartley okayed him.

- Well, I gotta get goin'.

- Tommy, Bonnie's been asking for you.

- Really?

- Wouldn't you like to
see her or Juanita maybe?

- No, I'd rather not.

(pleasant music)

- Nicky, darling.

I have a present for you.

But I knitted something
special just for you.

Lookie.

It'll keep you a little gun plenty warm.

(pleasant music)

(suspenseful music)

- Ow!

- [Sally] Tommy had
convinced me it was best

to try to make a break,

get up and get out once and for all.

(dreamy music)

We'd gotten together
the few things I'd need

and dimmed the lights.

Tommy was helping me
in more ways than one.

He gave me the courage I'd lost.

He assured me I'd get out of all this,

no matter what the price.

Tommy loved me and that
was all I needed for proof

that I could start all over again.

(dramatic music)

- [Blanche] Nick!

Trouble!

(dreamy music)

- Sally, darling.

A way to get in touch
with you, but to no avail.

I'll never give up until
I get you out of there.

We met under terribly
strange circumstances,

but I don't think that matters now.

The point is that you're in trouble

and I love you very much.

I don't know how you
ever got into this life,

but the reason seems pointless now.

The fact remains that
you don't belong there.

They can't hold you by force,

not much longer, anyway.

The last time we were together

you led me to believe you loved me

and wanted to get out.

Well I love you and there's
nothing going to stop me

from getting you out.

Nothing and no one.

Just have faith in me and
trust and wait and pray.

'Til I see you later.

Always in love with you, Tommy.

(pleasant music)

(mischievous music)

(sultry music)

Blanche, Tommy.

I just wanna...

Blanche?

Blanche?

Hello?

(sultry music)

(pleasant music)

(mischievous music)

- [Nick] You're getting a little annoying.

You were thrown out, warned to keep away.

- Correct.

- [Nick] The answer is all right,

but your action's making
me a little fidgety.

- [Tommy] Take pills.

- [Nick] Look, sonny, those
smart cracks will wind you up

at the bottom of your favorite lake.

Go to a college dance, meet a new girl.

- [Tommy] Won't do you any good, Nick.

I love the girl.

I'm gonna get her out of there.

- I got the word from way up.

Stay away.

- Lieutenant Durkin?

- [Durkin] Yeah.

- I suppose what I've been doing

isn't exactly right either but-

- [Durkin] Traffic detail
two doors down the hall.

- No, sir. It's something
more important than that.

- [Durkin] Well, let's go, son.

I work on time.

- It's about a girl. She's in bad trouble.

- [Durkin] Like what?

- Like white slavery.

Place at 6242 June Street.

(dramatic music)

- [Durkin] What's the girl's name?

- Sally Down.

- [Durkin] And what's that address again?

- 6242 June Street.

- [Durkin] We'll check it.

(dramatic harp music)

(dog barking)

(engine revving)

(dramatic music)

(suspenseful music)

(dramatic music)

(Nick grunts)

(gun bangs)

(gun bangs)

(bullet whizzes)

It's empty.

Come on out, you got an even chance.

(gun bangs)

(Tommy grunts)

(doorbell rings)

- Yeah. What is it?

- [Messenger] Western Union.

- Who are you kidding? Blow, buster.

- [Messenger] No, really. This is my job.

I got a message.

- Well, hand it to me.

- [Messenger] I can't. I gotta do it.

- Well, shoot.

♪ Happy anniversary to you ♪

♪ Happy anniversary to you ♪

♪ Happy anniversary ♪

(Blanche laughs)

(dramatic harp music)

(dramatic music)

- Where's Nick?

Where is he?

(dramatic music)

You did it again, Nick.

Somebody's gotta pay.

You made page one and the price is high.

I can't help you, Nick.

You can't hide behind my skirt,

not when it's murder.

It wasn't just another
guy, you stupid fool.

And there was no reason to kill him.

I just said rough him up.

- [Nick] I just slugged him
and his head hit the curb.

- [Durkin] You slugged
him all right, with a .32.

You know who his old man is?

- [Nick] I don't look 'em up before.

- [Durkin] Does this girl know yet?

- [Nick] I don't know.

Anyway, we should try to
sneak her out of here.

- [Durkin] He was Edgar Cole's kid.

This was one job you goofed.

- [Nick] It'll be all
right when it cools off.

- [Durkin] It ain't gonna cool off!

The lid's gonna blow.

I'm sick and tired of
your stinking temper.

You've always been nothing but a cheap,

trigger-happy hood.

That's all you've ever been.

Now you listen to me.

This is the last time.

(dramatic music)

(dramatic harp music)

(gun bangs)

(dramatic music)

- [Sally] This is where it began

and this is where it ends,

but there'll be more Sally Down's

and more Tommy's, more
Nick's, and more tragedy

as long as there continues
to be crime and corruption.

(dramatic music)