Trama

After being dumped by her live-in boyfriend, unemployed dancer Paula McFadden and her ten-year-old daughter Lucy are forced to live with struggling off-Broadway actor Elliot Garfield, who is subletting their apartment.

A divorced woman and her daughter come home to find that her boyfriend has left for an out of town job with no warning. This has happened before. The second surprise comes in the form of another actor who has sublet the apartment from her boyfriend (who did not mention the pair of females who would be in residence). After some negotiation the two decide to share the apartment even though she has vowed to stay away from actors.—John Vogel <jlvogel@comcast.net>

Former Broadway hoofer Paula McFadden and her young daughter, Lucy, are outraged to find that Paula's former lover has fled to Europe and subleased their apartment to hyper Chicago actor Elliot Garfield. Neither Marsha nor Elliot is prepared to acknowledge the other's right to the apartment, but they reluctantly agree to share it. Despite their opposite natures and constant bickering, when Elliot's play fails, Marsha is surprisingly affected.—Jwelch5742

Ex-dancer Paula McFadden thinks she has a great life with her actor boyfriend and her daughter Lucy. Then she and Lucy come home from shopping to find Tony has left for a California acting gig without them. Later that night, a visit from Elliott Garfield makes things worse. Tony has sublet the apartment to Elliott. After arguing about who has the real right to the apartment, Paula agrees to let Elliott use Lucy's room. Much to Paula's chagrin, Lucy and Elliott get along great. As time goes by, Paula finds herself falling for Elliott and he for her. Can she learn to trust again and not think Elliott will say goodbye like all the others?—jacartist66

Ex-Broadway chorus dancer Paula McFadden lives with her eight year old precocious daughter, Lucy, and Paula's lover, actor Tony De Forrest. Paula has solely been playing "wife" and mother ever since she got married to Lucy's father. Paula comes home one day to find that Tony has left her. Not only will Paula have to start working again (as Tony was the household breadwinner), the only thing she knows being dancing, but she may have to look for another apartment. Unknown to Paula, Tony, whose name was on the apartment lease, has sublet it to Elliot Garfield, an actor from out of town who has come to New York to appear as the lead in an off off Broadway production of Richard III. Paula will not give up the apartment without a fight - she figures possession is nine tenths of the law - but an equally tenacious Elliot figures the law is on his side and he does have a key. So pragmatic Paula figures the easiest thing to do is to share the apartment with Elliot. Paula doesn't much like Elliot, solely because of what he represents to her, and thus Paula tries to make his life as miserable as she can there in hopes that he will leave. However Elliot and Lucy get along famously. As Paula and Elliot try to co-habitate, they each have their own professional problems, Paula's being that she is woefully out of shape to be a dancer, and Elliot's being that he doesn't see eye to eye with his Richard III director, who wants to take the production in a whole different and unconventional direction. As each tries to earn a living, they find that they are falling for each other. But Paula, a two time loser in love, is hesitant to get into a relationship with Elliot, who she sees will ultimately leave her like all the others have before.—Huggo

Marsha Mason is known as "The Goodbye Girl" because of all the live-in boyfriends who have said ta-ta to her in the past few years. A former Broadway chorus dancer, the divorced Mason lives in the Manhattan apartment of her latest lost love with her daughter Quinn Cummings. Enter arrogant actor Richard Dreyfuss, who has subleased the apartment from Mason's former boyfriend and moves in bag and baggage in the middle of the night. Dreyfuss and Mason spend the next few weeks getting in each other's way and fighting like cats and dogs. The wind is taken out of Dreyfuss' sails when he opens in a production of Richard III, which has been sabotaged by the director (Paul Benjamin), who insists that Dreyfuss portrays Richard as a hip-swinging homosexual. The play closes after one performance, and the once-overconfident Dreyfuss goes on a self-pitying drunken binge. Touched by his vulnerability, Mason begins falling in love with Dreyfuss despite her lousy track record with men.