
Middle‑class suburbanites Larry and Kitty, weary of their marriages, gradually find each other's habits irritating. When a trip forces them to spend time together without their spouses, they unexpectedly fall in love. Returning home they try to end the affair, yet grow closer, and a holiday will decide if they finally dissolve their marriages.
Does The Facts of Life have end credit scenes?
No!
The Facts of Life does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of The Facts of Life, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Lucille Ball
Kitty Weaver

Mike Mazurki
First Husband in Motel Room

Don DeFore
Jack Weaver

William Lanteau
Airline Clerk

Ruth Hussey
Mary Gilbert

Philip Ober
Doc Mason

Louise Beavers
Gussie

Bob Hope
Larry Gilbert

Louis Nye
Hamilton Busbee

Robert F. Simon
Motel Clerk

Peter Leeds
Thompson, the Dry Cleaner

Bess Flowers
Lady At Airport (uncredited)

Bert Stevens
Man at Airport (uncredited)

Marianne Stewart
Connie Mason

Hollis Irving
Myrtle Busbee
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Read the complete plot summary of The Facts of Life, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
As the annual getaway for three neighboring families—the Gilberts, the Masons, and the Weavers—draws near, Kitty Weaver and Larry Gilbert find their well-worn routines growing staler by the year. With the spouses away on vacation and Doc Mason among the Masons laid up with illness, the two wind up sharing time in Acapulco, where a slow-burning affection begins to replace their familiar frictions. What starts as a harmless escape quickly tilts toward something deeper, quietly challenging the social fabric of their circle and forcing them to confront what it would mean to betray the trust of their own families.
Their romance moves from the quiet to the public, revealing how difficult it is to separate private desire from social expectations. They even try a night at a local drive-in, hoping for a moment of secrecy, but they are recognized and forced to beat a hasty retreat. A subsequent motel stay, meant to be a private lapse, also spirals into mishap, underscoring the fragility of their plan to keep afloat a relationship that by its nature cannot exist without consequences.
A Monterey weekend is arranged, with Larry away on business and Kitty’s husband absent with the children. The tension reaches a new peak when Kitty writes a breakup note for her husband, Jack Weaver, signaling a desire to divorce. Yet the weather mirrors the turmoil inside them: a heavy rainstorm disrupts the hired car, and the mountainside cabin begins to leak, amplifying the sense that running away from family duties only compounds the trouble.
As the storm clouds gather, the couple feels the weight of their decision and the real-world costs that come with choosing a life apart from the ones they love. The narrative builds toward a rapid knockout of options, turning what began as a romantic fantasy into a reckoning with responsibility, loyalty, and the moral pull of family obligations. In a frantic race back home, Kitty hopes to retrieve the breakup note before it reaches her husband, but when she arrives, she finds Jack Weaver there. He claims he has not read it yet, and, in a pivotal moment, she asks him to burn it. He complies in the moment, yet the film discloses a quieter, more devastating truth: he had already read it and chose to ignore it, leaving the future of all involved hanging in uncertainty.
Across these complications, the story traces how desire can collide with social norms, and how couples must navigate the complicated lanes between personal happiness and the foundations of family life. It renders a portrait of longing that is at once tender and thorny, bold in its honesty and restrained by the realities of commitment, duty, and the consequences that follow when lovers decide to rewrite the lines they’ve been living.

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