For three months, Mia’s mom insisted she stay away while her house was being renovated. But something didn’t sit right. When Mia arrives unannounced, she finds the door unlocked, the house eerily pristine, and a strange smell in the air. Mia is about to stumble upon a devastating secret.
The city was just waking up as I drove through its empty streets. Early morning light painted everything in soft hues, but I couldn’t shake this gnawing feeling in my gut. Something was wrong.
I gripped the steering wheel tighter, my knuckles turning white. Mom’s voice echoed in my head as my memory replayed all those hurried phone calls and weird excuses. “Oh, honey, I can’t have you over. The house is a mess with all these renovations.”
But three months without seeing her? That wasn’t like us. We used to be thick as thieves, her and me.
I worried about what had changed as I waited at an intersection. Mom had always been house-proud, constantly tweaking and updating our home. But this felt different.
Her voice on the phone lately… she always sounded so tired. Sad, even. And every time I’d try to press her on it, she’d brush me off. “Don’t worry about me, Mia. How’s that big project at work going? Have you gotten that promotion yet?”
I knew she was keeping something from me, and I’d let it slide for far too long.
So here I was, way too early on a Saturday morning, driving across town because I couldn’t shake this feeling that something was terribly wrong.
As I pulled up to Mom’s house, my heart sank. The garden, usually Mom’s pride and joy, was overgrown and neglected. Weeds poked through the flower beds, and the rosebushes looked like they hadn’t seen pruning shears in months.
“What the hell?” I muttered. I killed the engine and rushed to the gate.
I walked up to the front door, my footsteps echoing in the quiet morning. When I tried the handle, it turned easily. Unlocked. That wasn’t like Mom at all.
Fear prickled across my skin as I stepped inside. There was no dust, or building materials in sight. No sign of a drop cloth or any paint cans either. And what was that smell? Sharp and citrusy. The place was too clean, too sterile. Like a hospital.
“Mom?” I called out.
My eyes swept the entryway, landing on a familiar photo on the side table. It was us at the beach when I was maybe seven or eight. I was grinning at the camera, gap-toothed and sunburned, while Mom hugged me from behind, laughing.
The glass was smudged with fingerprints, mostly over my face. That was weird. Mom was always wiping things down, keeping everything spotless. But this… it looked like someone had been touching the photo a lot, almost frantically.
A chill ran down my spine.
“Mom?” I called again, louder this time. “You here?”
That’s when I heard it. A faint creaking came from upstairs.
My heart raced as I climbed the stairs. The quiet felt heavy, pressing in on me from all sides. I tried to steady my breathing as I walked down the hallway toward Mom’s room.
“Mom?” My voice came out as a whisper now. “It’s me. It’s Mia.”
I pushed open her bedroom door, and the world seemed to tilt on its axis.
There she was, struggling to sit up in bed. But this… this couldn’t be my mother. The woman before me was frail and gaunt, her skin sallow against the white sheets. And her hair… oh God, her beautiful hair was gone, replaced by a scarf wrapped around her head.
“Mia?” Her voice was weak, barely above a whisper. “You aren’t supposed to be here.”
I stood frozen in the doorway, my mind refusing to process what I was seeing.
“Mom? What… what happened to you?”
She looked at me with those familiar brown eyes, now sunken in her pale face. “Oh, honey,” she sighed. “I didn’t want you to find out like this.”
I stumbled to her bedside, dropping to my knees. “Find out what? Mom, please, tell me what’s going on.”
She reached out a thin hand, and I clasped it in both of mine. It felt so fragile, like a bird’s bones.
“I have cancer, Mia,” she said softly.
Time stopped and my world narrowed down to how dry her lips looked as she spoke and the hollow feeling in my chest. I couldn’t breathe.
“… undergoing chemotherapy for the past few months,” she finished.
“Cancer? But… but why didn’t you tell me? Why did you keep this from me?”
Tears welled up in her eyes. “I didn’t want to burden you, sweetheart. You’ve been working so hard for that promotion. I thought… I thought I could handle this on my own.”
Anger flared up inside me, hot and sudden. “Handle it on your own? Mom, I’m your daughter! I should have been here! I should have known!”
“Mia, please,” she pleaded. “I was trying to protect you. I didn’t want you to see me like this, so weak and…”
“Protect me?” I cut her off, my voice rising as tears blurred my vision. “By lying to me? By keeping me away when you needed me most? How could you do that?”
Mom’s face crumpled, and she started to cry, too. “I’m sorry,” she sobbed. “I’m so sorry, Mia. I thought I was doing the right thing. I didn’t want to be a burden.”
I climbed onto the bed beside her, careful not to jostle her too much, and pulled her into my arms.
“Oh, Mom,” I whispered. “You could never be a burden to me. Never.”
We sat there for a long time, just holding each other and crying. All the fear and pain of the past few months came pouring out.
When we finally calmed down, I helped Mom get more comfortable, propping her up with pillows. Then I went downstairs and made us both some tea, my mind reeling with everything I’d learned.
Back in her room, I perched on the edge of the bed, handing her a steaming mug. “So,” I said, trying to keep my voice steady. “Tell me everything. From the beginning.”
And she did. She told me about the diagnosis, the shock, and the fear. How she’d started treatment right away, hoping to beat it before I even knew something was wrong.
“But it spread so fast,” she said, her voice trembling. “By the time I realized how bad it was, I was already so sick.”
I took her hand again, squeezing gently. “Mom, don’t you get it? I love you. All of you. Even the sick parts, even the scared parts. Especially those parts. That’s what family is for.”
She looked at me, her eyes filled with a mixture of love and regret. “I just… I’ve always been the strong one, you know? Your rock. I didn’t know how to be anything else.”
I smiled through my tears. “Well, now it’s my turn to be the rock. I’m not going anywhere, Mom. We’re in this together, okay?”
She nodded, a small smile tugging at her lips. “Okay.”
I moved back in with Mom later that week. I also took time off work and called in every favor I could to get Mom the best care possible, even if all we could do was keep her as comfortable as possible.
We spent her final days together, sharing stories and memories, laughing and crying together. And when the end came, I was right there beside her.
“I’m sorry, Mia,” she whispered. “I wanted… I never took you to Disneyland… I promised to take you camping in the mountains… so many promises I’ve broken…”
“It’s not important.” I moved closer to her on the bed. “What matters is that you were always there for me when I needed you. You always knew how to make me smile when I was sad, or make everything better when I messed something up.” I sniffed. “I don’t know what I’m going to do without you, Mom.”
Her eyes cracked open, and she smiled faintly at me.
“You’re going to be okay, Mia. You’re so strong… my amazing daughter. I love you so much.”
I put my arms around her and hugged her as tightly as I dared. I’m not sure exactly when she slipped away, but when I eventually pulled back, Mom was gone.
I stayed there for a long time, trying to hold onto the warmth of our last hug as sobs racked my body, replaying her last words in my mind. Trying to keep her with me, no matter how impossible that was.
Saying goodbye to Mom was the hardest thing I’ve ever done. But I wouldn’t trade those moments I spent with her for anything in the world.
Because in the end, that’s what love is. It’s showing up, even when it’s hard. It’s being there, even in the darkest moments. It’s holding on tight and never letting go.
10 Little-Known Mistakes in Pretty Woman That Will Blow Your Mind
Pretty Woman is one of those movies I can watch over and over — it never gets old or boring.
But considering how many times I’ve seen it, it’s surprising that I’ve never noticed these bloopers and mistakes that tell a different story about the film.
Disney changed everything
*Pretty Woman* became a romantic comedy that captured millions and launched Richard Gere and Julia Roberts to fame.
But that’s not how it was originally meant to be. The first screenplay was titled *3,000*, written by then-struggling screenwriter J.F. Lawton. The early draft dealt with much darker themes about social inequality and corporate greed.
However, everything changed when Disney took over. The company chose to downplay the themes of class and sex work in Los Angeles. Instead, Disney gave it a big budget and turned it more into a romantic comedy.
Al Pacino turned down the lead role
For me, it’s hard to imagine anyone but Richard Gere as Edward Lewis, the wealthy businessman from New York who hires Vivian (Julia Roberts) to be his escort for a week.
The casting process for *Pretty Woman* took longer than expected, with Al Pacino initially in the running for the role of Lewis. The famous actor even took part in a casting reading with Julia Roberts but ultimately decided to pass on the part.
Although he liked the script, Pacino never explained why he turned it down. Looking back, he has shown respect for Roberts, who was a relatively unknown actress at the time.
“I mean, you could tell at the reading that this was going to be good, that it would be a hit,” Pacino said.
He also mentioned: “And this girl was amazing. I asked Gary, ‘Where did you find this girl?’” (Gary being Gary Marshall, the film’s director). Pacino’s instincts were right, as Roberts’s outstanding performance would shape her career and the film’s legacy.
The croissant becomes a pancake
In the scene where Richard Gere’s character orders breakfast in the room, there’s a funny little detail you might not have noticed. It starts with Vivian enjoying a croissant while talking to Edward.
But then, in an instant, the croissant magically turns into a pancake.
How did that happen? According to director Garry Marshall, he liked Julia Roberts’ performance in the later takes, where she was eating a pancake instead of the croissant, so they decided to use that footage.
However, this caused a continuity issue. In the first shot with the pancake, Vivian takes a second bite, but in the next shot, the pancake only has one bite missing, and the bite marks are clearly different.
It’s clearly not the same pancake!
Truth behind the iconic dress
The careful attention to costume design might go unnoticed by most moviegoers. However, whether you notice fashion or not, it’s hard to miss the iconic red dress that Julia Roberts’ character wears in the film.
The red dress represents Vivian’s transformation and empowerment during a key scene in the movie when Roberts’ character joins Edward Lewis for a night at the opera.
Vogue described the dress as “eye-catching, incredibly sexy without losing any elegance.” The genius behind that stunning dress? The award-winning costume designer Marilyn Vance.
She created six fabulous outfits for Julia Roberts’ character, Vivian Ward, and also designed Richard Gere’s stylish looks.
For example, the charming brown-and-white polka dot dress Roberts wore to the horse race was made from old silk found in a small antique fabric shop in Los Angeles — talk about recycling in style! And those chic shoes? They were by Chanel.
Richard Gere’s tie
As for Gere’s wardrobe, it was a masterclass in color coordination, featuring brown, navy, and blue-gray suits, all designed by Vance.
Now, about that famous tie that Roberts takes from a store employee? According to Vance, it was “nothing special” and definitely not a designer piece.
She bought it in a Los Angeles shop for $48.
The tie appears several times in the film, and if you watch closely, you might notice that it mysteriously changes knots from time to time.
During the polo match, Edward wears a straight-collar shirt with the tie that Vivian gave him, knotted in a half-Windsor. But in a later scene, sharp-eyed viewers can see a subtle change — Edward’s collar has turned into a spread style, and the tie is now in a full-Windsor knot.
‘Obscene’ shopping spree
When Richard Gere shows Julia Roberts’ character the glamorous world of the rich, he takes her on a wild shopping spree down Rodeo Drive in Beverly Hills.
That afternoon shopping trip? It would have cost Gere’s character at least $30,000, according to designer Marilyn Vance.
Talk about a shopping spree on steroids! It’s like they were shopping with Monopoly money — no wonder Vivian was in a daze.
The ruby-and-diamond necklace was real
The jewelry Julia Roberts wore with her stunning red ball gown — a heart-shaped necklace made of rubies and diamonds — was valued at an incredible quarter million dollars. Yes, you heard that right.
According to movie trivia sites, this ruby-and-diamond masterpiece was the real deal. In fact, while filming, an armed security guard from the jewelry store responsible for this extravagant necklace stood watch behind the director.
Jewelry box scene was a practical joke
The scene where Richard Gere gives Julia Roberts the expensive necklace is not only one of the most romantic and iconic moments in movie history, but it also has a funny backstory.
Originally, it was meant as a playful prank for the film’s gag reel.
As you might remember, the jewelry box snaps shut on Julia Roberts’ fingers, causing one of the most genuine and charming laughs ever caught on film.
The real story behind the scene came from director Garry Marshall, who explained why he and Gere decided to play this trick on the young actress.
According to Marshall, Roberts, who was just 23 at the time, would sometimes show up on set a little sleepy after a late night out.
“I said, ‘Richard, you gotta wake her up a little, so when she reaches for the box, slam it.’ It was a soft box. I would never hurt her,” Marshall explained.
It wasn’t until the final stages of editing that they decided to keep the scene in the movie. “We put it in… and it became like the trademark of the movie,” Marshall said.
And just like that, an unscripted joke turned into cinematic magic.
Edward’s disappearing shoes
As mentioned earlier, there are some mistakes in *Pretty Woman* that aren’t easy to spot on the first viewing, but some keen viewers have noticed them.
For instance, when they leave the opera and head to the park, Vivian takes off Edward’s shoes. However, as he begins to lie down, the shoes magically reappear.
Money in the boot
Speaking of things on (or in) your feet, there’s a little mystery involving Vivian’s boots that you might have missed.
When Edward gives her $100 in the penthouse, she slips the cash right into her boot for safekeeping. But later, after room service arrives with champagne and she takes off her boots, the money has mysteriously disappeared.
Did the cash vanish into thin air, or is Vivian just really good at hiding things? Maybe those boots had a secret compartment, or perhaps the $100 simply didn’t want to stick around for the rest of the film…
Four colored condoms
When Vivian offers Edward a selection of colorful condoms, it seems they have a mind of their own.
Vivian starts with four neatly arranged options (not counting that fancy gold circle one). But in the next shot, the order has magically changed.
Richard Gere didn’t like his character
Richard Gere has certainly gained from the success of *Pretty Woman*—both in his career and his bank account. But he hasn’t always been fully positive about the film, especially regarding his character, Edward. At a film festival in Venice, Gere described Edward as “criminally underwritten.” He added, “Basically, he’s just a suit and a good haircut.”
One scene in particular seemed to bother Gere, where Edward plays the piano while Vivian moves closer. Reflecting on it, Gere sarcastically said, “I mean, no chemistry. This actor and this actress obviously had no chemistry between them… I haven’t seen that in a long time. That’s a sexy scene.”
Director Garry Marshall came up with the idea for the scene after asking Gere what he usually did late at night in a hotel. Gere remembered, “I said, ‘Well, I’m usually jet lagged, so I’m up all night. Usually, there’s a ballroom or a bar, and I’ll find a piano and play it.’” Marshall then suggested, “Well, let’s do something with that.”
So, the scene was mostly improvised, with Gere explaining: “He said, ‘Play something moody.’ I just started playing something moody that reflected this character’s interior life.”
Then, just as mysteriously, the original lineup of condoms snaps back in the third shot. It’s as if the condoms were having their own little dance routine behind the scenes.
More than just onscreen lovers
If you ask me, the chemistry between Julia Roberts and Gere in *Pretty Woman* was undeniable. But the sparks didn’t just fly when the cameras were rolling — they formed a close bond off-screen too.
In 2017, Gere shared that he still talks to Roberts “all the time,” and back in the day, they would chat “three or four times a day.”
You could say it was love at first sight, in a friendly sort of way.
Even in a fairytale romance, things don’t always go as planned. Maybe that’s what makes this movie so charming and keeps us watching it again and again, year after year.
Did we miss your favorite *Pretty Woman* blooper? Share it with us and keep the fun going!
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