"Make Way For Tomorrow" Movie Script

"Make Way For Tomorrow" Movie Script

Text / (US) Werner Delmar

Translated by Shen Shan

make way for tomorrow

(Produced by Paramount Pictures)

Screenwriter: Werner Delmar (based on Josephine Lawrence's novel "The Years Go By" and Helen and Nolan Leary's play of the same name)

Producer and Director: Leo McCulley

main character

Father Victor Moore

mother Beulah Bondi

George Cooper Thomas Mitchell

Anita Cooper Fay Baint

First

Fade in, exterior view of a large, old-fashioned timber-framed house with snow-covered roofs. It was a typical old Eastern Village house, about a hundred miles from New York City. George Cooper was walking up the steps up the log cabin veranda. He knocked on the old-fashioned knocker to signal his arrival, and waited for someone to open the door. In fact, there is no waiting, the door opened immediately. Aunt Cooper appears on the screen, smiling as soon as she sees George. George was equally elated.

George: Hi, Mom… Hi, nice to meet you! (they kiss) You look so good...

Mother: (looks critically at him) You're pretty good too, George. I see you're fatter than you were five or six months ago - at that time, I thought you were a little too thin. (George has entered the house by this time and the door is closed)

As soon as George entered the house, the front aisle of Cooper's house appeared on the screen. His mother looked at him happily. He took off his coat and hung it, along with his hat, on an old-fashioned coat rack. The camera moves to the coat rack, which is already full of coats, and there are two millinery hats on a chair next to the rack.

George's voice-over: (The camera shoots the hanger) It looks like they all arrived earlier than me.

Mother: (returning to frame at the same time as George) Yes. But your father has been waiting for you.

George: (Frowning) What does that mean, Mom? Is there anything wrong with calling the whole family together?

Mother: Let Dad tell you. (She leads George to the living room, George follows. They gossip as they go) How are Anita and baby?

George: They are fine. But Rhoda isn't a baby anymore. She is considering going to college.

At this point they reached the archway that led to the living room. Then, the camera shoots Daddy Cooper from here. He sat in a large chair with his slippers on his feet on the footstool. He was wearing his smoking suit and smoking the pipe that never left him. Also in the room were Cora, Nellie, and Robert, who was mixing a cocktail in a ceramic jar, and they all looked toward the arch—to George, who walked in with his mother.

George: How are you all?

All: Hello, George.

OK!

Hello!

George: (going to father) Ah, Dad, you're so tough.

They shook hands warmly. George put a hand on the old man's shoulder, as if to hug him, but was embarrassed because he was old.

Father: Nice to see you, boy. Since the last time we met until now... (he pauses and starts to think)

George: Well, it's been a long time anyway. I really don't know where I'm spending my time... (looks at his siblings) Maybe we're all the same. I always planned to come, but why not...

Father: Cough. Good thing you are here now.

Nellie: (George slumps on the chair beside Nellie) How nice of us brothers and sisters to be reunited, isn't it? It really makes me feel warm. I don't care what you think, anyway, relatives are better than outsiders.

Robert: Huh. Also more annoying. (Robert has made his cocktail by now. He unscrews the metal lid of the Tao Ci jar, pours a few glasses, and brings one to his mother.) Orderly, respect your mother first.

Mother: (shakes head) I have to work by the hot stove, so drinking is not appropriate.

Robert shrugged and drank his mother's glass of wine. George took his own cup and handed another to his father. Cora also took a drink. Robert filled the two remaining glasses, one was full, the other was only half-filled, and the wine was gone. He handed the half cup to Nellie.

Robert: I'm sorry, sister, it's not evenly divided... (Nellie rolls him a wink and takes the half glass. Robert himself raises the slanted glass of wine) What would you say? ...and toast to the old house!

Father: That's not a bad idea. (with a slightly nasty tone) This is a lot heavier than you think, isn't it, Mommy? (Mother nods earnestly) Seriously, that's on point, because...

Mother: Oh, if it were me, I wouldn't tell them right now, Dad, let's talk about it after dinner. (But the young people stopped drinking because they all wondered what news Dad was hiding from them)

Father: Why don't you say it now? ...that's what we got them for.

Nellie: Is it bad news?

Father: It depends on how you understand it. (Mother still hopes that father will not mention it at this time)

Robert: Tell us.

Father: All right! Our old house is no longer ours. The bank took it away. (The children are stunned. They look at their father in confusion.)

George: What's the matter, Dad?

Cora: You mean the house doesn't belong to you?

Nellie: Wouldn't that suck?

Mother: No way!

They all looked at their father, expecting further explanation. The father became the central figure of the scene, and seemed very proud. He leaned back in his chair and lit his pipe.

Father: (speaking while smoking) You know... I have been out of work... It's been almost four years now... Yes, it's four years, right, mother?

Mother: (confirms to the children) It will be four years until June 5th.

Father: You should remember that the house was fully mortgaged back in 1927. (The sons and daughters nod) Because I can't go in and out, I can't even pay the interest. ...Well...that day, I went to the bank...I wanted to discuss it with Randy Barlow, do you remember that Randy Barlow? (The sons and daughters nod impatiently, eager to know more about the following.) Randy used to be after your mom, and I won him. (winks at mother) I don't have glass eyes anyway!

Mother: You shouldn't talk about Randy like that.

Father: (Magnanimously) You're right...I've met people who are less effective than him.

Robert: Forget about that... what did this guy say?

Father: Oh, he's quite reasonable. He told me to give us some time to move. After I signed that slip, he gave me six months.

Nellie: (with a sigh of relief) Oh! That's not burning eyebrows... Dad, when does the six-month deadline end?

Father: (putting it on) Next Tuesday. (Everyone is terrified. This is a big blow, and everyone is silent for a while)

George: Then we don't have much time left. (to parents) What do you think we should do?

Mother: (with kindness in her voice) Too bad, you have to do your best.

Father: It's not that serious. (Open-mindedly) Anyway, this house is too big for your mother to take care of, as long as you can find a small place for us to live in.

The mother and father looked hopefully at the children to see how they would react, sure that the children would not necessarily help them right away; but the expressions of the Cooper descendants were interesting. They were shocked, and when they talked about finding a small place for their parents to live in, they were a bit at a loss.

Mother: (breaking the silence) Oh, I still have a lot of things to do, and I'm not too busy deciding right now.

She smiled at them kindly and hopefully, and walked to the kitchen, leaving an embarrassing silence.

Turned into the dining room, the lights in the dining room just turned on, and the tableware on the table was all set. Mother looked proudly at the table in the dining room, rearranged the knives and forks, and went to the closet. From a drawer she pulled out a string of old-fashioned napkin rings—something that used to be used at dinner tables, each marked with the name of each family member. She looked at the little rings with nostalgia, and placed one on each table at the table. While doing these things, she couldn't help listening to the words coming from the living room.

Father's Voiceover: It's just a small house, if each of you, kids, can contribute a little...

Robert's Voiceover: A little bit of what?

George's voiceover: No kidding. This is business. It's everyone's business, and it's your business.

ROBERT'S VOICE OVER: Well, let it be mine. But where can I get the money?

George's voiceover: You can shoot yourself and leave your life insurance money to the elderly. (Mother grimaces when she hears this terrible suggestion)

Cora's voice-over: If not, at least you have to listen to Dad's plans.

ROBERT'S VOICE OVER: I've been listening, for an hour, listening to you guys playing football.

Nellie's voiceover: We didn't play football. We just don't know where the money comes from.

Robert's voiceover: I understand. Maybe your clothes were donated by the Christ Salvation Army?

Nellie's voiceover: Dad, you don't mind Robert, watch how he talks to me like that!

Father's Voiceover: (Like reprimanding a child) Robert, don't talk to Nellie like that!

By this time my mother had set the table. She glanced at the table one last time and walked into the kitchen.

The scene moves to the living room.

Obviously, here, the Coopers are more upset than before. My father kept smoking a pipe, and George kept walking up and down the room, lighting one cigarette after another, only to take a puff or two before snuffing them out. Cora and Nellie were very nervous on the sofa bed. Only Robert was indifferent. He leaned back on the sofa, spread his limbs, and looked up at the ceiling leisurely, listening to someone else's conversation like an outsider.

Father: It sounds funny. The two of us supported the five of you back then, but now the five of you can't support the two of us.

George: (trying to be patient) Didn't we explain it to you, Dad? Anita and I want to send Rhoda to college, even if I save a little. Nellie has already told you about Harvey's business...

Nellie: Yeah...business has never been this bad.

George: (looks at Cora, expecting her to echo) If Bill comes around from time to time, Cora told you, she'll have to do the work herself. (Cora nods solemnly)

Robert: So, I'm the richest man in our family.

He deliberately looked for money in empty pockets. There was another moment of silence: Dad was smoking constantly, and the children, unable to do anything, looked at each other in silence. Finally, George broke the silence.

George: The house is gone anyway, at least for now. (Mother comes in, no one sees her at first. George continues talking. Mother stands at the door, listening with a patient expression) Maybe it won't be long, say a few months, before we can come up with something better There's a way... we can discuss it, we can write to Eddie in California, but now... (he sees his mother, his voice softens immediately) Hello, Mom.

Mother: Are you all hungry? (The whole family reluctantly nods and smiles) Okay, I can eat it in a while. (She glances serenely) Looks like everything's in order, right?

Nellie: It's all going well, Mom.

Mother: I knew it would be like this. (To the father) Make it clear to them, the child's father. All we want is a small house. (Father nods, George takes a deep sigh. Does he have to say it again? The others exchange glances)—because this place is so big—I gotta be honest—it can’t be done by one person. ...so that kind of relieved me—

George: (trying to be softer) Mom - there's no small house to talk about with Ben right now. (This news is like a blow to the mother, and it took a long time to taste it)

Mother: (can't hide his disappointment) Oh! (trying to pluck up courage, but it's hard to do) Yeah, we're counting on--you see, Dad and I thought...

George: (understanding) I understand.

Everyone looked at Mother, who was standing in the doorway, fiddling with her apron. Her dream was completely shattered, and although she didn't want to show it, she couldn't.

Father: (very sad to know his wife) I said, girl, you'd better go back to the kitchen before you mess up the meal.

The mother understood what the father meant, nodded and slowly turned around and walked out of the room. Everyone watched her slowly exit. There was silence after she left. No one seemed to want to speak. Father (close-up) looks in the direction of the dining room, takes a few puffs, then knocks out the ash, puts down his pipe, slowly gets up from the big chair, crosses the room, and walks toward the dining room. When he reached the archway between the two rooms, he stopped and turned to look at his children.

Father: (gently) Listen. You're all embarrassed about being implicated by this at the moment, but remember, you can keep you decent if you do us a little favor.

He glanced at them in turn to see if they had heard the words, and walked away. The young Coopers were dumbfounded and speechless. This is an embarrassing scene, not to mention the old ones, even these little ones don't feel well.

My mother was in the kitchen at this time and had no intention of cooking. She was looking at the pan of charred biscuits in the oven door. The stars are filled with smoke. With a deep sigh, she took the plate out, turned to put it in the bowl, when her father came in. He stared at her and saw tears welling in her eyes.

Father: (embracing her tenderly) Come on, come on! Don't be so sad about a batter of dim sum! (Mother throws into his arms. He points a teardrop from the corner of her eye with the corner of her apron and smiles at her, but the mother can't smile in return) Anyway, people are not allowed in my house Tears... Anyway, until Tuesday, this was my house.

Mother looked at him, smiled again, and hugged him tightly. What she liked most about him was this kind of place—he was philosophical and thoughtful. He also hugged his mother caressingly. Then my mother thought of dinner, and while he was still hugging, she pulled out her hand to turn down the gas stove on the stove behind her.

In the living room, George snuffed out another cigarette. Since the old people were not present, the four young Coopers tore their faces, saying what they wanted to say, and their voices were getting louder and louder.

Nellie: Well, there must be a way! You can't just leave them on the street!

George: That's what I meant too. You and Harvey don't have children, and you're better off looking after them than any of us.

Nellie: But I don't want to be forced...

George: I'm not forcing you, but we've got to figure something out.

Nellie: Well, why don't you pick up mom first, let's say three months, and Cora picks up dad... This way, I'll have time to discuss with Harvey—maybe we can Find something bigger - then we'll pick them both up. (Cora nods to George, saying yes)

George: (to Nellie) That's what you said.

ROBERT: (still sitting on the sofa) Better let Nellie make a note.

Nellie: (furiously) You might as well say I'm a liar.

ROBERT: (shrugs) That's okay too!

Nellie: (hysterically) I can't take it anymore! I've made more sacrifices than any of you right now...

No one noticed that his father had entered. He heard this. He stood under the arch and continued to listen.

Cora: (to Nellie) What do you mean - greater sacrifice?

George: (to Nellie) You haven't done anything yet - until you pick them all up.

ROBERT: (spotting father) Better get the water hose, Dad. A dog bites a dog.

Everyone turned to Papa Cooper, silent. But George, Cora, and Nellie were blushing and thick-necked, and it was obvious at a glance what they had said. Dad glanced at them all, then came inside, looked at his sons and daughters calmly one by one, suppressed his anger, and started talking.

Father: Listen--if it wasn't for your mother's sake, I'd really like to give my opinion of you all. (lowers his voice) You shout so loudly that she hears everything you say. (The young Coopers are ashamed. Father goes to his chair, sighs, shrugs, and sits down) How you solve it, how you solve it, I personally don't care, but you think about her a little bit. Ok? ...poor that she got up from six o'clock early this morning and is busy until now, do it, sum it up - she made a cake covered with egg whites, and even had dozens of eggs in it, and it wasn't because you children loved it when you were young eat. So please do me a favor, even by coaxing her into thinking it's worth it!

He looked at his sons and daughters with pleading eyes, and his words were so eloquent that they all looked at him uneasily. Then my mother appeared in the room. She has regained her composure, cheering herself up to break the awkward situation.

Mother: No matter what you're talking about--it'll be later--the meal is ready--you can eat what you want.

Children: It's delicious!

I'm hungry!

lead me to taste...

I'm looking forward to eating what you make...

By this time George had put his arms around his mother and entered the dining room with her, followed by the rest of the people. After they all entered the dining room, they started talking.

Children: Just like before...

I don't want to miss out on this meal...

Where do I sit? ...

Mother: (complacent with the appeal of the meal) You can all find your place. (Mother continues as the children look for their seats by the napkin rings) It's a pity Eddie didn't come--but I've written to tell her that there will be an empty seat for her whether she comes or not.

When they all sat at the table, there was an vacant seat, which was obviously Eddie's old seat.

George: Well, Mom—if only I remembered as soon as I walked in the door! (Mother looks at him, not knowing what he means) I should beg you to make a meringue cake--

The mother smiled and shook her head happily, while George glanced at his father, almost winking at him.

Mother: (to George) Look at his memory! (Gurgling laughs) But that's better than mine, too. I haven't thought of doing this stuff in years! ...

She laughed again, her eyes were bright again, and she looked at Papa Cooper as if she had really lied to George. The Coopers all laughed. This little gesture by George had completely engulfed the mother in happiness. fade out.

Part II

Fade in, close-up of young Rhoda. She was putting hooks on an elegant new curtain. Once installed, take a few steps back to admire your masterpiece. Satisfied, she turns to look around her bedroom, and the camera follows her gaze to capture the various furnishings in the bedroom. The furnishings, including Rhoda's bed, looked smart, stylish, and new. The camera continues to pan, and an incongruous scene emerges: her grandmother is sleeping on an old-fashioned bed that looks like it may have been moved with her from her home (the camera is from the head of her bed to the wall. Moving up, Rhoda's funny thing is there again. It's a picture of Daddy Cooper in an old-fashioned frame. The shot changes and Rhoda is looking up at the photo, thoughtfully Shaking her head, she seems to be contemplating what to do with it.

A close-up of Rhoda. She suddenly had a good idea, but she had to see if Grandma was really asleep. She picked up a chair and tiptoed to the photo. She tiptoed up on the chair, reached down the frame, and didn't wake her grandma. Then hurried out of the room with it.

The scene turned into the reception room of George Cooper's house, and Rhoda walked in with his grandfather's photo under his arm. She looked around the room as if thinking about where it would be better to put it. At this moment, Anita came out to watch at the door, and she was attracted by her daughter's behavior.

Anita: (Obviously, mother and daughter are on the same page) Hi! - What are you doing?

Rhoda: I think grandpa's picture should be hung here.

Anita: (funny) Aha! (She shrewdly shakes her head to Rhoda, then points to an old-fashioned chair that doesn't quite match the rest of the living room) Yesterday, it was this old antique! Today, it's grandpa's photo again! (She puts the picture on the old chair. Rhoda purses in disappointment)

Rhoda: (jumps into a chair) But I have grandma in the house, and that's enough.

Anita: (intimately) I know how much you love your room, baby. (Rhoda is kindly forgiven, anger subsides) It's hard for all of us—not even grandma, you know—but only for two months—Aunt Nellie will pick her up later. gone.

Rhoda: (slightly embarrassed on his face) All right. I just told Mammy to take these back to my house.

Anita smiled sympathetically at her daughter and walked to a bridge table where four stacks of cards were already dealt. She sat down and began to ponder the four stacks, apparently solving a difficult hand.

Rhoda: Are you going to have a bridge class again tonight?

Anita: (playing cards) A group of people is coming... I said, why haven't I seen a friend of yours recently. How is this going?

Rhoda: They all complain about throwing milk. Whoever I bring, she talks endlessly with them.

Anita: (talking while playing cards) I know that. I've had a taste of that. But you still have to bring your friends home. I won't let you hang out with the boys I haven't met yet.

Since Anita was so focused on the cards, she didn't see the sudden flash of expression on her daughter's face. George came in at this time, apparently just back from get off work.

George: Hello everyone.

He kissed Rhoda when he found the picture of Father Cooper lying slanted on the chair.

George: Oh! You're going to put Dad's picture here...that's great.

Rhoda gave her mother a funny look and walked away. George put his hat on a chair, then went to his wife, kissed her neck, and glanced at the cards.

George: When this square is used up, it is a small slam.

Anita: I want to do a grand slam.

George: (After two silently pondering the game for a while) Hey, how is mom going to arrange it tonight? She's gotta get in your way, right... how about sending her to Nellie's?

Anita: How dare you! (As soon as he hears this, he walks towards the hall)

George walked through the living room arch and into the hall, checking to see if anyone was around, before going to the telephone and dialing the number.

George: (on the phone) But not Harvey. Hello, Harvey, how are you, lad? Please let Nellie answer the phone... Hello, Nellie... Hey, Anita's bridge class at home tonight, I know Mom will be annoying. I think……

Nellie's living room: Nellie is answering the phone and Harvey enters the bathroom in a bathrobe.

Nellie: (to microphone) Oh, George, sorry. Harvey has already bought tickets for tonight's show. (Pauses) Hey, you know what's going on. We often have to socialize with those who do business with him. I think it's the same tonight.

She was talking when Harvey came out of the bathroom again and stood down to listen. Nellie smiled at Harvey while listening to George.

Nellie: (into the microphone) ...I can't pick up Mommy tonight, George.

When Harvey heard that he was talking about his mother-in-law, he immediately sank.

Harvey: (whispering loudly) You tell him you can't pick her up anytime. (Nellie gestures to him to tap) What's the use of ducking? I made it clear to him that I was not going to bring your parents here.

Nellie: (trying to hear the call, so shushes Harvey) What did you say, George? ...Oh, well then, if I can do it, I will do it, but unfortunately...

Harvey: Sooner or later you'll have to explain it to him. I married you, not your parents.

Nellie: (to the microphone) No, not tonight. goodbye. (she hangs up)

Harvey: I never offered to let my parents live here, did I? No matter how big the house is, there is no room for two families!

Nellie: I get it, Harvey, let's just forget about it. Who are we inviting to the play tonight?

Harvey: My mom.

Anita and George's living room. George went back to the bridge table to watch Anita play. He frowned.

Joey: It's not appropriate for Mom to come in, is it? You think she probably won't stay in her own room?

Anita: No, I don't think so...

Anita stopped suddenly, because she found her mother standing under the arch. George saw his mother too, and it was hard to say how long she had been standing here.

Mother: (smiling in greeting) George, I've never heard of such absurdity in my life. Trying to get Nellie to pick me up—and told me to stay indoors forever. (She said these words without complaining, walking towards them as she spoke)

George: (uncomfortably) I'm just afraid you'll be annoying.

Mother: (sits down in a comfortable chair) Don't worry about me. Cough, if I don't show up, people will be surprised. They will also think that you despise me.

George didn't argue with his mother--and Anita's soft heart couldn't stand the silence. There was a look of pity in her eyes, but the tone of her voice was serious enough to make you believe it.

Anita: George's doing it for you, honey, he's going mad with all the people I've learned bridge from.

Mother: I don't think you ever need to help George explain to George's mother.

Anita nodded, the corners of her mouth twitched into a slightly thorny smile. George remained silent. Maybe he was ashamed that his mother always thought too much of him. Anita plays cards again.

Mother: (to George) Another day has passed, and you haven't received your dad's letter yet. Shouldn't something happen to him?

George: Of course not. If he gets sick, we'll know right away.

Mother: (happy) That's true too.

Anita: (to George) I got your tuxedo, but no shirt. Did you take it to the laundromat?

Mother: (George shakes his head to indicate that he didn't send it, at this time) I did. (Both Anita and George are surprised, looking at their mother) I took those shirts to the laundromat on the corner. The sign in their window reads "20% off on customer delivery." Besides, I don't think George's shirts look sharp enough. The job of this shop is to do it well.

George: (coldly) But not tonight.

Anita: Mother Ku, you see, I know you love doing things for George. Well, but I love--and besides, I don't always talk about it, but I'm happy to take care of my own house.

Mother: I just want to help out. You are too busy playing bridge. ...

Anita: I'm not playing bridge. I'm teaching bridge. If the cost of this house is up to you, you know it's a different matter.

George: (to end the feud) Come on, it's easy -- I'll just hit the street and buy another shirt. (He reluctantly gets up and leaves)

Anita played cards again, and George went to the hall.

Mother: Can I make some sandwiches?

Anita: (without looking up) The snack shop will bring it.

Mother: (Pauses) It's much cheaper to do at home.

Anita: (patiently) Yes, honey, but the ones in the store are fancy, and you—er—we can't do that well.

Mother: (Anita is scoring bridge, mother is looking at her, thinking) What else could a sandwich do?

Anita: (a little impatient this time) You'll understand later.

Mother: Then let me make toast. Is that what you mean - a toast sandwich?

Anita: (trying to explain clearly to get out of the way) No, honey. These sandwiches are going to look like a deck of cards - hearts, spades, etc. Do you understand? The cream cheese filling in the center is going to be pink and green for a pretty look.

Mother: Maybe everyone will be poisoned.

Anita: Oh, then we'll have fewer crappy poker friends.

Anita was engrossed in the cards again. The mother was standing behind her pointing, apparently she didn't know anything about bridge, just doing it out of courtesy. Rhoda and Mammy, the errand black maid, came in through the door. Rhoda pointed to the photo and the chair, and Mammy stepped forward just as Anita looked up, realizing the situation was going to be embarrassing. It really seemed inappropriate to take these things seriously in the presence of mother; so Anita, who was astute, turned at once and said:

Anita: Leave these things alone, Mammy. I'll take care of it later.

Mammy gave Rhoda a surprised look and left. The accident drew the mother's attention to the photo. What she said next was exactly the same as what George said when he saw the photo just now, except that George said it casually, and her mother's admiration showed that she was very excited:

Mother: (excitedly) Oh! It's my dad's photo! You're going to put Dad's picture here...that's great!

Hearing these words, Rhoda gave Anita a sly glance. Close-up of Anita: Knowing that she was self-defeating, she simply put on the most charming smile, nodding to indicate that she had thought of something. She got up from the chair at the poker table and walked to the photo.

Anita: I just haven't figured out where to hang it.

Mother: (helping with an idea) Just hang it on the mantelpiece, would you say?

Anita: (Picks up the photo, while Rhoda observes her as if she doesn't know anything) It fits anywhere I want.

Rhoda couldn't help giggling, because Anita's words had no overtones to her ears. But the mother looked at Rhoda, puzzled, and didn't know what was funny. By this time Anita had brought the photo to the mantelpiece.

Anita: Put it here first and hang it up when you have a hook.

She stood the frame upright on the mantelpiece, then stepped back to examine it carefully, saying that the frame had slipped down by then, and before she had time to grab it, it fell on the floor and shattered. Anita looked embarrassed, her mother chagrined, and Rhoda looked suspiciously at her mother.

Anita: Sorry, Mama Ku.

Mother shrugged helplessly. She picked up the pieces and tried to put them together in the broken frame, but in vain. Then Anita happened to see Rhoda's eyes on her. She glared at her daughter disapprovingly, as if denying that she fell on purpose.

Close-up of melting into a blackboard. A square was drawn in chalk on the blackboard, with the usual bridge phrases marked on each side—east, south, west, north. The camera pans back to reveal Anita standing at the blackboard, posing as a teacher at her best. She was wearing an attractive evening dress. As she spoke, the view widened to reveal four bridge tables in the living room, each seated with four people—with the exception of one, where an empty chair was reserved for Anita.

Anita: Bidding after your opponent has called is called a cover-defensive call. The fold can be much weaker than the first call, and the partner must be aware of this.

Anita was teaching her class when her mother came into the house through the archway. She had really put a lot of effort into her appearance, and she wore her best clothes, the calico clothes she wore on Sunday afternoons when she was back home. She smiled happily and stood hesitantly, waiting for Anita to stop. Obviously, the mother did not understand that this was a lecture, and seemed to expect Anita to stop the gossip immediately.

Anita's voice-over: As a rule, it is generally not advisable to overbid a four-card suit on second stall, or to overbid a no-trump when the opponent's suit does not have two stoppers.

Anita stood by the blackboard and continued to speak, when she saw her mother standing there waiting out of the corner of her eye. She wished the old lady could sit quietly.

Anita: Flip-bid against a trump bidder, and you have a stronger hand in your hand than you folded against a bidder of one suit. If you don't have a very strong hand, don't fold open 2nd fold.

She glanced at her mother again, and began to understand that her mother was standing on purpose and would not move until she was introduced to everyone. She had to admit defeat, but she was still thinking about what to do. Finally, she piled up a smile, and her tone changed at the same time, from a teacher to a charming housewife.

Anita: Excuse me for interrupting. I want to introduce my husband's mother to you.

The guests turned and nodded to their mother, who nodded in return. At this moment Mammy, the maid, came in, just about to push away her mother's beloved chair. Anita looked appreciative of the nasty chair pushed closer, and mother told Mammy to leave it there—very close to a card table. Mother sat down happily. Anita sighed and went back to the blackboard.

Anita: (resuming her professional tone) The same cards were dealt every table. Now, shall we have a plate?

Anita walked over and took her seat. There was a sound of students' shouting in the room, after that. There was silence, and the game began. Occasionally, a card player glanced at his mother, an outsider, and saw her sitting with a smile, with bright eyes and high interest. A close-up view of her mother, she looked curiously from one table to another to see if she could find a space to put in a gossip or two, but the poker player smiled at her absentmindedly and didn't want to talk to her any further.

Mother: (bends forward and looks at the hand of a woman beside her) You see, it's strange to say, there is a teacher at home, and I just can't learn to play bridge.

Woman: (kindly) Don't you like playing cards?

Mother: Well, I'm still a little interested. I used to play with my husband. I always give him the Queen of Spades. (Laughs, remembering the happy past.) We call the Queen of Spades "Dora," the scumbag. (Mother pauses and looks at the woman's card again) Well, that's a nice deck of hearts, you don't have "Dora" in your hand. Let me see who has. (She starts looking at the cards of other people at the same table)

Anita looked over from her seat and was startled when she saw her mother's actions. She quickly stood up and smiled apologetically to everyone.

Anita: (leaving the house) Sorry, let me go out.

Anita hurried decisively across the hall to Rhoda's bedroom and opened the door. Rhoda was putting on her hat and coat when she came in.

Anita: Honey, are you going to the movies by yourself? (Rhoda, bewildered by her mother's nervousness, nods) If you feel sorry for me, if you still miss me a little bit, then do a good deed and take your grandma to the movies.

Rhoda: She's not going. She likes to be with these people.

Anita: Then I'll find a way.

Anita went out again, putting down Rhoda, frowning anxiously. Then Anita appeared under the arch, smiling broadly, nodding and beckoning to her mother. Seeing the greeting, my mother stood up and smiled at the table. Leaving the table and walking towards Anita.

Anita: Mama Ku, Rhoda is going to a movie tonight... do you think it's appropriate for her to go alone?

Mother: Of course not!

Anita: All right—can you come with her? Do you feel that the responsibility is too great?

Mother: (To ask such a question to her who has five children!) Anita! I'm happy to help you as long as I can. (This is what Anita was waiting for)

Anita: Then a stone fell in my heart! (She smiles at her mother) Will you tell Rhoda?

The mother smiled and nodded. Anita patted her mother's hand lightly and hurried into the bridge room. Her mother watched her with a smile, but the smile faded suddenly. She realized that Anita might have ulterior motives. However, she shrugged and walked towards the hall, towards Rhoda's room.

The scene turned into the resting place of the movie theater. Mother, Rhoda, and a dozen people were standing and waiting for seats. The door to the auditorium was closed. A waiter in a finely crafted uniform stands at the door, then a close-up of the mother and Rhoda, the waiter is visible in the background, and the camera shows a worried expression on Rhoda's face. It was evident that something was on her mind, but her mother was looking around with great interest.

Mother: Ah, this must be a good movie. As if no one was willing to leave. (Rhoda nods, a look of dismay)

The huge door opened and a man came out. The waiter raised a finger to those who were waiting and shouted:

Hospitality: One seat.

Rhoda suddenly had a plan, took her grandmother's arm and carried her to the door.

Rhoda: Grandma, there is a seat, you can go in.

Mother: Then where are you...

Rhoda: Let's go first. I'll have a place, and I'll meet you after the film.

The two had come to the door, and the receptionist held the open door with his hand. While still worrying about the breakup, my mother walked into the dark theater. The door closed immediately, and Rhoda nervously glanced at his watch, and hurried back to the entrance of the theater, where the waiter watched.

Rhoda: (coming to the ticket collector at the gate) Please give me the ticket stub.

He gave the ticket stub to Rhoda, who glanced back and hurried down the street.

The scene turned into a cinema resting place two or three hours later. Several people came out of the huge door, and after a while, the mother appeared. She was eager to find Roda, but there was no sign of Roda at all, so she continued to walk forward, and went out of the rest area to the hall. Mother stood in the middle of the hall for a while, and found that she was blocking the way of the crowd, so she had to give way to the side of the hall and stand in a hidden corner. From here you can see both the door to the resting place and the curb on the street. She thought that Rhoda would appear from the door of the resting place, so every time someone came out, she had to look. She also glanced at the sidewalk from time to time—but was taken aback when she saw Rhoda.

Along the curb (taken from my mother's point of view), Rhoda jumps out nimbly as a car approaches and stops in front of the cinema. She hurriedly waved goodbye to a young man sitting in front of the steering wheel, then rushed into the hall, handed the ticket stub to the ticket collector, and walked into the rest area, but did not see her grandmother - then, the camera filmed her mother, she was surprised and I watched this amazing performance with disapproval. Rhoda stepped forward to the fancy uniformed receptionist, who opened the huge door for her. She stood at the door, probably looking at the screen, and started talking to the waiter.

Rhoda: Did he win the girl at the end?

Hospitality: Won.

Rhoda: Is there anything miserable?

Hospitality: Of course. Everyone cried when his friend died.

Rhoda: Thank you. (she turns away)

Reception: Wait a minute. (Rhoda pauses.) Plus there's a cartoon about Molly the Mule, and there's a newsreel. (Hearing these words, Rhoda gives him a beautiful smile and walks carelessly into the hall)

When Rhoda appeared, her mother was standing very close to the gate, and Rhoda watched her with some concern.

Rhoda: Have you been standing here for a long time, grandma?

Mother: Not long.

Rhoda: (with relief) I also got a seat after you went in, and I didn't miss it either. He's awesome, isn't he?

Mother: (as they walk through the hall to the street, mother stares at Rhoda) I don't know. I just gave him a quick glance as you got out of his car.

Rhoda: I learned from him... oh, you saw me.

Mother nodded. The two turned towards the sidewalk that was going home.

Rhoda: Are you going to sue?

Mother: Are you going to keep doing this?

Rhoda: No... (silence, then) Are you going to sue?

Mother: (straightforward) No.

She smiled softly and understandingly at Rhoda, who, relieved, squeezed her arm. They walked silently, understanding each other a little more than before.

The scene turned into Anita's living room, where bridge was still played. At this moment Rhoda and her tits appeared in front of the arch. Everyone smiled at them perfunctorily, and only Mrs. McKenzie spoke to them in a friendly manner.

Mrs. McKenzie: Is the movie any good?

Mother answered, taking off her scarf, taking off her coat, and putting these things in the hall. Rhoda crossed the hall and left.

Mother: Ah, that's great. (She enters the house and sits in her special chair.) A bit miserable in a few places, but finally reunited. There's a young man who's always done it for others, just because his friend wasn't strong enough--(a few people glared at the mother, fortunately she didn't notice it at all) But the girl trusted the young man-- I mean trust the good guy, get it? - No matter how bad the situation is - but I think it's better not to tell you all, it's boring to read it all.

Mrs. McKenzie smiled absently at her mother, who had already turned her attention to the cards. Anita and George exchanged glances, as their mother was still in high spirits when they came home; nevertheless, the cards continued to be played in silence for a while at the tables.

Mother: Well, looks like I have to go to bed. (She squints at the clock across the room) It's already eleven o'clock. (stands up) Good night guys.

Mr. Dyer: (he turns to look at the clock in amazement) It can't be eleven o'clock. I still have to... (as soon as he sees the clock) No, it's just ten o'clock.

Mother: Yo, really? Look at my eyes... (she sits down again) Not as good as it used to be. If it's just ten o'clock, then I can sit for a while longer.

The rest of the poker players swept their eyes from their mother to Mr. Dyer. Knowing that he had done something stupid, he hurriedly looked down at the cards in his hand. Just then the phone rang and Anita jumped up to answer.

Mother's Voiceover: I had good eyes when I was young. People always say to me, "Lucy, I've never seen anyone look as far as you."

Anita: (answering the phone) Hello... oh yes, Papa Ku. you wait...

As soon as the mother heard her husband's name, she jumped up and ran to Anita. Follow the camera. Anita Pagoda handed the microphone to her mother.

Anita: I forgot to tell you that he called while you were watching the movie.

Mother took the trap eagerly, and Anita went back to the card table. Mother's phone calls were old-fashioned—loud: just a little louder, you don't even need the phone, you can hear it over there.

Mother: (to the microphone) Hello! Is that you, Buck? I'm Lucy, Buck. Are you OK? ...Hello, how are you? ...oh, that's fine.

After the players were disturbed by this, they simply put the cards together, showing hostility on their faces, and sat motionless without making a sound.

Mother's Voiceover: I'm worried about you. Why don't you write a letter? ...but you should write. You know how worried I am... well, I'm fine...

The camera shoots Anita in complete despair, while George is furious.

MOTHER'S VOICE OVER: Yes, they were nice to me. They've got some friends over tonight and they're playing cards. Oh, they're all lovely people, Buck... (The camera captures the mother in front of the phone) How's Cora? How are the kids? real? How are you, Bill? ...Hello, how are you? You know what I'm referring to, are you doing everything to your heart's content? ...oh, oh, of course. Three months isn't long, Buck... Buck, it's getting colder now. Don't forget to wear a jacket when you go out. Don't go out when it's raining! ...I am so happy. Of course I miss you, Buck. That's the fly in the ointment...I know you miss me too, but don't forget what I said to you. We'll be reunited soon and never parted again...Don't worry, Buck. Just to ask you to take care.

The on-camera poker players watched, the hostility on their faces turning into an unabashed interest.

Mother's voiceover: I'm like, I know...but I'm just worried about you. After all, this is the first time we've been apart in a long time...Are you really okay? Are you really okay? ...No, if you're really nice, I won't be bothered, Buck.

A few poker players exchanged glances, and they were moved by the old lady's affection for her husband.

Mother: (on camera she is on the phone) You're not worried, are you? Please do not worry. Well, Buck, so glad to hear your voice. It's going to cost me a lot of money to call me. Well, that's enough. Enough for you to buy a nice warm scarf... well, Buck, good night, Buck, good evening, I... my dear. (She reluctantly hangs up the microphone and returns to the living room, her eyes blurred by choked tears. She smiles politely at everyone, even though her throat is choked.) There is something wrong with everyone, I think this will It's time to go to sleep. Good night everyone.

The hostility on the faces of those at the poker table had long since evaporated. They were all moved now--no one in the room was unmoved by the old lady's desolate condition. The men all rose to their feet and said respectfully, "Good night, Mrs Cooper."

Anita: Good night, dear.

George: Good night, Mom. (Mother goes through the arch, into the hall, and disappears)

The male guests in the guest room all sat down again. Everyone sat in silence for a while, and even bridge was forgotten in the face of this thought-provoking tragedy of life. After a while, the game mechanically restarts. The sound of cards being dealt and tossed is endless, and the game continues. fade out.

Part 3

Fade in, Cora's kitchen. Cora's husband, Bill, and two boys, Richard and Jack, were sitting at the dinner table, while Cora served them breakfast grumpily. Two children, one eighteen and ten.

Cora: I really don't understand why Dad has to be invited to breakfast. He knows what time we start early...

Bill: (kindly) Ah, he'll come. Why don't you like him, he...

Cora: He asked for it, for many reasons. He smashed his glasses again yesterday - it cost me nine bucks to buy a new pair - and now it's better, he doesn't even know he's coming to eat breakfast unless he's invited.

Shots of Cora's house. It was a two-story wooden house, exactly like the other two adjoining houses, old, shabby, and disgusting. Father was standing on the veranda, looking out into the street, clearly waiting for something. Suddenly, overjoyed, he hurried down the steps to meet the postman.

Father: Do you have my letter today?

Postman: Of course. It must be your sweetheart. (He hands the letter to his father)

Father: That couldn't be more true.

The postman continued to deliver letters elsewhere, out of sight. Father turned back, scrutinizing the envelope excitedly, walking up the steps and into the house.

Dad entered Cora's living room through the aisle, the letter in one hand and the other fumbling in the inner pocket of his jacket for his glasses. He had just pulled out his glasses when Cora quietly appeared behind him.

Cora: (sharply) Dad!

He was taken aback - his glasses fell to the floor and shattered. He hurriedly stuffed the letter into his pocket, looking ruefully at the shattered glasses.

Cora: Another nine bucks for glasses. You treat me as money. (She walks towards the door of the lieutenant's house, her father follows)

Cora's kitchen, Cora walked in. Jack is reaching for pancakes again. Cora drank him.

Cora: You don't have time to eat, or you'll be late for school. (Father comes in and walks quietly to his place)

Jay Free: Oh, oh, oh!

Cora: You heard what I said. (Jack dares not to speak, walks out)

Bill: (staring at her) Why are you so irritable with children?

Cora: (Places a plate of pancakes and a cup of coffee in front of his father) Dad just broke his glasses again, but his rich daughter Cora will give him another pair, who knows why he has to.

Father: I can't see because I don't have glasses. That's a good reason, right?

Cora: No, that's not right. Do you have anything urgent to see?

Father: For example, the news, what happened.

Cora: (pretends to draw conclusions) Whether you see it or not, the thing should happen and it will happen.

Father: Yes. But I don't have glasses, so I don't know.

Richard: (Seeing that grandfather has refuted mother, grins, stands up to go) Hey, Mom, how about those two dollars? I want to buy a new history book.

Cora: Well—we'll have to wait and see. (She nods her head in her father's direction, implying that he is a bad creditor, so Richard gives Papa Cooper a disgusting look.)

Richard: Oh ho, ho! (He dares not speak, and walks out. Silence for a moment)

Father: (Cora looks hostilely at her father, who pushes the plate) Sorry, I'm making your house crumble with everything I do here. (Shakes head) I broke my glasses, maybe you'll have to put Richard out of school.

Bill: (Cuts in to Cora when Cora is about to retort) Sit down and drink your coffee. You're so annoying, no wonder you're so skinny.

Cora: Aren't there so many cups that bother me? Don't worry about this, worry about that.

Father: (to Cora) You've been in my house for twenty-three years and I haven't yelled at you even once.

Cora: That's because you have nothing to yell at me.

Father: Oh, I have nothing to shout at you? Your memory is too bad, my lady. You annoy me enough, and you can irritate enough. The girls from other families came home at half past nine, and you, either with this Tom, with that Dick, or Henry or something, were hanging around outside, often staying until midnight, and you were happy when we looked at us. (Cora has a grotesque look on her face. Bill stops eating and looks at Cora with a peculiar expression, while Cora avoids his gaze)

Father: You should have nothing to say, right? That time you traveled to Philadelphia, it is said that you went with some people. I have never met or heard of these people. I know you are of course indifferent. Ding is true, when people say that it is not at all When there are no such people, I have to spend my time talking nonsense. I still have to...

Bill: (interrupting him) Yo, this is news to me!

Father: That was before you knew her. (to Cora) I broke my glasses and got mad at me, but what a price you made me pay...

Cora: Well, Dad, you've said enough.

Father: Of course, it's never enough to make a fool of yourself. I called my mother to make money, and pushed the turf across the street, and you made a lot of noise. You say, what would other people say, ah, what other people used to say about you coming, you can't remember now, but I still remember it clearly. (Father gets up and leaves. Bill is still squinting at Cora, but Cora never dares to look him in the eye)

Bill: (standing up) I have to go - I'll come and find out with you later. (looks at her calmly for a moment) This Tom, that Dick, and Henry or something, eh? (After all, he strode out of the lieutenant's room)

The scene is the outer room of George's office, which contains his secretary's desk, hangers, and a few chairs. Miss Bramley, his secretary, was writing something on a pad. His mother sat near him with a bag on her lap.

Mother: I don't want you to trouble him for me.

Miss Bramley: We should have told him you were here anyway. (She has written it on the pad, tore it off and take it out of the picture)

George's personal office. George sat behind the table looking pompous and authoritative. Three other people sat listening intently to him. At this time, Miss Bramley came in lightly and put a note in front of him, but he did not read it immediately, but continued to speak.

George: Gentlemen, I am speaking from my experience. I've worked at Claremont, and I know their stoves aren't the kind of stoves you're looking for, like your big business... (he glances at the note)

George was startled when he saw the words on the paper, which read, "Your mother is here." Then he looked up at the man in front of him and continued talking, incoherent.

George: Like you guys in big business—that is, like you guys in real big business, our furnaces don't do you any good... (he senses his gaffe, laughs awkwardly) I mean , Claramont's furnace is the one you want... er... our furnace is the one you want.

He smiled at the few, who responded with polite smiles. Then he turned to Miss Bramley.

George: Could you take her to lunch, please? Find a place to look.

Miss Bramley nodded and stepped back. George looked at the people again, still a little flustered.

George: Where did I say?

Outside the office: Miss Bramley is back with her mother.

Mother: You didn't disturb him because of me, did you?

Miss Bramley: Oh, no, he wasn't disturbed at all. He said let me tell you, I'm sorry he's so busy.

Mother: I shouldn't have come, it's just his birthday today...

Miss Bramley: Really?

Mother: (surprised) Don't you know? You see, when I got up this morning, George—I mean Mr. Cooper—was out of the house, and since he wasn't coming back for dinner tonight, I thought, I should bring the present here.

Miss Bramley: I'm glad you told me about his birthday. I have to give him something too. Can you send me some handkerchiefs?

Mother: I gave him a handkerchief. I made it myself. Trimmed and embroidered with his initials. Eyesight is really bad.

Miss Bramley: Then I'll buy him a tie. Let's have some lunch first, then how about you pick one for me?

Mother: I was expecting to eat with Joe...with Mr. Cooper.

Miss Bramley: He'll starve us when he's done with his business there.

Mother: No, I can wait.

Miss Bramley looked at her, understood that what she said was serious, and scribbled a small note.

Miss Bramley: (she goes to George's office again) Excuse me, I'll come.

George's personal office.

George: (to one of them) It was good that you asked me that question just now. I am happy to answer. I have to admit, though, if I were representing any other oil stove company in the US, your question would be hard for me.

As he spoke, Miss Bramley had come in and put the note in front of him. George really didn't want to see her. He glanced at the note, which read: "I don't want to go with me, I have to wait for you."

George scribbled something under Miss Bramley's note and handed it to her. She nodded and went out - but this time through another door leading into the hallway.

George: (looking back at them again) The question you asked is exactly the one Mr. Henning and I could be proud to answer at any time. Uh—what's the problem?

Another office. Miss Bramley appeared alone, she was on the phone.

Miss Bramley: Mr. Cooper wants to ask if you'd like to take your mother to lunch—he'll pick up the money.

The scene cuts into Robert's room, which is a mess: Robert is answering the phone in his nightgown.

Robert: (happy to think of having a free lunch) You tell my brother and I'll come.

George's personal office.

George: Your project is huge and you can't afford to lose it. So I would very much like to see you install our furnaces. Of course, Luo, we do this purely for profit, but first of all...

Miss Bramley came in through the little door, and George looked up at her hopefully. She handed him a newly written note that said "your brother is coming soon".

George let out a long breath of relief, and turned confidently to the men as Miss Bramley walked back to the outer office.

George: Our stoves are the best brothers in the world - I mean stoves (Note 1), that's true!

The landscape turned into an outer office, and Miss Bramley was sitting at her desk, gobbling down sandwiches and milk while talking to her mother.

Miss Bramley: I think you can at least have a glass of milk. If you don't eat it, I sit here by myself and eat it. It's like a slanderous pig.

Mother: Robert said he was going to take me to lunch, so I'll wait for him, but I feel bad thinking that George has to work even while he eats.

Miss Bramley: (chewing a sandwich) Are you used to living in New York?

Mother: Ah, it's okay. Of course, I'm not completely new to New York either. Fifty years ago, Mr. Cooper and I were here on our honeymoon.

A man about the same age as his mother walked in. It was obvious that he was wealthy, and he was greatly respected everywhere. Miss Bramley quickly swallowed a big mouthful of the sandwich and wiped her mouth with a paper napkin.

Miss Bramley: Good afternoon, Mr. Henning.

Hanning: Good afternoon. Is Cooper in there with someone from Corbyn?

Miss Bramley: Yes, Mr. Henning.

Henning: Tell him, let him come out, but don't let the Corbyn guys know I'm here.

Miss Bramley: Yes, Mr. Henning.

She wrote another note and went into George's personal office. A few seconds passed, and Mr. Henning waited impatiently. Once or twice, his eyes fell on his mother. As soon as his mother met his gaze, he was about to smile timidly, but he looked elsewhere. Mr. Henning, a big man, left a deep impression on his mother. George came with Miss Bramley, who closed the door. Mr. Henning started talking as soon as he saw George, but George was a little embarrassed because he didn't even have the skills to say good things to his mother. Mother smiled at George and waved slightly.

Hanning: (excitedly) Cooper, I wanted to tell you right away when I got the news. Those guys in there aren't going to Claramont. They have already been there. I know the price Claramont offered them, so there's no reason at this point...

George: (interrupting uneasily) Mr. Henning, I want you to meet my mother. Mom, this is Mr. Henning. (He's been feeling uncomfortable all the time, and now he thinks it's too late to make an introduction.)

Mother: (rising) Nice to see you, Mr. Henning. (She smiles likably)

Hanning: (briefly) Well, hello.

Mother: I'm no stranger to you—really no stranger. George talks about you a lot.

Hanning: Really?

Mother: Oh, yes. (to George) You always talk about it, honey? Tell me, Mr. Henning, how is he doing?

Henning: I think he does a good job.

Mother: I'm so glad to hear you say that. I'm sure he always does his best. That's all I have to say for George. He is not necessarily talented, but he is honest.

Henning: (smiles casually at her, turns back to George) Cooper, if we offer the same price as Claramont's, with a little more repair and warranty, we'll be sure of the business. Vashbon has the full picture. Have you offered them a price yet?

At this moment, Robert walked into the office, and George had a frustrated look on his face.

George: (Unhappy) Mr. Henning, this is my brother, Mr. Robert Cooper. Robert, this is Mr. Henning.

Hanning: (unhappy, but polite) Hello. (Both he and George realized that it was inconvenient to have the family around when they were discussing important business)

Robert: Hello. (He turns to his mother and hugs her) Ah! A man's best friend is his mother.

His ingenious epigram elicited no response from anyone but his mother. The mother smiled happily.

Mother: (to Hanning) He's the nastiest one in our family. (Hanning ignores it, in an awkward silence) Well, goodbye, George, goodbye, Mr. Henning, and (referring to Miss Bramley) you, dear. (She turns towards the door) Oh, I almost forgot. (Turns back to give George the birthday present) Happy birthday to you, dear. (kiss George)

Robert: I almost forgot, too. Happy birthday, brother.

Hanning felt that something should be said, so he shook hands with George—both feeling a little overwhelmed.

George: (unpleasantly) Thank you all. Mom, you are so kind.

Mother: It's nothing. (She walks towards the door, staggering) Ah! (George and Robert rush forward to help her sit in a chair.) It was so dizzy just now. I think it's probably because I didn't eat lunch, and it didn't go well all the way. I changed cars three times, got lost again, and...

George: Oh, Mom, why don't you take a taxi?

Mother: I only have fifteen cents on me.

George: (looks nervously at Hanning) What, I just gave you five dollars a few days ago.

Mother: That's right, dear. But I sent it to your dad. (Close-up shot of Mr. Henning's reaction to this, his indignation is quite obvious)

Qiao Ye: (almost dejected, barely holding on to himself) But I'm giving you your pockets. Why are you sending it to Dad?

Mother: That way he can shave a little bit, and maybe find a messenger to do it. (George is totally discouraged now. He doesn't press further, and doesn't dare to look at Mr. Henning again)

Robert: Come on, let's go Mom, I'll take you to the restaurant for the best lunch ever. (He asks George for money, and George gives it. He takes his mother's arm and walks out)

Mother: Okay, goodbye everyone. Thank you all. (to George) Happy birthday again, dear.

George: Oh, thank you, Mom. (Robert and mother go out, Miss Bramley follows them with a bundle of papers)

Henning: Your mother was so kind to you, Cooper.

George: Really good.

Hanning: So why can't you be nice to her?

George: What?

Hanning: What's so hard to understand? You heard what she said as clearly as I did. She unwittingly exposed you, Cooper. I don't think you treat her with all your heart.

George: I do my best. I do my best to respect it at my level.

Hanning: Well, I can't see it. She upset my heart very bad. She's a strong woman, Cooper. It would break my heart for my son to take such a nonchalant attitude towards me. I don't have to run after my son, he always runs after me. Always "Dad, let me do this for you, Daddy, let me do that for you", he was so kind to me...

George: Yes, I know he treats you well, Mr. Henning. I know your son very well, and sometimes I can't help but wonder...

Hanning: What are you wondering?

George: If you hadn't left him five million dollars, would he still be such a filial son. (hesitates) But, of course he would. What did you tell me about that deal when you came in, Mr. Henning?

There was a new look on Mr. Henning's face when George mentioned Mr. Henning's fortune. His self-confidence and pride had been somewhat lost, so he looked a little old and a little surprised. Maybe he'll never be as sure of his son as he was a few minutes ago.

Hanning: That deal?

George: (gestures to his personal office) Corbyn guys.

Henning: (Vaguely) Oh yes, the Corbyn guys. Well, you can figure it out. Let go if you can. Let me know the result when you're done.

George was about to enter his office when Hanning stopped him as he put his hand on the doorknob. Apparently the Corbyn sale didn't erase the shock George's outspokenness gave him.

Henning: Hey, Cooper - if your mother had a lot of money, wouldn't you be nice to her?

George: (bluntly) Ah, I don't know, Mr. Henning. All I know is that when people are rich, their children are always very nice to them.

He smiled politely at his boss, then walked into the office, closing the door behind him, leaving Hanning scratching his head in confusion: George's words made him worry.

The landscape turned into the main street of a small town, and my father walked resolutely along the sidewalk. He stopped in front of an employment agency, and there was a blackboard outside the door of the employment agency, listing the vacancies for the day. Another man, perhaps half his father's age, was also reading the vacancy listed.

Then there is a closer shot of the two. My father was looking up at the blackboard with narrowed eyes, but because he didn't have glasses, he couldn't see anything. He moved closer to the blackboard and backed a little, but to no avail. He finally took the approach he had initially refused to do out of pride.

Father: (to the man) I knocked my glasses off this morning and I can't see anything. Could you please tell me what's written on the blackboard?

Man: Okay, there's a list of jobs you can find here today.

Father: Are there any bookkeepers?

Man: No. what? Have you ever been a bookkeeper?

Father: (annoyed) I've always been a bookkeeper. (After a short rest) Wasn't it written for a bookkeeper or something?

The man shook his head, and the father nodded politely and continued down the street. The camera then shoots him entering a small shop with a window that reads: "Boo Rabinowitz Cigar and Stationery".

Rabinowitz is an old-fashioned little shop that sells

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