"Mother and Daughter Love" movie script
Text/(United States) James Brooks
Translated / Nian Nan
"Mother and Daughter Love" is a compelling film that won five Oscars in 1984.
The film shows a corner of the emotional world of ordinary Americans with real and delicate brushwork, reflecting an aspect of American social life. From the personal life experiences of mothers and daughters, we can understand the puzzling family problems that are common in American society: the troubles caused by the incomplete family structure, the loneliness of single men and women, and the mentality of family discord among their children. The trauma caused by the previous situation and the rising cost of living make ordinary families face the dilemma...
The simple and vivid performances, witty and humorous dialogue, the smooth and free movement of the camera, and especially the smooth editing add a pleasant intimacy to this film. Obviously, this artistic style is about expressing people's inner emotions. The creative intentions are consistent. Readers may feel this in part when reading the dialogue and scene narration of the script.
It should be pointed out that the moral customs and life standards of American society reflected in the film, especially the indiscreet attitudes towards extramarital relations, are very far from our moral standards and life standards. Of course, our readers should make their own decisions about this. Judge correctly.
--editor
The picture is completely black, with only a shiny harlequin-like face in the lower left corner of the screen. After the subtitles started, the shiny little face was almost invisible.
The music is lively, but the volume is not loud. The voices of a man and a woman are heard outside the painting, and they are very natural in connection with the music. This is the voice of Loyad and Aurora Greenway. The sound of closing the front door came downstairs. After Aurora entered the door, she yelled to her husband who was upstairs: "I can't bear to be a mother." Where are you staying?" "The doctor made me feel more bubbly." "Have you ever come out to check the kids?" "Yes, she is fine. How are you doing tonight?" "Everyone is happily, only I have Worry about the baby." She said as she walked over. We heard the couple say two more words: "Aurora, don't worry about her going to have trouble anytime and anywhere!" "I know, I know." On the right side of the screen, a door opened, and the corridor The light diffused in, and we knew that the darkness was in the nursery, and that harlequin-like face was the night light in the nursery. The baby sleeps in an exquisite hand-made cradle, which is unforgettable. Aurora turned her back to the camera, her back plump and thick. She yelled to her husband again: "She's only been born for a week. How long should this fascination end?" She turned to face the camera, the light is still coming from behind-this is what we all remember The image of my mother is like this when we are weak and need our mother, when she appears in the doorways of our respective rooms. Aurora stopped for a moment, and then said the first sentence in the painting in a confident and worried tone.
Aurora: Loyard, she's out of breath.
Luo Yard (outside the painting): Well, here again.
The light-colored wooden railing of the cradle was covered with a pink blanket, and the bulge under the blanket was motionless.
Aurora: No, she died this time.
Luo Yade (outside the painting): She fell asleep.
Aurora: This is called death in the cradle.
Lloyd (outside the painting, anxiously): Aurora, it's just that she hasn't slept today.
Aurora: Maybe.
This 30-year-old mother gently walked to the baby's cradle and whispered--
Aurora: Emma... Emma?
The baby remained motionless. Aurora leaned toward the cradle...then stepped on the mattress, bent her whole body into the railing, and put her ears almost completely on the baby's chest. She heard something, but she was still a little worried. Aurora made up his mind to screw the baby, and the baby started to cry.
Aurora (restoring her normal tone): Okay, that's what happened.
She walked out of the room quickly, not thinking about coaxing the crying doll. She closed the door. [Cut in]
Location, Greenway's yard, eight years later.
A black car with a single door drove into the yard. A forty-year-old man walked out of the driver's seat, wearing a dark suit and wearing shepherd boy boots. He is Royard's boss. He reached out to help Rosie Dunlop, the maid who has worked in Aurora's house for many years. She was the last white maid in Houston, but she herself had no way of knowing. She refused to be supported, and focused on taking care of the next person who should get off the car-she folded the front seat so that Emma Greenway could come out. Emma is eight years old, her body shape is not good, her legs are too short, the back of her hands is too thick, etc., her hair is very oily, and it gets worse after this sultry and sad funeral. A black flower hangs down. On her curly hair. Emma didn't want anyone to help, and motioned to the man to help the next person who got out of the car. This is Aurora, wearing black mourning clothes, with one hand held by the man and the other hand held by her maid. The first thing she did after she got out of the car was to take off her shoes. She hugged her daughter and walked across the lawn barefoot.
Aurora: Thank you, Rosie. (To that man) Thank you.
Aurora was extremely calm. That man is the best type in western Texas, strong and rough.
Man: I am happy to help you. Your husband was once the most reliable person under me.
Rosie walked straight to the house, and Aurora also led Emma to the house.
Aurora: Nice to meet you.
Emma (to the man), goodbye.
Man: What about your father really saddens me.
Emma: Me too. I love him. Sometimes he speaks for me.
Man: Hi! (Emma turns her head) Take care of your mother.
Her mother stared at her, asking her to listen carefully to what the gentleman said, and Emma moved her feet nervously.
When they entered the room, Aurora walked straight to the fireplace that had never been used before. On the mantelpiece was a framed photo of Emma with her mother when she was a child, and a framed photo of Loyard. Aurora took down Loyad's photo. Aurora shook suddenly, as if remembering something.
Rosie: What happened?
Aurora: I just remembered that Loyad asked for cremation after death.
Aurora sighed and shook her head for her forgetfulness.
Emma (enter the screen): Where do you plan to put your dad's photo?
Aurora: I don't think we need to leave the photos on the mantelpiece. One day we will no longer live in the past.
Emma: Will you give it to me?
Aurora handed the photo to her daughter. Rosie had already set the table for lunch in the dining room, and she looked at the child caressingly through the doorway of the dining room. Emma passed the stairs and walked to her room downstairs.
Interior view, Emma's room, daytime.
There are enough toy animals in the room to open a zoo. There is also a worthless record player in the room. One can see the original film record of "The Wizard of Oz" in the stack of records. Besides, there are not many empty spaces in the room. Emma was standing by the bedside table with a lamp and a few toy animals. She removed two of her favorite toys-a dog and a panda, and put a photo of her father in the vacated space. She had to remove an animal to have enough territory.
Interior view, Aurora's room, night.
Her room was full of boudoir, and it was hard to believe that until the night before, there was a man in this room. A small and exquisite Renoir original is hung in a conspicuous place on the chest of drawers. The bed was big and soft, and there was a seat under the window overlooking the back garden, which was also soft. Aurora was sitting on the window seat in her pajamas. Her bed had been spread, but she seemed reluctant to go to bed; she would be disturbed, which made her feel annoyed, and she got up and walked towards the door.
Interior view, Aurora's house, stairs.
She went downstairs into her daughter's bedroom. She went all the way to the bed and turned on the light.
Aurora: Emma... Emma, wake up.
Emma: What happened?
Aurora: I feel very nervous. I don't know how you are. Do you want to sleep in my bed?
Emma: I don't want to go, thank you.
Aurora: Oh.
Emma (pause): Do you want to sleep in my bed again?
Aurora: Yes. Just do it.
Emma moved in to make room for her, and Aurora slept next to her, removing a bunch of toy animals while looking at her daughter's sticky curls.
Aurora: How can you clean up your hair?
She turned off the light.
Location, the street in front of Aurora's house, during the day (eight years later).
Emma's hair is still poorly cleaned, and even fashionable hair styles can't help her. She is the kind of high school student who is close to chubby. Since she doesn't care about it, her appearance doesn't hinder her much. She walked over with her best girlfriend, Parcy Clark. Percy is that kind of smart and stylish blonde. She is enthusiastic, active and sensitive, and looks like a perfect character in every aspect, even as tolerant. When they walked to the house, they saw a little movement in the next door.
Percy: Hi, Emma, what's the matter there?
Emma: An astronaut has moved to the next door.
Percy: Which one?
Emma. Garrett Bridloff.
Passy: There is also an astronaut living on Judy's street. I am waiting for you here. I am too lazy to deal with your mother today.
Emma: It would be great to have a lovely mom.
She went in.
Interior view, Aurora's house, daytime.
Emma enters the room, Rosie is cleaning the room.
Emma: Where is she?
Rosie (to be honest): She was in the backyard with the old bastard who wanted to get her.
Emma: Thank you, Rosie.
She walked out of the room.
Location, Aurora’s backyard, during the day.
A neat lawn. This garden is Aurora's favorite place. The dense trees can block the sight of the neighbors on Oak River Street. This is also one of the symbols of Aurora's comfort zone.
For the first time, we clearly saw Aurora on the front, with neither veil nor shadow. She was in her forties, and she used the easiest way to make herself look younger, and that was that she accepted the pursuit of her by men much older than her. She reclined on the recliner and Edward Johnson, fifty-six, stood beside her. He was here to announce his plan, but Aurora put him to the test again.
Edward: I may not be able to go in the future. Going to Tahiti may change us. Why don't you face reality and admit that you also have certain biological needs?
Aurora (absent-mindedly): I don't have one. But I may have a need for romance.
Edward: Well, I may be a non-poetic person, but I know...
Aurora (interrupting him): Stop being so pretentious.
Edward: Oh?
Aurora: How long have you not practiced your romantic mood? If you still know a little affection, I might still consider Tahiti.
She got up from the recliner and leaned over to look at the flowers she raised. Although she turned her back to the man, she still had a sultry taste.
Edward: Aurora?
Aurora: Huh?
Edward: The breeze just moved a strand of your hair. It looks so beautiful.
Aurora smiled quietly—he was at least trying to correct it.
Edward (looking at her back, bold): I can imagine your eyes, the sunlight reflects their colors.
This sentence made Aurora inexplicable. She turned to ask to understand, but saw Emma watching.
Aurora: Hello.
Emma: Hi! Hello, Mr. Johnson.
Aurora (to Emma): Is your hair blocking your mouth?
Emma (annoyed): No-yes.
Aurora: Oh, it's okay,...it's a tree shadow.
Emma (worriedly): Really?
Aurora: Really, the hair is pretty neat.
Emma: I want to borrow a car. The Naganuma Club invited me to the party.
Aurora (to Edward): We'll be back soon.
As they walked away, Emma wiped her lips worriedly with her finger.
Edward: It doesn't matter. I am waiting for you in this fragrant and rich air.
Emma: I really don't understand how you play with these men. They are also affectionate.
Aurora: Well, you always worry about irrelevant things.
Exterior view, Aurora's house, at night.
Two windows with lights on. Aurora can be seen from the window upstairs. She is wandering in the room-two young girls can be seen from the window downstairs.
Interior view, Emma's room, night.
Percy and Emma were wearing pajamas, and there were still toy animals in the room. The record player was playing "The King and Me" music, and Emma bundled some original film records, some blues records and jazz records together. Emma is good at choosing lyrical songs. Percy was rubbing a Marlborough cigarette back and forth with her fingers, and the shredded tobacco fell into the ashtray, and then she stuffed the marijuana leaves into the empty paper pipe. The dresses of the bride and bridesmaids are hung in a very conspicuous place in the background.
Percy: Are you nervous, Emma?
Emma: No. I seem to be okay. Am I abnormal?
Interior view, Aurora's room, night.
She was sitting on the window seat, touching chocolates from a big sugar bowl. She was upset, sighed, got up and went downstairs.
Interior view, Emma's room.
The girls were smoking their modified Marlborough smoke. The song "Optimistic Squint" sung by Mary Martin in "South Pacific" came from the record player.
Passy: I think it's ridiculous to listen to Ethel Melman while smoking marijuana leaves.
Emma: It's Mary Martin. It would be bad if you want to smoke this in the car, Percy. The police in Texas are going crazy. Flap knew a guy in the English department. When the police chased him, he swallowed a marijuana leaf—the physical evidence they scraped out of their tongue. He has to be sentenced to five years.
Percy (she is not listening at all): This is the last time we are together like this.
Emma: I am opposed to thinking about it this way. Ah, my goodness, this is the last time we are together like this! Yeah? (Hugging his girlfriend) But we will always love each other, and our children will also be good friends.
They hug each other.
Passy: Good people like you like me, it's really important to me.
Emma (crying): Oh, Percy, don't make me sad.
There was a knock on the door.
Aurora (outside the picture): Emma?
The two girls broke up quickly, each grabbing two sprayers and spraying the room to dissipate the smell of marijuana leaves.
Aurora (outside the picture): Open the door.
Emma: You can't come in.
Aurora (outside the painting): What does this mean?
Emma (to Percy): Damn it! I am going to get married.
She opened the door, with marijuana leaf smoke in her mouth. Passy was fidgeting in the background.
Emma: What's the matter, mother?
Aurora (annoyed): Oh, really. I need to talk to you.
She walked away. Emma was curious and whispered.
Percy: Maybe she wants to talk to you about sex.
Emma: She specifically avoids sex. (Passy laughs) Oh, I shouldn't talk like that. I did not mean it.
She bit her lip.
Interior view, near the corridor on the first floor, at night.
Emma hobbled a few steps and stopped by the living room. Whenever she saw the original painting of Kerry hanging in a conspicuous place, she felt a burst of joy. At this time, she was enjoying the fun-this painting. There are only a few sharp lines on it, some black, some gray, and some red.
Interior view, Aurora's room.
Aurora sits under her most beloved painting-a small original Renoir painting of two beautiful women in well-dressed clothes. Aurora has a bad face.
Aurora: There is one thing, although it sounds uncomfortable, but it's all for your own good. Do you want me to keep silent about it?
Emma: Yes, mother. I certainly hope so.
She rushed out the door and closed the door casually. We heard her brisk laugh: laughter for the events of life in front of her, the marijuana leaves in Texas, and she was proud of her own wit. Aurora was very surprised. She stood up and chased Emma, but Emma came in again and she was enjoying herself.
Emma: What's the matter, mom? I do want to go to bed earlier, at least tomorrow will be a little bit human.
In this atmosphere, Aurora could not say what she wanted to say. Her face was gloomy, and she drew back to her seat in front of her window without a word. The window seat faced the garden, and the seat was soft and had many pillows, which made her feel at ease.
Emma (actingly): Come on, what's the matter?
She came to her mother's eyes. Aurora looked at her, carefully inspecting her daughter's face. She liked her eyes and round face, and was sad for her sloppy hair.
Aurora: I’m sitting here and I’m going to focus on thinking about what kind of wedding gift I should give you... (Emma waits for her to speak) I think about my mother’s Renoir... (Emma waits) Actually, I'm trying-trying to avoid reality. (Straight forward) I am 100% sure that your marrying Frapp Horton tomorrow is a big mistake, it will kill your future and ruin your life.
Emma doesn't know what's wrong with her.
Aurora: Flap's future is limited, he has no imagination. At this age, he just wanted a quiet teaching position. He is not so cute and likes... his teeth...
Emma: You don't know me at all. You shut up...you shut up, or I will retaliate against you. How can you do this to me now? How can you? how come? how come? How can it be?
Aurora: Because I am your mother, I understand that you are not so capable of conquering an unfortunate marriage.
Emma (very angry): Oh, oh. Oh—I want to retaliate against you.
Aurora: Can you stop using personal feelings to deal with me? Use your brain. I'm telling you the truth.
Emma: I start with your appearance. Are you most afraid of getting old? ...Your neck is not forming anymore.
Aurora began to perform her amazing self-control. She used muscles that she had never used or stretched before to suffocate her daughter's anger.
Aurora: No. You can't do this.
Emma: I'm not so afraid of you. Did you know, your hips...
Aurora: I said you can't do it. This is the crossroads of our relationship. Don't make a big mistake. Are you still my daughter?
Aurora choked back on her daughter's words almost verbatim. The confrontation between the two was extremely short, and Emma first gave in.
Emma (a little calmer): You are too cruel to me.
Aurora: This is like a sentence.
Emma: Thank you Frapp Horton for letting me get out of here.
She walked out, then turned around and said to her mother—
Emma: If you have such an attitude, I don't think you need to bother to attend the wedding.
Aurora: I think you are right. This set of false feelings makes me feel troubled too.
Emma couldn't believe it, she walked out of the room.
Emma: My real mother didn't come to my wedding.
Aurora: You really hate me now.
Location, on the street where Aurora lives, during the day.
A yellow 1969 XKE convertible car was blocked by a beer delivery truck and had to drive slowly. In the truck were Rosie and her husband Royce. In the car were Garrett Bridloff and an eighteen-year-old girl. Garrett used to be a thunderous American astronaut, now he is a forty-year-old pervert. He is easy-going and has such a great reputation. He really believes that life can be done with less attention and pleasure in time. Garrett and his female companion were still drunk after a night of binge drinking.
Aurora stood barefoot on the grass in the front yard, wearing a casual dress, and holding a flower shovel in her hand. She watched the former national hero's car drive into the adjacent lane, making no secret of her contempt for him; Royce drove his car into the driveway of Aurora, blocking Bridloff's car from view. Aurora immediately turned her attention to Rosie who had just got out of the car.
Rosie: No matter what my children do to me, I will never fail to attend their wedding.
Aurora: They don’t seem to have weddings—only baptisms, right?
Rosie: Don't make me angry. It should be enough for you. (Aurora nods, a little discouraged) Do it well, let me take a breath, and regret it for you.
Aurora: How was the wedding?
Rosie: I'll change my clothes and tell you the same thing.
Royce got off the truck and stood hesitantly beside the two women. His beer belly is famous-his belt buckles are turned straight to the ground.
Rosie (annoying): Oh, Royce wants you to see how he looks like.
Aurora looked at Royce.
Royce (flattered): I just want to congratulate you. Also, the bride is very beautiful and is about to catch up with her mother.
Aurora: Thank you. I'm glad you stopped by to take a look.
Royce: I am also very happy to come and have a look. Goodbye then.
Rosie walked towards the house, Aurora's demeanor fascinated Royce, making Rosie unhappy.
From exterior to interior, Frapp and Emma’s house, night.
This is the suite on the roof of the car garage near Rice University. To some people it is a terrible housing, but for graduate students like Frapp, it is a great discovery. Walking up the stairs, I came to the entrance of the suite. The ground on the landing was just enough for a swing. Houston is a city built in a swamp area with a tropical climate; the air is humid and dense. In Emma's view, sitting outdoors in summer night, sucking the moist, aromatic scent, is part of the enjoyment of Houstonians. At this moment, she and the groom are sitting outdoors like this, their wedding dresses have not been completely changed, the champagne spirit has not passed, their things are thrown in the house, they have not settled, and they can only wait for the energetic time. Say it again. Their clothes were dirty on the landing, and they were using a cardboard box as a table for dinner. Flap finished eating a bar of old corn. He is twenty-three years old and looks quite decent.
Emma: We have no plans to spend our honeymoon, I'm so happy. (The phone rings) She is crazy. I have to make her wait until noon tomorrow. She could only endure it for so long.
Frapp: You have every right to break with her forever.
Emma: Oh, she was only so upset because I left her, and now she is even more lonely.
Frapp (like speaking to an idiot): Emma, your mother is resisting your marriage. She hates your husband, and her evaluation of you is only moderate.
Emma: "Medium rating"-you speak enough and interesting.
Frapp stood up and gave Emma a hand, while continuing to gnaw on his old jade. She kissed him lightly and crossed the door of the room hand in hand. There are bundles of books stacked in the room, most of which are paperback bestsellers. They walked across the pile of books.
Emma: Wouldn't it be weird if we each found someone who doesn't like to read? ! There must be millions of interesting people in the world who just don't like to read books. The two of us are so suitable. I would like to have a baby today.
Frapp: That's good. I love to see you like this, beautiful and chubby.
Flap threw away the old corn and drew her affectionately to the mattress on the floor.
Emma: It's a pity that I can't say anything again. (The phone rang about thirty-five before it stopped.) My mother is too confident, she just refuses to admit that she misunderstood you, and refuses to admit how cute and good you are. What a pity.
Interior view, Emma's kitchen, morning.
The phone rang again. Frapp made a weird face, and this time Emma decided to answer the phone.
Emma (to the microphone): I am not going to forgive you. I am very happy-don't disturb me. I don't want to talk now. (She wants to hang up and changes her mind) Oh, did you see the tablecloth that Rosie made for me? very beautiful. No, I haven't eaten yet, I want to make an omelet. I don't want to talk now. I take this seriously. This time is the most sorry thing you have done to me. (Emma looks at Frapp) Yes, I think you should apologize to my husband. Before you apologize to my husband anyway, I am not going to listen to you talking nonsense. He is right in front of him.
Flap made a gesture to indicate that he didn't want to answer the phone. Emma made a series of actions to show that he had to take it. He shook his head. In the end, she won the silent argument, and Frap took the call. Emma listened attentively to what he said.
Frapp (to the microphone): Hello, Mrs. Greenway... not so, ma'am, I am not gloating about your situation.
Emma (screaming to the microphone): Mom, you're polite, I'm not just talking about it.
Frapp (no longer pay attention to Emma): Actually, I don't need or ask you to apologize to me. All I want is that you understand and appreciate my identity and respect our marriage. Can you call back 15 minutes late in the morning. (He grinning) Yes, my speech is over. OK. I let her speak.
Emma kissed him hard and answered the phone.
Emma: Hi, he's amazing, isn't he?
Interior view, Aurora's bedroom, morning (a year later).
The traditional words "one year later" appeared on the screen. The sun has entered the room, but Aurora is still asleep, and "Today's News" has already been broadcast on the TV that I forgot to turn off last night. The noise of a vulgar man came from outside. She woke up and walked to the window.
Location, shot from Aurora's perspective. Street.
The all-night banquet at the Garrett’s house had just ended, and a group of fun-seekers were exhausted, and they were now saying goodbye to their host. He is holding an empty wine bottle in a wastebasket in one hand, and accepting a hug from the guest in the other. He motioned to a woman to stay, and she nodded in acquiescence. He took a basket of empty wine bottles and walked happily to the side of the room, and she waited for him. Garrett walked to the place next to the driveway, opened the lid of his large trash can, and threw a basket of wine bottles in. He didn't throw it right, and the bottles were all smashed to the ground. He looked at the mess, then kicked a small piece of glass and ran back to the woman while kicking. The woman laughed.
Interior view, Aurora's bedroom.
She looked at him in disgust. She saw something else.
Location, street, shot from the perspective of Aurora.
Royce's truck drove to the side of the road. Rosie and Royce came out from the left and right doors respectively. He reached out and took out a few paper bags of groceries from the compartment, handed them to Rosie, and looked up.
Shot from Royce's perspective. Aurora is wearing a pink pleated soft satin nightgown with white gauze lace on the shoulder straps. The god of middle-aged women will appear in his next tender and sweet beer dream.
A double shot of Royce and Rosie.
Rosie held the food bag in both hands and followed his gaze to see Aurora looming in front of the window. She motioned to Aurora to leave the window, and Aurora complied. Rosie gave Royce a hard vigor.
Royce (in self-defense): Pastors can also have eyes.
Rosie: You just drove me for this—want to take a look at the person of your dreams?
She walked towards the house angrily.
Aurora is dialing the phone in the kitchen. Rosie had to hold the paper bag again, and then took the key to open the door. Aurora saw everything in her eyes, but didn't help. Aurora finally put down the phone, but was busy making her breakfast again, and refused to open the door for Rosie.
Interior view, kitchen, daytime.
Rosie comes in.
Aurora (to the microphone): Hi, it's me. I don't want to drive on rainy days. You come to pick me up.
Rosie: Why don't you show Royce your breasts, just forget it?
Aurora (angrily): Instead of having trouble with me, think about how unscrupulous I have been in order to be appreciated by men.
Rosie (a bit ashamed): I didn't expect this.
Location, Houston's business district, during the day.
It's raining like a note. Women waited under the narrow awning in front of the department store for men to drive to pick them up...there was a crowded car—the cars lined up in three or four rows at the pick-up parking lot.
Interior view, inside Emma's car, during the day.
Emma managed to drive the car close to the side of the road and stopped about four rows of cars from the sidewalk. She blew the horn. Aurora beckoned Emma to bring the car closer.
Emma (screaming): I can't do it. You can't help getting a little bit of it.
Location, on the streets of Houston, during the day.
Heavy rain-Emma's old car was crowded into the traffic in the afternoon at the end of get off work.
Interior view, inside Emma's car, during the day.
Aurora put the large and small bags she bought on her lap, and noticed the rain leaking above the car window.
Aurora: Look—it's leaking rain.
Emma (nonchalantly): Yeah, my goodness!
She looked out of the car window strenuously, and wiped away the fog that had gathered on the car window with her hand.
Location, crossroads, daytime.
When the traffic lights changed, Emma's car drove over.
Aurora (outside the picture): Emma, brake!
Emma braked, and the car slid in an arc on the water-filled road.
Emma (outside the painting, frightened): Damn it!
Aurora (outside the painting): What we need now is not this kind of language.
The car stopped across two lanes.
Interior view, inside the car, during the day.
The car turned off. Emma breathed a sigh of relief and tried to start the car, but couldn't start the fire. Aurora shook her head disapprovingly. Seeing her mother's attitude, Emma made a strange look and grabbed the doorknob.
Emma: Let's go outside.
Aurora: Why should I go out?
Emma: Another car hits our car, but it couldn't be easier.
Location, next to the car, during the day.
Emma walked out of the driver's seat tremblingly. The rain was pouring, and cars passed by. An umbrella stretched out from the front right car window, and the umbrella opened. Aurora carefully changed the umbrella to the other hand, stepped onto the street, and a car whizzed past, scaring Aurora to the road. Emma turned to help her from the other side of the car, and Aurora was soaked with water splashed by a passing truck. The package in her hand was also wet, and she grinned, revealing the clothes she had bought. Emma struggled to support her mother, and they looked up and saw in amazement—
Shoot from their perspective.
A short man wearing a cowboy hat and full cowboy boots calmly and skillfully signaled to the vehicles behind him that his car was parked a few steps away from theirs. The signal had an effect, and the passing cars moved aside. He walked towards them. He was a shy Texan named Vernon Dalat. He helped Aurora up. She was wet and dirty, and she was embarrassed by the fall, but even so, the muddy woman still smiled and laughed at herself, pulling her wet dress and skirt tightly around her upper body.
Vernon: You are not injured, are you?
Aurora: No.
Emma: Thank you for parking. Ask your name?
Vernon: Vernon Dalat. Are you hurt?
Aurora: No. I appreciate it. My name is Aurora Greenway, this is my daughter Emma, and we look like this if you take offense, I will never blame you.
Vernon: It's good if you are not injured.
Aurora: I don't know what we should do now.
Vernon: I have a garage. Please let me make a call from my car and ask them to come and take the car away for repairs. Arrange to lend you a car. I will send you home. Blankets, there is a thermos bottle of bean soup and a bottle of hot vegetable soup.
Aurora (unexpected): Thank you.
Aurora carried Vernon on his shoulder, and Emma followed and walked towards his car. He cuffed his ears nervously.
Aurora: Don't pull your ears like that. Will pull the earlobe big.
Vernon: I was fidgeting when I was with the ladies.
Aurora: You run a garage?
Vernon: If I were in Houston, I would have eight or nine businesses to take care of.
Aurora: Are you going anywhere else?
Vernon: Alba Tower.
As a car passed by, Vernon pushed Aurora down, splashing himself with water. She didn't splash at all. He said sincerely--
Vernon: It's really only a little bit close now.
Aurora: What are you doing in Albata?
Vernon: Oil.
Aurora turned her head to see Emma, did she hear her.
Emma: It looks like you sent me home first.
Interior view, in Vernon's car, during the day.
Emma got into the back seat, and Aurora into the front seat. While Vernon was walking around the car, the two of them had a chance to admire the two phones in the car, the TV in the rear of the car, and the safe in the middle of the front seat. The front panel of the car body is made of cowhide, with cow hair on the skin. Vernon sat in the driver's seat.
Emma: This car is really amazing.
Aurora (referring to cowhide): Except for this-what's going on?
Vernon (chaggedly): My idea.
The car moved.
Emma's residence.
They took her home and the car drove away.
Interior view, inside Vernon's car.
Aurora was wrapped in a car blanket and was drinking hot soup.
Aurora: Where do you live?
Vernon: Most of the time I lived in the car when I was in the city. The seat was down to a bed, and I parked the car on the top floor of my six-story parking lot. I booked a hotel room for storing clothes and bathing. But I often go to other states. My nephews and nieces here are in groups, so I take them to relieve my boredom. This is my family, and my right-hand men are not based here... Maybe I will change my central location because... hey... what's wrong? I have never said so much about myself in my life.
Exterior view, Aurora's house, during the day.
Vernon's car approached.
Vernon: This is it.
Aurora: Now, why do you seem so upset?
Vernon: I hope we don't say goodbye to this. I'm worried about this.
Aurora: I will invite some relatives to dinner on Wednesday. Do you have the time?
Vernon: God, of course there is.
Aurora (smiling): Let's take two steps. While it's light, I invite you to look at my garden.
He creaked his knuckles.
Aurora: I hope you won't be so nervous.
Interior view, Emma's suite, night.
Emma: My mother gave me some money to buy clothes so that I don’t look shabby when I am with Percy. I bought you something.
Frapp (outside the picture): Oh, will Passy go tonight too?
Emma (seeing that he is happy about it, a little annoyed): Yes—ah. Do you want to dress better?
Flap enters the picture. He is dressed for the dinner party: a tartan shirt and trousers. When Emma was unpacking, he walked into the bedroom.
Frapp: Oh, forget it!
She handed him a box. He opened the box and saw it was a tie, not very happy.
Frapp: How many times can I wear a tie?
Emma: I have to wear it tonight.
Frapp: You didn't buy this tie for me. What you worry about is what I look like in your mother's eyes. I hope to stop standing by her side on issues related to your mother.
Emma looked at him sadly.
Emma: Every time I am really happy, you always disappoint me.
Frapp (unexpected): Does buying this tie make you happy?
Emma: Yes, happy. I hope you can understand this because you don't do it at all. I was very happy when I described your top to the salesperson, because the tie and the top match too well... (she picked up the tie and gave him a test)... Seriously, it matches too well. This tie is a famous brand. You are so stupid that you don't even understand my intentions.
Frapp: I'm sorry, every time I go to your mother, I always make me angry.
There was the sound of car horns outside. Flap walked towards the gate.
Frapp (calling): Here we are, Dad.
Emma (out of anger): Do you like this tie?
Frapp: Of course.
Emma (happily): I know you will like it.
Interior view, Aurora's home, night.
She opened the door to welcome the Hortons: Frapp, Emma, and Frapp's father Cecil. Cecil's clothes are very particular, but they don't look like his clothes. Aurora wears a long green dress and silver jewelry. A series of quick-cut shots, showing her routine inspections.
The camera is facing Aurora.
She glanced quickly at her daughter's hair.
Emma saw her mother's dissatisfied expression.
Aurora looked at her daughter's clothes and nodded in appreciation.
Emma made a look of nonchalant comments about her mother.
Aurora noticed Frapp's tie.
Flap was uncomfortable, because even though he thought he was independent, he always felt unable to lift his head in front of his mother-in-law.
Aurora's well-maintained hand was grasped by Cecil's.
Aurora: Please come in. How are you, Cecil?
Cecil: I always look forward to being invited home by you. I never knew what I was eating, but I really didn't say anything about the taste.
Aurora closed the door.
Interior view, living room, night.
Rosie used a tray to deliver food to the guests. She was smoking a cigarette. Aurora led Cecil into the house. Vernon came in with two glasses of wine in both hands. His eyes never left Aurora. Passy stared at Aurora while he was staring at Aurora.
Percy: You like her, don't you?
He didn't hear her, because Aurora was happy about what happened right now. Vernon loved to hear her laugh. His eyes were bright, and he shook his head. He couldn't imagine a more pleasant laugh.
Vernon (talking to herself): Oh my God, she really has two things.
Passy (voice raised a bit): Do you like her?
Vernon was taken aback. He turned to look at Passy.
Vernon (a little embarrassed): Is it all visible?
The camera focuses on Aurora, Cecil, and Frapp.
Aurora (to Flapp): I made Creole shrimp today without bread. I don't think you can wipe the plate as usual.
Cecil: My skill is brilliant, and you can't help me with anything you feed me.
Aurora: Let's try it.
Frapp: Don't make him happy.
Aurora: Every time you take two sips of wine, you try to deal with me. Don't do this in my house.
Cecil: What happened? Don't mess with her. She is kind to me.
Aurora: Let's take a seat-Passy, Vernon. Passy, get Emma.
Exterior view, garden, night.
Rosie was smoking a cigarette with a tray of various wines beside her. She and Emma were sitting on Houyang closed, putting their feet on the railing. The two are drinking.
Rosie: He stayed outside for four consecutive days, and when he came back, he fell asleep without rubbing my back.
Emma: Do you want me to rub your back?
Rosie: Are you willing?
Emma got up, stood behind Rosie and rubbed her back. Passy came over.
Rosie: He used to be wild and regular when he loved me. Do you remember how I told you when I was young?
Emma: That is my favorite story.
Rosie: You are my favorite child. I love you more than my own children, which always makes me a little uneasy.
Passy thought she could interrupt.
Passy: Your mother let the dinner.
Rosie: Let's go.
She walked quickly into the room, and Percy and Emma followed. Emma feels very natural, because the episode between her and Rosie is nothing new, but in the friendship between Percy and Emma, Percy felt that she was more shallow than Emma. When the two walked in side by side, there was a sense of separation.
Emma: Are you okay?
Passy: It's okay.
Emma took Pasi's shoulders and walked into the room.
Interior view, dining room, night.
Flap looked at Passy fascinatedly. She felt his gaze.
Frapp: Emma said you helped her choose this tie. I love so much. thanks.
Aurora sat in the seat of the hostess at the head of the table, and Vernon and Cecil sat on two sides. She noticed that Vernon looked at her intently, pushed his face a bit, and turned in another direction. She herself was intently watching the spectacle that Cecil wiped the plate clean with prawns. He did it very authentically, dipping prawns in the juice, sucking up the juice, and then dipping it in the juice.
Cecil (mouthful of food): You thought I couldn't do...
Aurora: I'm sorry, but if you are full of food, I really don't understand what you are saying.
Cecil: I'm sorry. (He pulls the prawn out of his mouth) What I want to say is... (laughs) I just want to see what the look on your face is.
He giggled and stuffed the prawns back into his mouth.
Interior view, kitchen, night.
Emma and Aurora wash the cups and dishes in the kitchen. They cooperated very accurately and coordinately. This is the result of thousands of collaborations, but Aurora still pays attention to her daughter's movements, because this time they use exquisite porcelain. .
Aurora: Be careful. What did Vernon say? I was so lucky to meet someone who didn't understand how to deal with me at all. I don't want to be worshipped for no reason. what happened to you?
Emma: It really makes me angry to watch my husband chase after my best friend. (Calming down) Maybe my temper is natural. (She turns to her mother) I have good news. I became pregnant informally.
Aurora (response quickly): What do you mean by that?
Emma: I haven't retrieved the test results yet, but you know that I am always on time. (Seeing Aurora's expression) If you are not happy for me, I will really be angry. I take this seriously.
Aurora: Then I—what can I do? How can I be a grandmother?
Emma: What's wrong with that?
Aurora (in pain): Nothing. That's great. Maybe this is not the case at all.
Emma: That's what I think, you still...
Aurora (angry, but gritted her teeth): But maybe it's not like that. Let's not celebrate too early.
She walked angrily from the side door to the front yard.
Location, the courtyard of Aurora's house, at night.
Aurora walked barefoot to the grass under the stars. This incident shocked her. She approached the dark place, we barely saw her figure, but we heard her sigh and cheer up. Suddenly, a Lincoln car drove into the adjacent lane, and the lights shone on her.
The camera is aimed at the car. The car stopped. We saw Garrett sitting in the driver's seat with two beautiful and well-dressed young ladies beside him. They are about the same age as the girls he used to associate with, but they have different identities. They belong to the powerful young ladies of the upper class, and the whole world owes them love, so everything goes well with them.
Doris: Do I want to help you?
Garrett: I'll tell you when I stretch my legs.
He opened the car door and fell head down. I laughed. Doris stretched out the car window. Obviously, she had been entangled enough by him this night.
Doris: You are bleeding.
Garrett: It's okay. come in.
Dolly: I won't go in anymore, thank you.
Garrett: There are too many people to be insured.
Doris: No, thank you.
Garrett, what's so scary?
Aurora almost forgot her thoughts, walked a few steps closer, stood still and listened to their conversation.
Doris: What are you afraid of? ? ?
Garrett: Then why don't you come in, Doris?
Doris: Because you are much older than the guy I dated, because you were drunk, because I was going to attend the American Astronaut's report tonight, I didn't expect that he would be entangled with us all night. I want to be a hero, not a silly pervert, because my belly is too big and I have to open my shirt button.
Garrett (not giving up, to another lady): Lee Anne, are you coming in?
Li Anne: You better clean up your wounds.
The car drove away, and he crawled around trying to get up.
Garrett (muttering): The wrong choice this time.
He grabbed a trash can and wanted to use its strength to stand up. The junk box was overturned. The rubbish hit him, he bleeds more, and he sobered up in pain, because the bottles and cans in the trash can really hurt him. Aurora walked out of the dark, and he saw her.
Garrett: Will you give me a hand?
Aurora: Give you a hand? I'm polite if I don't step on your face.
She stepped over him and walked back to the house.
Location. Aurora’s backyard. During the day (two years later)
Emma's firstborn son, Tommy, already knew how to walk, and ran after Rosie, but Rosie would never let him catch up.
Rosie: Come on, run faster.
Aurora (outside the painting): He is too fat.
Emma (outside the painting): Not really. His legs will grow a lot this year.
Aurora (outside the painting). If you still feed him like this, you won't be able to run if your legs are not long.
Interior view, Aurora's laundry room.
Emma is washing her clothes in the washing machine. Her mother looked out the window at her grandson. The phone rang and Emma answered the phone.
Aurora (continuing the previous words): If Vernon calls, tell him...
Emma: ...you are out.
Aurora: ...I'm resting.
Emma (to the microphone): Hi, it's Frapp...oh, where are you going? No, I don't want to wait any longer. tell me. (Suddenly depressed) Oh my God. Don't expect me to be happy-let's tell the truth while we can. I said, my mother just pretended not to be interested next to her. Let's talk about it again. I know. It will be arranged.
She hung up the phone and didn't wait for her to put the microphone firmly--
Aurora: How long will you keep confidential?
Emma: Only Des Monis’ school accepts Frapp as an associate professor. We will go at the beginning of school in the fall.
Aurora felt disappointed for a while, and then said to herself--
Aurora: He can't even do the simplest things-such as collapse on the spot.
Emma was so angry.
Location, outside Emma's residence, during the day.
A fully loaded trailer was hung on the back of Horton's car. It's full of books and records as before. There are also Passy's car and Aurora's Cadlerk car, themselves and Rosie on the screen.
Frappula held Tommy's hand, and the father and son watched the scene of the woman saying goodbye curiously. Rosie was saying goodbye to Emma, kissing and hugging, and Aurora looked more and more impatient. After they hugged for the last time, which one of them needed to hug again, so they started all over again. This is an informal farewell, from Emma to Tommy to his dad, cooling down one by one.
Rosie and Emma hugged again.
Aurora: Rosie.
Rosie (following fate): Alright. (To Emma) Be relieved, Emma.
Emma: Okay. You finished your work too late, so let your mother drive you back. I also want to be happy.
When it was Passy's turn, they hugged.
Passy: Farewell, Ames... I didn't expect that I would be so hard to separate.
Emma: I knew it would be like this. (They hug)
Rosie kissed Tommy, he wanted to hide. She held his head in her hands and kissed his mouth.
Rosie: This little thing has a pair of sweet lips.
Passy hugged the child-Rosie nodded to Frapp-Aurora leaned her face against Frapp, and he kissed her, but in fact only barely swept her cheek with his lips, they did not hug. Passy gave him a hug, and he hugged her vigorously for a while.
Percy: Treat her better, otherwise we can't spare you.
Frapp: Don't come too hard, Passy.
Aurora took her strength and stood in front of her daughter.
Emma (teasing her): Don't pretend to be okay. After I know you can't take my breath away, you have to lose your air.
Aurora: Okay, I'm glad that someone else can joke.
She gave her daughter a hug, and Emma stepped back.
Emma: This time I quit first.
She hugged her mother again. They let go, and mother held her and shook her head dissatisfied.
Aurora: Go get a decent maternity outfit to wear.
Emma (laughs): You must say something back to me.
Aurora walked towards her grandson. He stared at her. They are not affectionate to each other.
Aurora: Okay, Tom.
She patted his head absently.
Tommy: Goodbye, Grandma Aurora.
Tommy climbed into the back seat of the car. Frapp and Emma are sitting in front. Rosie began to cry. Aurora looked at her dissatisfied, so she walked into Aurora's car and cried herself.
Passy: Write as soon as possible when you get there, so I know the address or something.
Emma nodded, speechless.
Passy and Aurora stood a few steps away from each other. Aurora's parting feeling was a bit more than we thought, but a bit less than we expected.
Aurora (to Emma): Phone bills will become a big expense.
Emma smiled at her mother. Aurora backed away a few steps. Before the car started, Emma motioned to Passy to come over and say something private.
Aurora heard Emma's words.
Emma: Do something good. Come see my mother when you have time.
Percy: I'm afraid she is happy not to see me again.
Emma: Not so. You interest her.
Passy: Okay. Happily. I love you.
Emma: Me too.
They kissed goodbye by the open car window.
Frapp: Can we go now?
Emma (want to look at her relatives for a long time at the end): Let's go, but drive slowly.
Flap stepped on the accelerator so hard that even the rubber smelled of burnt. The car quickly disappeared.
Aurora and Passy stood a few steps away from each other. This was the first time they were alone, without Emma as an intermediary. Percy looked at Aurora's expression and knew that she had heard what she had just said. There was an awkward silence, and then--
Percy: I really want to see you at any time.
Aurora (kindly, even a little enthusiastic): Both of us understand that I am not old enough to need others to take care of, and you have too many things to take care of.
Percy: Ah, Mrs. Greenway.
She shook her head and walked away. Aurora is determined not to stay here, nor to look back at the place where her daughter lived as a bride and a young mother.
Location, bus station, daytime.
Aurora's car drove to the side of the road so that Rosie could get off.
Interior view, inside the car, during the day.
Rosie was crying, and Aurora couldn't take it anymore. She reached to Rosie and opened the car door.
Aurora: The station is here, go down.
She gave Rosie a push.
Rosie: Don't push me when I cry.
Aurora: This is not the end of the world.
Rosie: This is your end of the world. Only Emma can stand you.
Aurora: That's right. No one comforts me. Unlike you, I have a loving and righteous husband.
Rosie (hot): You bastard.
Aurora: Okay, get out of the car.
Rosie got out of the car and settled. When Aurora drove the car away, she yelled at the car--
Rosie: It looks like Emma is gone, and our life will not be better for the two of us, right? !
Interior view, Frapp's car, night.
Emma is looking for the radio, and Frap is driving.
Frapp: Baby. (She looks at him) Let's leave you-our respective families are good.
Emma nodded and approached him.
Tommy: I want Houston.
Emma: You don't know how lucky you are. Everyone wants to go to Des Monis. People all over the world want to see Des Monis in this life. Some people say this is the best city in Iowa.
Frapp smiled at her.
Tommy: Are you kidding me. Texas is the best.
Emma knelt on the car seat and arranged for Tommy to sleep in the back seat.
Emma: Don't worry. We will see a lot of new things.
When she turned around, something outside the window attracted her attention.
The advertising light shone on a big sign that read: "You are now leaving Texas."
Emma's eyes were filled with tears. She herself was surprised and embarrassed. She turned to look at Frapp, pointed her eyes, and smiled, thinking she was really stupid.
Emma: Hey, look at me.
Exterior view, Aurora's house, at night.
Aurora was barefoot, unsure. She wandered in the backyard and worked in the garden. We heard the sound of a man jumping into the water running and screaming, and Aurora was dissatisfied with the sound of swimming and the sound of coming out of the water.
Aurora (asking him to be quiet, exclaiming): Can you...will you?
Garrett, naked to dry his body with a towel, walked over to the railing between the two houses.
Garrett: I'm sorry. I just finished the steam bath and jumped into the cold water, unavoidably yelling. (She nods, and then does her own business, he is close in front of her, but she is silent) I talk to you face to face, don't you pay attention to me?
Aurora: I didn't ignore you. What should I say? All right. You jumped into the cold water suddenly, probably impossible not to call.
He smiled, wondering if he should tell her something. She has turned her head away.
Garrett: Hey.
Aurora (turning back): Huh?
She almost stared into his eyes, but moved them away again, and got busy on her own.
Garrett: Oh, what is your name—Aurora?
Aurora: Yes.
Garrett: Would you like me to surprise you?
Aurora: Not very happy.
Garrett: The White House is going to hold a dinner for the National Aeronautics and Space Administration. Entertain all the astronauts, with me. I just can't find a suitable female partner. Because if I take a little girl who I usually go with, all the wives of my flying partners will have to poke at my back, and I don't know anyone who is about their age. I suddenly remembered that I could invite my neighbor.
Aurora looked at him in horror.
Garrett (speaking nonchalantly): Then they cancelled the dinner. But I really thought about asking you to come with me. Although you treat me like this. Does this scare you?
Aurora: Of course. If you think about it, it's a surprise that you can date people properly.
Garrett (interesting): How would you answer if I asked you seriously?
Aurora was a little uncomfortable, thought for a moment, and said--
Aurora: I will answer that I would be happy to visit the White House.
Garrett: You would actually agree. Yes, Aurora, it was me who was surprised.
Aurora (I laughed even though I didn't want to laugh): Good night.
She walked towards the house.
Garrett: Damn it. Would you like to go out for dinner?
Aurora (too quickly): No, no, thank you.
Garrett: How about lunch? Ladies like you like to have lunch outside, right?
She turned around, suspicious that he was joking with her.
Aurora walked to where she took off her shoes and picked them up. She stood on the grass and twisted her toes, looking at the smiling and funny man in front of her.
Aurora: You know, your attitude is not great... I think you are playing with me.
Garrett: Yes, Aurora, I was playing with you. Want to play? How about lunch?
She walked towards him and stopped a few steps away.
Aurora: Look, that's what I meant. If you are willing to invite me to a restaurant for lunch, in order to improve the relationship between the neighbors, I would not refuse, but...
Garrett: Yes. Let's have a meal.
Aurora: But, first of all... (seeing him grinning) I'm not kidding, let's make it clear first...
Garrett beckoned to her.
Garrett: Come here. We are too far away and it is inconvenient to speak.
She walked a few steps towards the fence, pretending to be condescending and funny, in fact feeling uneasy like a sixteen-year-old girl.
Garrett (with full hue): Now that you agree, I'll talk about the rest later. I know what you think. Sometimes I can't help but weigh it. But I think once you agree and you will be trapped, you will not be able to get out of it. Let's go for a drive with great joy.
Aurora: I'm not going, there is something wrong with you.
She ran back into the house, and Garrett giggled.
Exterior view, Horton's house, Des Monis, six o'clock in the morning.
We looked out through the glass of the Horton’s car. The glass was covered with beetles. The bugs were very conspicuous on
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