My sister got the house. I got a chessboard. At first, I thought it was my father’s final insult — until I heard something strange rattling inside one of the pieces.
“Life is a chess game,” my father used to say. “You don’t win by shouting. You win by seeing three moves ahead.”
I used to roll my eyes when he said that. But that day I’d give anything to hear him say it one more time.
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I didn’t speak when he died in the bedroom where we played every Sunday. Didn’t speak when neighbors brought warm casseroles and colder condolences. Didn’t speak when my half-sister Lara arrived — tanned, smiling, wrapped in a coat that probably cost more than the funeral.
“Gosh,” she said to my mother, “it still smells like him in here.”
Of course, it did. His perfumed coat was still hanging by the door.
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Lara didn’t come to mourn. She came to collect.
We sat side by side waiting for the last will. Finally, the lawyer unfolded the envelope.
“For my daughter Lara, I leave the house and everything within it,” he read aloud. “The property cannot be sold while its current resident remains.”
Lara didn’t look at me. Just smiled.
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“And for my daughter Kate…”
The lawyer paused. I held my breath.
“I leave my chessboard and its pieces.”
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Lara let out a soft snort and tilted her head toward me.
“A house for me, and a hobby for you. Fitting, don’t you think?”
I didn’t answer. Just stood, picked up the chess set, and walked out. I could still hear her laughter behind me. Outside, I walked without a plan. The wind bit through my sleeves.
By the time I realized where I was going, my feet had already taken me to the old park. The chess tables were still there, half-sunken in stone and moss.
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I sat down. Opened the box. My fingers moved without thinking. Bishop. Knight. Pawn. King.
“You’re really doing this?”
The voice sliced through the silence. I didn’t need to turn around. Lara. She appeared beside me and dropped into the seat like it had always been hers.
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“Still clinging to Daddy’s toys? You really are predictable.”
She reached out and moved a pawn without asking. I responded.
We started playing.
“You know,” she said, cocking her head, “he always thought this game taught character. But it’s just wood. Just symbols.”
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She moved again. “I got the house.”
I stayed quiet.
“You got a game.”
Pawn. Knight. Bishop.
“You always thought this meant something,” she continued. “But in the end, it’s just wood.”
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Her final move came fast. A snap of the wrist.
“Checkmate,” she declared, slamming the knight down with unnecessary flair.
Then — for the drama, or maybe just for cruelty — she stood and swept the board with her arm.
“No point in clinging to illusions.”
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The pieces scattered. Some bounced on the stone table. Others tumbled into the grass. One landed near my foot. I reached down. Picked it up. It was heavier than I remembered. I rolled it between my fingers.
Click.
What is that?
Not the sound of wood. Not hollow. I picked up another piece. Gently shook it. Rattle. My breath caught in my throat.
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There’s something inside!
I looked up. Lara was watching me. Our eyes locked. And in that split second, I was almost sure — she’d heard it too. But she tilted her head, as if bored, and let her gaze drift past me like I wasn’t even there.
“Come to dinner tonight,” she said casually. “Mother asked. Said we should honor him properly. As a family.”
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I blinked.
“Did she really?”
“Of course. It’s what he would’ve wanted. We should all be… civil.”
She turned and walked away before I could respond, heels clicking against the path like a ticking clock.
Did she just make that up? Or did she plan it?
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Knowing Lara, either answer could be true. She was clever. And invitations could be just as dangerous as threats.
That dinner wasn’t a gesture.
It was a move. She is playing with me now.
And I had no choice but to sit at the board.
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***
A few hours later, Lara was already in the kitchen when I came downstairs — humming, stirring, plating food like she’d done it a thousand times.
She even wore an apron. The one she used to call “tragically domestic.”
“Evening,” she said brightly, opening the oven. “Hope you’re hungry. I made rosemary chicken. And there’s a vegan option for Mom.”
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I blinked. Our mother looked up at Lara as if someone had replaced her overnight.
“You cooked?” she asked, brows raised.
Lara laughed sweetly.
“It’s not that hard. I followed a recipe. Even cut fresh parsley for garnish.”
Fresh parsley. Of course.
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I took my seat in silence. Across from the impostor who wore my sister’s face.
Throughout the meal, Lara kept the performance going — passing dishes with both hands, topping off water glasses, smiling like she hadn’t just mocked me in a park hours earlier.
She didn’t look at me. Not directly. Not until I stood and placed the chessboard on the hallway console. Just behind me. Just in view. Closed. Waiting.
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That was my move.
A pawn offered. I wanted to see if she’d flinch. She didn’t flinch. But her smile stretched a little too tight.
Our mother noticed.
“You’ve been very sweet today,” she said to Lara, her voice light but deliberate. “Unusually sweet.”
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“I’m trying to be better. We’re family, right?”
“Some bonds are stronger than others,” our mother said, cutting into her food. “Especially when they’re tested. When people choose to stay, to support.”
Her eyes didn’t leave me as she said it. I forced a smile.
“Is that what this is? Support?”
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“I just think,” she said, setting down her fork, “that your father… he finally saw who truly stood beside him. Who gave him peace.”
“Peace?” I asked, my voice tightening. “You mean silence. Compliance. He didn’t want peace — he wanted loyalty.”
“And you think that was you?”
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I looked at Lara. “I stayed. I bathed him. Fed him. Watched him fade.”
“And he left you a game,” Lara said, still smiling.
“Maybe that says more about him than me,” I said sharply.
Our, no, Lara’s mother leaned forward.
“He gave my daughter the house because she deserved it. She sacrificed more than you know. And maybe it’s time you stopped acting like the victim.”
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“I’m not acting. You’re just not used to seeing me speak.”
There was a pause — full, sharp. Then Lara laughed.
“Okay, let’s not ruin dinner. This is supposed to be nice.”
Her mother turned to me.
“You should start packing in the morning. Just so there are no… complications.”
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I stared at her. At both of them. At the fake peace, they tried to pass as family.
I picked up my plate. Quietly brought it to the sink. I didn’t say thank you. I didn’t say anything.
Just turned, walked upstairs, and locked my door behind me.
I knew one thing for certain. Dinner wasn’t over.
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***
The house held its breath. I was waiting.
Suddenly…
Somewhere in the darkness, I heard the soft creak of floorboards. A quiet click of a drawer. A velvet shuffle. Lara was crouched over the chessboard, the pieces already scattered, some opened. A paring knife beside her.
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One of the rooks cracked in half. A small velvet pouch in her hand, glinting with stolen pride.
“So,” I said calmly. “It wasn’t just wood after all.”
Lara spun around, startled, then narrowed her eyes.
“You knew.”
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I didn’t answer. She stood, straightening herself like a dancer on a stage.
“I solved it,” she said. “He left the real gift inside the game. And I found it.”
“You broke it open like a thief.”
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“He gave you the board, but he gave me the meaning. And now I have it.”
“Do you?”
From the shadows behind us, her mother emerged.
“She figured it out,” she said simply. “And you didn’t.”
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I looked at both of them. At the confidence in Lara’s eyes. At the satisfaction twisting in her mouth. They were already reaching for the stones.
Lara lifted the pouch and dropped a few of them onto her palm — bright, glassy things.
“Check and mate,” she whispered.
I looked at her.
“No. Zugzwang.”
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“What?”
“It’s a chess term. It means every move you make now only makes things worse.”
The mother frowned. “What are you talking about?”
I stepped closer to the table. Tapped one of the pieces Lara had cracked open.
“Glass. Colored, smooth. From a sewing kit, I’ve had since I was fifteen.”
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I looked straight at Lara.
“You found what I let you find.”
She went pale. “The stones you found? They’re fakes. Glass. From an old bead kit, I used to keep for sewing buttons.
“I swapped them out the morning after the funeral.”
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Lara’s face paled. “You’re lying.”
I reached into my coat and pulled out a slim envelope.
“Here’s the deposit confirmation from the bank. The real pouch is already locked away. Under my name. Safe. Untouchable.”
Lara stepped back as the paper burned her. Her mother said nothing.
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“And there’s something else,” I said, reaching into the lining of the chessboard case.
A folded piece of paper. Soft from time, but intact.
“My father’s real will. The one he hid, because he knew the official one would only start the game.”
I opened it and read aloud:
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“To my daughters…
If you’re reading this, it means the game has played out.
Lara, I loved you fiercely. I gave you much. You had freedom, opportunity, and every chance to show who you are. To your mother — I gave all I could. I hope it brought peace.
Kate — you stayed. You carried the weight. I gave you little but left you the map. That was my last game. My test.
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If you are honest, you may live together in peace. If not, everything belongs to Kate.
I gave you all the pieces of me. I needed to see who would protect the whole.”
I folded the letter. Silence hung between us like fog. I looked at Lara, then her mother.
“Checkmate.”
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10 Little-Known Mistakes in Pretty Woman That Will Blow Your Mind
Pretty Woman is one of those movies I can watch over and over — it never gets old or boring.
But considering how many times I’ve seen it, it’s surprising that I’ve never noticed these bloopers and mistakes that tell a different story about the film.
Disney changed everything
*Pretty Woman* became a romantic comedy that captured millions and launched Richard Gere and Julia Roberts to fame.
But that’s not how it was originally meant to be. The first screenplay was titled *3,000*, written by then-struggling screenwriter J.F. Lawton. The early draft dealt with much darker themes about social inequality and corporate greed.
However, everything changed when Disney took over. The company chose to downplay the themes of class and sex work in Los Angeles. Instead, Disney gave it a big budget and turned it more into a romantic comedy.
Al Pacino turned down the lead role
For me, it’s hard to imagine anyone but Richard Gere as Edward Lewis, the wealthy businessman from New York who hires Vivian (Julia Roberts) to be his escort for a week.
The casting process for *Pretty Woman* took longer than expected, with Al Pacino initially in the running for the role of Lewis. The famous actor even took part in a casting reading with Julia Roberts but ultimately decided to pass on the part.
Although he liked the script, Pacino never explained why he turned it down. Looking back, he has shown respect for Roberts, who was a relatively unknown actress at the time.
“I mean, you could tell at the reading that this was going to be good, that it would be a hit,” Pacino said.
He also mentioned: “And this girl was amazing. I asked Gary, ‘Where did you find this girl?’” (Gary being Gary Marshall, the film’s director). Pacino’s instincts were right, as Roberts’s outstanding performance would shape her career and the film’s legacy.
The croissant becomes a pancake
In the scene where Richard Gere’s character orders breakfast in the room, there’s a funny little detail you might not have noticed. It starts with Vivian enjoying a croissant while talking to Edward.
But then, in an instant, the croissant magically turns into a pancake.
How did that happen? According to director Garry Marshall, he liked Julia Roberts’ performance in the later takes, where she was eating a pancake instead of the croissant, so they decided to use that footage.
However, this caused a continuity issue. In the first shot with the pancake, Vivian takes a second bite, but in the next shot, the pancake only has one bite missing, and the bite marks are clearly different.
It’s clearly not the same pancake!
Truth behind the iconic dress
The careful attention to costume design might go unnoticed by most moviegoers. However, whether you notice fashion or not, it’s hard to miss the iconic red dress that Julia Roberts’ character wears in the film.
The red dress represents Vivian’s transformation and empowerment during a key scene in the movie when Roberts’ character joins Edward Lewis for a night at the opera.
Vogue described the dress as “eye-catching, incredibly sexy without losing any elegance.” The genius behind that stunning dress? The award-winning costume designer Marilyn Vance.
She created six fabulous outfits for Julia Roberts’ character, Vivian Ward, and also designed Richard Gere’s stylish looks.
For example, the charming brown-and-white polka dot dress Roberts wore to the horse race was made from old silk found in a small antique fabric shop in Los Angeles — talk about recycling in style! And those chic shoes? They were by Chanel.
Richard Gere’s tie
As for Gere’s wardrobe, it was a masterclass in color coordination, featuring brown, navy, and blue-gray suits, all designed by Vance.
Now, about that famous tie that Roberts takes from a store employee? According to Vance, it was “nothing special” and definitely not a designer piece.
She bought it in a Los Angeles shop for $48.
The tie appears several times in the film, and if you watch closely, you might notice that it mysteriously changes knots from time to time.
During the polo match, Edward wears a straight-collar shirt with the tie that Vivian gave him, knotted in a half-Windsor. But in a later scene, sharp-eyed viewers can see a subtle change — Edward’s collar has turned into a spread style, and the tie is now in a full-Windsor knot.
‘Obscene’ shopping spree
When Richard Gere shows Julia Roberts’ character the glamorous world of the rich, he takes her on a wild shopping spree down Rodeo Drive in Beverly Hills.
That afternoon shopping trip? It would have cost Gere’s character at least $30,000, according to designer Marilyn Vance.
Talk about a shopping spree on steroids! It’s like they were shopping with Monopoly money — no wonder Vivian was in a daze.
The ruby-and-diamond necklace was real
The jewelry Julia Roberts wore with her stunning red ball gown — a heart-shaped necklace made of rubies and diamonds — was valued at an incredible quarter million dollars. Yes, you heard that right.
According to movie trivia sites, this ruby-and-diamond masterpiece was the real deal. In fact, while filming, an armed security guard from the jewelry store responsible for this extravagant necklace stood watch behind the director.
Jewelry box scene was a practical joke
The scene where Richard Gere gives Julia Roberts the expensive necklace is not only one of the most romantic and iconic moments in movie history, but it also has a funny backstory.
Originally, it was meant as a playful prank for the film’s gag reel.
As you might remember, the jewelry box snaps shut on Julia Roberts’ fingers, causing one of the most genuine and charming laughs ever caught on film.
The real story behind the scene came from director Garry Marshall, who explained why he and Gere decided to play this trick on the young actress.
According to Marshall, Roberts, who was just 23 at the time, would sometimes show up on set a little sleepy after a late night out.
“I said, ‘Richard, you gotta wake her up a little, so when she reaches for the box, slam it.’ It was a soft box. I would never hurt her,” Marshall explained.
It wasn’t until the final stages of editing that they decided to keep the scene in the movie. “We put it in… and it became like the trademark of the movie,” Marshall said.
And just like that, an unscripted joke turned into cinematic magic.
Edward’s disappearing shoes
As mentioned earlier, there are some mistakes in *Pretty Woman* that aren’t easy to spot on the first viewing, but some keen viewers have noticed them.
For instance, when they leave the opera and head to the park, Vivian takes off Edward’s shoes. However, as he begins to lie down, the shoes magically reappear.
Money in the boot
Speaking of things on (or in) your feet, there’s a little mystery involving Vivian’s boots that you might have missed.
When Edward gives her $100 in the penthouse, she slips the cash right into her boot for safekeeping. But later, after room service arrives with champagne and she takes off her boots, the money has mysteriously disappeared.
Did the cash vanish into thin air, or is Vivian just really good at hiding things? Maybe those boots had a secret compartment, or perhaps the $100 simply didn’t want to stick around for the rest of the film…
Four colored condoms
When Vivian offers Edward a selection of colorful condoms, it seems they have a mind of their own.
Vivian starts with four neatly arranged options (not counting that fancy gold circle one). But in the next shot, the order has magically changed.
Richard Gere didn’t like his character
Richard Gere has certainly gained from the success of *Pretty Woman*—both in his career and his bank account. But he hasn’t always been fully positive about the film, especially regarding his character, Edward. At a film festival in Venice, Gere described Edward as “criminally underwritten.” He added, “Basically, he’s just a suit and a good haircut.”
One scene in particular seemed to bother Gere, where Edward plays the piano while Vivian moves closer. Reflecting on it, Gere sarcastically said, “I mean, no chemistry. This actor and this actress obviously had no chemistry between them… I haven’t seen that in a long time. That’s a sexy scene.”
Director Garry Marshall came up with the idea for the scene after asking Gere what he usually did late at night in a hotel. Gere remembered, “I said, ‘Well, I’m usually jet lagged, so I’m up all night. Usually, there’s a ballroom or a bar, and I’ll find a piano and play it.’” Marshall then suggested, “Well, let’s do something with that.”
So, the scene was mostly improvised, with Gere explaining: “He said, ‘Play something moody.’ I just started playing something moody that reflected this character’s interior life.”
Then, just as mysteriously, the original lineup of condoms snaps back in the third shot. It’s as if the condoms were having their own little dance routine behind the scenes.
More than just onscreen lovers
If you ask me, the chemistry between Julia Roberts and Gere in *Pretty Woman* was undeniable. But the sparks didn’t just fly when the cameras were rolling — they formed a close bond off-screen too.
In 2017, Gere shared that he still talks to Roberts “all the time,” and back in the day, they would chat “three or four times a day.”
You could say it was love at first sight, in a friendly sort of way.
Even in a fairytale romance, things don’t always go as planned. Maybe that’s what makes this movie so charming and keeps us watching it again and again, year after year.
Did we miss your favorite *Pretty Woman* blooper? Share it with us and keep the fun going!
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