The funeral was unbearable. Our daughters, Sophie and Emma, only four and five years old, kept asking, “Where’s Mommy?” I had no idea how to answer. How could I explain something I didn’t understand myself? Thankfully, Elizabeth’s parents and sister were there to help handle the arrangements.
After the service, as I walked to my car in a daze, I felt someone watching me. At first, I thought it was just my grief playing tricks on me, but then I saw her—an old woman standing near the cemetery gates.
She looked ancient, her face etched with deep lines, her sharp eyes piercing through me as if she could see straight into my soul.
“Excuse me,” she called softly.
I hesitated but didn’t respond. I was too drained for conversation, especially with a stranger.
“I know your fate,” she said, her voice serious.
I frowned. “What?”
“Cross my palm with silver, and I’ll reveal the joy and sorrow that lie ahead,” she continued, holding out her hand.
I stared at her, bewildered. A fortune-teller? At a funeral? I shook my head, muttering, “I’m not interested,” and started to walk away.
But her next words stopped me cold. “Elizabeth won’t rest until justice is served.”
I turned back sharply. “What did you say?”
“Twenty dollars,” she said, beckoning with her bony fingers. “That’s all.”
Under normal circumstances, I would’ve dismissed her. But in my grief-stricken state, I was numb to everything. Twenty dollars seemed insignificant in the grand scheme of things. I handed her the crumpled bill.
Her hand felt icy as she grabbed mine, her grip surprisingly firm. She didn’t take her eyes off me, and for a moment, I felt exposed, as though she could see all the pain I was carrying.
“Today, you’ve lost someone dear,” she whispered.
“Yeah, no kidding,” I said bitterly. “We’re at a cemetery.”
She didn’t flinch. “Your wife’s death was no accident.”
A chill ran down my spine. “What are you talking about?”
“There’s more to her death than you know. Tomorrow, the truth will begin to reveal itself.”
I felt my mouth go dry. “What truth?”
She smiled slowly, an unsettling grin. “By this time tomorrow, you’ll see.”
Before I could ask anything else, she turned and disappeared into the mist, vanishing as if she had never been there. I stood frozen, torn between disbelief and a strange sense of foreboding.
That night, I couldn’t sleep. Every time I closed my eyes, I saw Elizabeth—her smile, her laugh, the way she kissed our daughters goodnight. But the fortuneteller’s cryptic words haunted me: “Your wife’s death was no accident.” Was there any truth to it? Could the crash have been something more sinister?
Unable to rest, I got up and sifted through Elizabeth’s things, desperate to feel close to her. Among her belongings, I found something odd—receipts from a car rental service. We had two cars. Why would she need a rental?
I stared at the receipts, my heart racing. The fortuneteller’s words echoed in my mind. “There’s more to her death than you know.”
The next morning, I couldn’t shake the feeling that something was terribly wrong. I called Elizabeth’s best friend, Sarah, who worked at the garage where our cars were serviced. Maybe she could help me make sense of it all.
“Hey, Sarah,” I said, trying to keep my voice steady. “Did Elizabeth mention anything to you about renting a car?”
There was a brief pause before she answered. “Actually, yes. She rented a car when both of your cars were in the shop. It was for a surprise trip to the beach, but she returned it the day before… well, you know.”
“But why didn’t she tell me?” I muttered to myself.
“She wanted it to be a surprise,” Sarah replied. “She even asked her sister Karen to return the car for her after the trip.”
A wave of unease washed over me. Karen? Why would she return the car, and why hadn’t I known about it?
Determined to get answers, I drove to the rental company. When I explained the situation, the manager pulled up the records. “The car was returned without visible damage. We accepted it as normal, but… something seems off. Only a few miles were added to the odometer.”
I left the office with more questions than answers. Why had Karen returned the car? What was she hiding? I decided to contact the police, as the suspicion that Elizabeth’s death wasn’t an accident gnawed at me.
I explained everything to the detective—the car rental, the fortuneteller, my growing doubts. He listened carefully and assured me they’d investigate. “Initially, we ruled it a tragic accident caused by brake failure,” he said. “But now, with what you’ve shared, we’ll take a closer look.”
The days that followed were a blur. Then, the police found something shocking—evidence that someone had tampered with the brakes. My stomach churned as the horrifying truth began to surface.
It wasn’t long before the investigation revealed even more. Karen had taken out a life insurance policy on Elizabeth just months before the accident. She had forged Elizabeth’s signature and made herself the sole beneficiary.
I was sickened. Elizabeth’s death hadn’t been an accident—it was murder. And the person behind it was her own sister.
When Karen was arrested, I couldn’t even look at her. The woman who had comforted me in my grief had been the one to cause it all, driven by greed.
During interrogation, she confessed to tampering with the car’s brakes, hoping to collect the insurance money. The betrayal was devastating.
Karen was sentenced to life in prison. It didn’t bring Elizabeth back, but at least I knew she would never harm anyone again. The fortuneteller had been right—Elizabeth couldn’t rest until justice was served.
A few weeks later, I returned to the cemetery. As I stood by Elizabeth’s grave, I whispered, “You can rest now.”
Just as I was about to leave, a butterfly landed on her headstone. I knew it was Elizabeth, finally at peace.
Though I never saw the fortuneteller again, her words had led me to the truth. As painful as it was, that truth was worth every penny of the twenty dollars I had given her.
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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