A Home of Our Own Page #6

Synopsis: The story begins in Los Angeles when Frances Lacey (Kathy Bates) takes her six children and drives north to find a home of their own away from the bad influences of the big city.
Genre: Biography, Drama
Director(s): Tony Bill
Production: PolyGram Video
  1 win & 3 nominations.
 
IMDB:
7.1
Rotten Tomatoes:
45%
PG
Year:
1993
104 min
526 Views


- Really?

Mom...

I'm sorry.

I'm sorry about being mad at you.

You know, for going to dinner,

going on a date.

Mama went all-out for the occasion.

We went back to the thrift shop

and picked out a jacket, slacks, shoes.

They were used, but they

were the best I ever had.

- You look nice, Shayne.

- Oh, thanks, Faye.

- Going to squeeze her boobies?

- All right. I'm gonna get you.

I'm gonna get daddy's belt on you.

- You, boys.

- Oh, mom, you look great.

- [Faye] You look great, mama.

- Really?

- [Shayne] Yeah.

- [Lynn] Mom, you look really nice.

- Look at you, Shayne.

Ain't he a handsome devil?

Looks just like his father,

that goddamn vagabond

- Irish Catholic son of a b*tch.

- Are you going to the

dance with Shayne, mama?

- I got a date of my own.

(car honks)

- That's them.

- [Annie] You'll never get a

date, Murray, you stink bug.

- Are you excited?

- Yeah.

I'm nervous.

- Are you?

Here. Don't tell the others.

- [Shayne] I knew what

that money meant to mama

and to our house.

- Bye, Shayne.

- Bye, Shayne.

- Bye, mama.

- Bye.

- Good luck on your date.

- Okay.

- [Shayne] That dollar meant more to me

than anything she ever gave me.

(romantic orchestral music)

You never forget your first real date.

I didn't know how to dance,

much less how to ask a

girl to dance with me.

It sure was different

than practicing with mama,

but I had the first, best time of my life.

Oh, don't you know

Don't you know you'll be my fool

You got me crying

Crying again

When will you let

This heartache end

Emotion

You gave me up then

Why make me remember

What I wanna forget

(clanking)

- May I have the pleasure?

- Well, Norman.

- Dance with me, Frances.

- Well, but let's go on inside.

It's cold out here.

- Well, I'm a good keeper-warmer. Yeah!

- Norman...

- What?

- Come on, let's go dancing--

- We're definitely kicking

up our heels tonight, but...

After.

- After?

- Uh-hmmm.

- What is this?

- This is the key to paradise.

- You're presuming a bit, aren't you?

- I don't think so.

You're free, white, and

more than a nod past 21.

- Thanks a lot.

- Yeah, we both are.

I think we'd get it out

of the way, you know.

- Out of the way?

- Yes.

Save some awkwardness and then

we don't smell like cigarette smoke.

Besides, to tell the truth,

I drink too much when I dance,

and I ain't worth a sh*t in the sack then.

- Well, that's romantic as all hell.

- Look, it's paid for.

Why waste it? Come on.

Hey, what are you doing?

- Norman, either we go

dancing or you take me home.

- Oh, don't act like no virgin.

- What?

- I mean a woman with six kids

has been around the block more than once.

- Yeah, but I don't roll on my back

for every a**hole who scratches my belly.

- Maybe you ought to, lady.

Not many guys are gonna make

this kind of offer everyday.

- Oh, boy, I should be so lucky.

- Come on, honey, all right--

- Don't call me honey.

Let go of me, take your hand off me.

Take your hand off me.

- Settle down!

- Look, Norman, this isn't gonna happen.

What are we gonna do?

Stand here all night until

the snow comes again?

Let go of me!

- Don't tell me what to do!

You know I could make you.

- You could try.

- [Boy] Come on, guys, let's go.

Come on. Will you get

out of there? (knocks)

You're steaming up the windows.

Guys, let's go.

(radio music plays softly)

See you, lover boy.

- Bye, Raymi.

(car door slams)

Hey, mom, what you doing?

- Sitting.

Go on in, I'll be in in a minute.

- Are you okay?

- Yeah.

I'm fine.

How as your date?

- It was all right.

How was yours?

Mom?

Mom?

What happened?

I just made a mistake, that's all.

I don't know what it is, but

if there's a son of a b*tch

within 70 Miles, he'll find me.

It's been that way since your daddy died.

Any horse's ass.

I just walk right up to him and say,

"Here I am, you a**hole.

"Why don't you chew me

up and spit me out?"

- Mom, I'm sorry.

It's gonna be okay, okay?

I promise.

- Honey, it's not your fault, it's his.

Now go on, will you?

- [Shayne] It's gonna be okay.

Come on.

Was dad ever mean to you?

- No.

He was the finest man I ever met.

He treated me like a queen.

Promise me something, Shayne.

Promise me you'll never beat on a woman.

- Yeah, I promise.

- Never beat on anybody.

It hurts, inside and out.

- Yeah.

I know it does.

- Go to bed.

Please.

Go to bed.

(hammering)

- What is it?

Annie, Annie, wake up.

(hammering)

(whacking, thud)

(smack, grunt)

- You hit my mother!

(grunting)

- [Norman] Crazy little bastard.

- [Woman] Call the sheriff. Somebody.

(slams, grunts)

- Say you did it! Come on!

(slams)

You did it!

Say you did it!

Say you, say you did it!

Say it.

Say it now! Now!

- I never touched her.

- Where'd she get the scratch?

- 'Cause she fights just like you do.

(punch, grunt)

(groaning)

- Mr. Hilliard.

- Yeah.

- Can I talk to you for a minute, please?

- Sure.

- I can't work here anymore.

- [Mr. Hilliard] Why?

- I quit. I can't work here with Norman,

not after what he did to my boy.

- Uh, Norman doesn't work here anymore.

I let him go.

- Really?

- [Mr. Hilliard] Yeah, really.

So if Norman's the problem,

you really don't have a problem.

Listen, Frances,

why don't you take the day off?

And I'll see you in the morning.

Okay?

Things will get better.

You'll see.

(sighing)

- Lacey tribe, may I have

your attention, please?

- [Annie] What do you want, Murray?

- Just come here, it's a surprise.

- [Frances] Too busy.

- [Murray] You're never too busy for this.

- [Shayne] Come on, hurry up.

- [Faye] Yeah, hurry up.

- One...

Two...

Three! (flushing)

(cheers, applause)

- [Frances] Lacey tribe,

we're coming up in the world.

Indoor plumbing.

Who gets the first turn?

- [Kids] Oh, I do. I do. Me.

(splashing)

(hammering)

(chafes)

- Craig! Shayne!

Come down here.

- Murray.

- Come on.

Bye, outhouse. Yeah!

- Murray, what are you doing?

- Dirty.

Okay, this is dirty.

- [Annie] Clean.

- Annie, look at this spot.

It's dirty.

- [Annie] Whoopee-doo, a little spot.

(fire crackling)

- [Murray] Look at that, it's burned.

- [Craig] Yeah.

- All right!

- Yeah!

- Yay!

- I don't have to go to that

stinking outhouse anymore.

I hate that outhouse.

- [Murray] What?

- [Annie] It's burning!

- Craig, Annie, go over to Mr. Moon's!

Get him to call the fire department! Go!

Hurry!

Murray, come on!

Come on, Murray! Come on.

(fire crackling)

(flailing)

- [Mr. Moon] It's frozen.

(exploding, yelping)

- [Woman] The red dress.

- [Frances] With the white bows.

Good for you.

- Matching lipstick, too. (laughing)

Look at that smoke.

- Where?

- [Woman] Right there, isn't

that close to your house?

- Oh, my God.

- I'm gonna get the money jar.

- [Mr. Moon] Boys, get down from the roof.

- [Shayne] Murray, get out

of there, it's too hot!

(fire crackling)

- Are you okay?

What happened?

- I'm sorry, mama.

- Are you okay?

Where's Lynn?

- Lynn went back in the house.

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Patrick Sheane Duncan

Patrick Sheane Duncan (born 1947) is an American writer, film producer and director.A graduate of Grand Valley State University in Allendale Charter Township, Michigan, Duncan's career has been influenced by his Vietnam War experiences, which inspired the television mini-series Vietnam War Story (1987) and its sequel Vietnam War Story: The Last Days (1989) and the films 84C MoPic (1989) and Courage Under Fire (1996). Additional writing credits include A Home of Our Own (1993), The Pornographer (1994), Nick of Time (1995), Mr. Holland's Opus (1995), and the television movies A Painted House (2003), Elvis (2005), and the Little Red Wagon. more…

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Submitted on August 05, 2018

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