SPOILER WARNINGS: None. Self-Contained episode.
RATING: PG
CHARACTERS: Luke, Lorelai, Rory, and Emily
CONTENT:Some serious moments and a health scare- nothing graphic
SUMMARY: While waiting to find out about a lump under her breast, Lorelai
tries to tie up loose ends.
DISCLAIMER: I don't own the Gilmore Girls characters. Amy Sherman-Palladino,
Dorothy Parker Drank Here Productions, and the WB do. No copywright infringement intended.



Lorelai Finds A Lump

by Ryan



EXT-STARS HOLLOW-AFTERNOON

Aerial view of Stars Hollow. With Michelle Branch’s “Everywhere” playing in
the background, camera begins to move in through the trees; swirling around
a bus that has stopped long enough to let just one person out.

CUT TO-
Music dies out. Lane is walking Rory home. Camera runs parallel as they
talk.

LANE
So it finally happened?

RORY
Yep.

LANE
It’s either you or Paris?

RORY
Yep.

LANE
I mean it’s only…

RORY
Yeah it’s only….

LANE
(eyes widening) But still.

RORY
Yeah.

They enter the Gilmore home.

CUT TO-close up of Rory

RORY
Mom? (beat) Mom?



INT-WAITING ROOM-AFTERNOON

Screen is filled with the back of Lorelai Gilmore’s head. As Lorelai begins
to talk, camera slowly rotates towards her front, going over her right
shoulder. She has a cell phone in her left hand and is talking into the
phone.




LORELAI
No Sookie. (beat) Yeah can you believe this? 2 hours (beat, soft laugh) Well
they still don’t know if it’s the starter or the distributor cap. But I can
tell you what they DO know (stutters) that I have NEVER known the difference
between a starter and. the. other. thing. I’m getting another call. (beat)
I will. Bye Sookie. (presses button on phone, then brings it back to ear)
Hello?

CUT TO-Rory

RORY
Mom?

Camera cuts back and forth as each one speaks. Both shots are close up.

LORELAI
Oh hi honey. God is it (looks at watch). I am so sorry.

RORY
Where are you?

LORELAI
Car trouble.

RORY
Car trouble?

LORELAI
Well actually jeep trouble. Car trouble is the generic term for that. Like
dog tired would be the generic term for a wild night of sex or money in the
bank for the notion that the Backstreet Boys will eventually fall the way of
the Spice Girls- minus the hair pulling. Well maybe AJ.

RORY
Mom?



LORELAI
And that is why YOU are going to Harvard my dear. So you will not use
generic terms like that and sound like this. I would frankly be really sad
if you ever used such expressions. Well the first and third ones would make
me sad and the middle one (raises her eyebrows) would just FREAK me out for
(voice trails off) reasons too numerous to mention at this time.

RORY
(Now a little concern in her voice, almost like she’s not sure it IS
Lorelai) Mom?


LORELAI
Here comes the mechanic. Be home soon.

CUT TO-Rory one last time, now staring at the phone.

BACK TO-a wider view of Lorelai, leaning forward. A figure steps in front
of Lorelai; blocking the lower right third of the screen. Lorelai looks up.

CUT TO-a nurse with a clipboard.

NURSE
The doctor will see you now.

(fade to black. Opening credits)

(fade in from black.)
INT-EXAMINATION ROOM-SAME
Long Shot of entire room.

A plain white hospital bed sits in the center. Everything else is either
flooded with a stark, white light or contained in bright metal cabinets.

Jewel’s “Standing Still” playing softly in the background.

Lorelai is wandering around; her hand lightly runs the length of the bed.
She ends up in the far corner by one of the cabinets and absent-mindedly
opens a drawer and pulls out a hideous, painful looking medical instrument.

NURSE
Ms. Gilmore?

Music comes to abrupt halt. Lorelai tries to throw the instrument back in
the drawer and slam it shut all in one motion. Instead she ends up jamming
the drawer halfway and the metallic instrument drops to the floor and makes
several loud clangs.

LORELAI
(turning quickly around) Yes?

NURSE
You haven’t undressed?

LORELAI
No I haven’t.

NURSE
Why not?

LORELAI
Well because there’s no pole in the middle of the room or “Everyone Wang
Chung Tonight” playing in the background.

NURSE
The doctor will be here soon.

LORELAI
Okay, but tell him I take nothing less than 20’s and hands on the table at
all times. (beat) What am I supposed to put on?

NURSE
(nodding towards the bed) That.

LORELAI
That?

CUT TO-close up of Lorelai as she lowers herself down to eye level with the
thin, thin piece of folded plastic lying at the foot of the bed.

BACK TO-close up of Nurse, her expression softens.

NURSE
I know you’ve been waiting for a while. If you want I can go to the visitor
area and…

CUT TO-
LORELAI
No. I’m here alone. (tries to smile and repeats in a friendlier voice) I’m
here alone.

INT-GILMORE HOME-EVENING

Close up of answering machine.


PARIS
(voice on machine) Rory? (beat) Rory? I know you’re home. I know you’re
probably standing there right now listening to me. (beat) Come on Rory. You’re
there. (voice begins to raise) You’re the only person I know who has less
of a life than I do! (deep exhale) I just want to talk about why… I mean all
of the sudden you.. (groan, click)

CUT TO-

Mid-range shot of Lane and Rory. Rory is standing over the answering
machine looking down at it. Lane is a few steps away from her.


LANE
Wow.

RORY
That’s the third one. Poor machine (she pats the answering machine like a
pet) Taking the wraith of Paris for me.

LANE
And it’s only you and her?

RORY
Yeah. Chilton has a lot of smart kids but very few who would want to spend
their Saturday night there listening to a forum on The Sociological
Pressures on Teens and even fewer who would know who Professor Albright is.

LANE
And they can only take one of you?

RORY
Yep. One boy. One girl. From each class. From each invited school.
Administrators. Teachers. Counselors. Media Representatives. And
Professor Albright. (beat) I almost didn’t hear the announcement. I was
out in the hallway.

CUT TO-

Flashback of scene as Rory describes it. Camera follows Rory the whole way.

RORY
(voice over) First I heard what the forum was on, then I heard Professor
Albright’s name and I began to run, I actually ran can you believe that? to
the counselor’s office. When I first stepped in all I saw was Mrs. Carter
and then I looked over to the side and there she was (camera turns to left
and sets on Paris) She must have only been there a few minutes, but for
those few minutes she must have thought (pause, camera slowly zooms in on
Paris’s face).. she must have thought she was the only one. Then she saw
me. And the look on her face.

The face of Paris fills the screen. Then the image fades.

CUT TO-

Rory walks away from the machine and plops down on the sofa. Lane sits down
next to her.

LANE
What is it Rory?

RORY
I was getting Paris to like me, or at least not hate me. And I was doing it
by avoiding direct competition. And now here we are very, very directly…

LANE
The interview’s tommorow?

RORY
Yeah, with Albright’s assistant. (beat, Rory stands up and paces a little) I
just can’t get that look on Paris’s face out of my mind. And all the looks
to come. If they pick me. If they make Paris lose. To me.

LANE
Well maybe this is good that it’s happening. I mean, better now than down
the road.

RORY
Gilmore Girls love “down the road”. We live for “down the road”. I actually
think we built the road. Probably while we were supposed to be doing
something else.

Phone begins to ring. Both Lane and Rory look at it. Then Rory looks to
Lane.

CUT TO-

Close up of Rory.

RORY
I need coffee.

Rory sprints out the front door. Lane hops out of couch and follows her.

LANE
Rory! (Lane runs out of door) Rory!

CUT TO-

The answering machine. Camera zooms in as a familiar voice begins to speak.

PARIS
(voice on machine) Rory? Rory?….

(fade to black)

INT-EXAMINATION ROOM-SAME

Screen is filled with the dark image of an X-Ray type film

LORELAI
Well?

Film is pulled away and Lorelai is sitting on the edge of the hospital bed,
wearing the plastic top.

CUT TO-

Middle aged doctor in scrubs, holding the film.

DOCTOR
Well the mammogram confirms that there is an irregular mass, approximately
the diameter of a nickel, in the vicinity of your right breast.

LORELAI
Good, because when I first felt it I thought maybe I was growing a third
one.

DOCTOR
And the ultrasound shows that while the mass is mostly solid it does contain
some fluid.

LORELAI
(seeing the look in the doctor’s eyes)…. so you want to do (pause) What to
me now?

DOCTOR
A needle aspiration.

LORELAI
A what?

DOCTOR
We go in with a needle….


LORELAI
We?

DOCTOR
Okay, I. I go in with a needle and draw some fluid from the mass to run
some test. The lab will look at it and we will know more about what we are
dealing with.

LORELAI
Will I be knocked up?

DOCTOR
Knocked out?

LORELAI
Yes. Right. Knocked out?

DOCTOR
No, just a local anesthetic. You will be awake the whole time and not feel
a thing. (beat, looks into her face) It’s the quickest, most effective way
to find out.

LORELAI
How long?

DOCTOR
Lab results will be back in 24 hours.

LORELAI
24 hours. (deep breath) Then we’ll know?

DOCTOR
Yes.

LORELAI
(looking around. She picks her feet up and brings her knees to her chin and
looks at the doctor with eyes resolute but fearful) Okay.

CUT TO-

INT-LUKE’S RESTERAUNT-EVENING

Dark outside by now. A few people at the tables and no one at the bar.
Luke is behind the counter on the phone. He hangs up just as Rory and Lane
walk in.

LUKE
Evening ladies.

Lane smiles and slides onto a bar stool. Rory plops down on a stool next to
Lane, with her elbows on the bar and her hands on her cheeks.

RORY
Coffee, Luke. I need coffee.

Luke senses her exasperation, turns and fills a cup, and hands it to Rory.

LUKE
Everything okay?

RORY
Yeah. I just. I just had to get out of the house.

LUKE
Is Lorelai still trying to learn how to play the clarinet?

RORY
No.

LUKE
I told you. I told you- you should have swiped that out of her hand and
chucked it as far as you could before she ever left the garage sale.

RORY
(cutting him off) It’s not the clarinet. (smiles) Or my mom. She’s not even
home.

LUKE
Where is she?

Rory hesitates. Lane jumps in without thinking.

LANE
She’s at the auto shop…. for the jeep.

Luke places both hands on the bar and leans into Lane’s face.

LUKE
She’s where?!

LANE
At… the… (looks to Rory) Sorry.

CUT TO-

Rory looks from Lane to Luke.

RORY
Luke I’m sure she didn’t mean nothing. Something happened to the jeep on
the way into…

LUKE
But she’s okay?

RORY
Yeah. Just something. (shrugging) With the jeep.

LUKE
You know what? (making a face and waving his hand) Fine. She doesn’t want
my help? Fine. She wants to let some greasy idiot charge her 300 bucks to
repair the crack in her undercoating? Which doesn’t even exist by the way!
Then that is fine. Fine (nodding furiously and wiping the counter) You
know she’s probably enjoying this. Enjoying the fact that she did this
without me. She did it all by her big girl self. Well fine! (he stops
wiping the bar and looks directly at Rory) I hope she’s getting a good
laugh out of this!

CUT TO- a close up of Lorelai, her hair and bare shoulders framing the shot.
Looking terrified, laying on her back under an incredibly bright white
light.

She turns her head to the left and then the right.

CUT TO-a view from Lorelai’s perspective. The doctor is standing on her
right. In full scrub gear and mask over his nose and mouth.

DOCTOR
Okay Lorelai. (his gloved hand appears holding a syringe with a long, long
needle) Now just relax.

Camera swivels from right to left where we see the Nurse, holding Lorelai’s
left hand. The camera itself seems to shudder as the needle is inserted
into Lorelai. The camera goes down to Lorelai’s hand as it squeezes the
Nurse’s hand. Camera goes from hands up to Nurse’s eyes and zooms in. The
camera swivels back to the center, tilting up towards the light. Zooming in
till the screen is all white.

Fade to black.
End of Scene




fade in from black.

EXT-GILMORE MANSION-NIGHT

Starts as a long shot of the Gilmore Mansion where Lorelai’s parents live.
The first few notes of Staind, “It’s Been a While” begin to play in the
background as camera begins to move across the grounds and along the
driveway, coming upon the jeep containing Lorelai. Camera circles the jeep
with the song still playing and with the crashing of heavy guitars and the
line, “… and everything I can remember..” Lorelai steps from the jeep and
looks up at the mansion. Then slowly walks forward.

CUT TO-

INT-GILMORE MANSION-SAME

Sound of the doorbell several times.
Song fades away as Emily Gilmore, Lorelai’s mother, enters the scene and
opens the door.

EMILY
Lorelai?

LORELAI
Hi mom.

EMILY
What are you doing here?

LORELAI
I just… (steps in) I was just. (points down the hall) Can I get a drink?

Without waiting for an answer, Lorelai walks away. Emily follows her.

CUT TO-Gilmore living room with the grand oil painting of Lorelai and her
parents, pictures on the wall and in small frames everywhere, and the wet
bar. Lorelai goes immediately to the bar and begins pouring a drink.

EMILY
Lorelai. What’s going on? You’re starting to worry me.

LORELAI
Starting? (laughs) I thought that started when I was 16 and I said, “hey
mom, the strip’s blue. What does that mean? I’m having Papa Smurf’s kid?”

Lorelai takes a sip of her drink. And begins to wander along the wall.
Eyes moving, looking at everything. Everything but Emily.

LORELAI
It all happens so fast doesn’t it? Each moment. No matter how big. No
matter how small. All new moments. Replacing the old. Sometimes
new…(comes upon a row of small framed photographs, most black and white)
with reminders of the old…. (her hand stops on one photograph)

CUT TO-Close up of photo of a woman in her 50s with the same dark hair as
Lorelai and Emily.

BACK TO- Mid range shot of Lorelai and Emily, who has been silently
following her around the room. Lorelai turns and meets her mother’s eyes.
Lorelai’s eyes seem to be going red and her throat gets tight.

EMILY
(softy) Lorelai.

LORELAI
I (sets glass down) need. (begins to walk out of room) to get home.

Lorelai suddenly stops walking when she gets right next to her mother.

LORELAI
Thank you. For everything. From not not strangling me back when I was 16
and delivered that Papa Smurf line. (deep breath) Up to this very moment.
Thank you. (looks down then right into her mother’s eyes) I love you mom.

Lorelai exits as camera pulls back and shows Emily standing alone in the
living room.

INT-LUKE’S RESTERAUNT-NIGHT

Long shot of Luke’s resteraunt. It’s after dinner and the place is mostly
empty. Luke is on the phone. A customer comes up to the pay the check.
Luke does it quickly and without looking at the customer.

LUKE
(into phone) You still haven’t heard from your mom?

LUKE
(pause) Well have you called around?

LUKE
(holding the phone in one hand and waving his other hand around)Police.
Hospitals. (pacing a little) I don’t know. Your grandparents.

Stops walking and listens to the person on the other end of the line.

LUKE
Yes I know this is a grown woman we are talking about. But this is also
Lorelai. Sometimes the one has nothing to do with the other.

Bell above door rings and Lorelai slips in. Luke catches her out of the
corner of his eye. Lorelai tries to discreetly sit in a table by the
window.

LUKE
(whispers) Yeah she’s here. I’m looking right at her.

Lorelai is about to sit down when she hears what Luke says and looks right
at him.

LUKE
Uh-oh.

Lorelai gives a little smile, stands up and walks towards Luke.

LUKE
Yeah she heard me. (pause, angrily into phone) I can too whisper!

Lorelai sits on stool right in front of Luke.

LUKE
(while looking right at Lorelai) Goodbye Rory.

Luke turns around to hang up phone and then back towards Lorelai.

CUT TO-Lorelai tilting her head and looking up at Luke, a little crinkle
forming above her nose.

LORELAI
Hello Luke.

LUKE
(attempting to be gruff) Hello yourself. Coffee?

LORELAI
Sure.

Luke turns and pours the coffee. Turns back and places it in front of
Lorelai.

CUT TO-Close up of Lorelai. Still looking up at Luke, her eyes bright and a
faint smile.

LUKE
What?

LORELAI
What?

LUKE
That look. You. (pointing at Lorelai) Your face. Looking.

Lorelai takes a napkin, opens it, and holds it in front of her face.

LORELAI
There. Better?

From beneath the napkin, Lorelai reaches blindly for her coffee, finds it
and brings it with her under the napkin.

CUT TO-
LUKE
Lorelai.

A sipping sound is heard.
Luke pulls the napkin away. Lorelai still smiling.

LORELAI
(in a little kid voice) Luuuukkeee! I didn’t count to twenty yet. Give me
the napkin back. You still have a chance to hide.

LUKE
You don’t think I see what’s going on here?

LORELAI
Well of course you do. You weren’t the one with a napkin in front of your
face.

Luke steps away and leans against the back counter.

LUKE
You know what I know. And you know I would want to be upset. Because of
what I know.

Lorelai sets her coffee down and hangs her head.

LORELAI
Yes.

LUKE
So you do your little shuffle in and play coy and then come up here,
smiling, with that, that look.

Lorelai sits up straight, flipping her hair back, and looking right into
Luke’s eyes.

LORELAI
(with a half smile and a flair of dramatics) Why Luke, whatever do you mean?

LUKE
That. (pointing) That one right there. That look that I can’t get mad at.
(Luke slumps his head down) Even when I want to.

Lorelai gives herself a self-congratulatory grin.

LORELAI
Sorry. I’ll try to only use my powers for good. (frowns, and turns
serious) But there is something… well I guess I don’t have to tell you
(deep breath) But I should.

Luke raises his head.

LUKE
There was nothing wrong with the jeep, was there?

LORELAI
No. There wasn’t.

Luke looks over Lorelai’s shoulder and sees the last two customers walking
out. He walks quickly from behind the counter and the moment the man and
the woman are outside, Luke locks the door and flips the OPEN sign to
CLOSED.

CUT TO-Close up of Luke, still facing the door, with Lorelai visible in the
background. She slides off the bar stool to stand and face him. Luke turns
to face her.

A mid-range shot of Luke, just looking at Lorelai. Then he gives a little
laugh and shakes his head.

LUKE
I can handle more than you think.

LORELAI
I know that.

LUKE
I mean I know you see the hat, and the shirt, and the little coffee shop and
think, “he could do so much more…”

LORELAI
Luke, I wanted….

LUKE
But I can handle you seeing somebody else.

LORELAI
It was just… (pause) I’m sorry?

LUKE
Yeah. I’m fine with it. I mean I know there are stories. Little whispers.
From Ms. Patty. From Sookie. I see the looks from Lane and Rory when your
name even comes up. Is there something (waving his hand between himself and
Lorelai) here… maybe. Who knows? But it’s not like I stay awake at night
wondering about… that. Or expect you to be. You want to date some guy,
that’s fine. (claps his hands together and then spreads them out) That’s
all I’m saying. You don’t have to make up some story about going to see the
mechanic. Wink. Wink.

LORELAI
Oh Luke.

LUKE
I don’t need people thinking I’m an idiot as you talk about the mechanic.
wink. wink. fixing your jeep. (starting to get angry) wink. wink. (face
getting red) giving you a tune up. wink! wink!… checking your…

LORELAI
(cutting him off)… yesterday morning I found a lump under my breast.

LUKE
You what?

Lorelai takes a step towards him. Then sits at the nearest table, looking
at Luke, but not directly, just in his direction.

LORELAI
I found a lump under my breast. When I came out of the shower. At first I
thought maybe it was just a bump, a bruise, but to get one there. (a little
laugh) Well there was only a couple of ways that I could think of and none
of which I had done, well recently…

LUKE
(crouches down to meet her eye level) Lorelai….

LORELAI
(grinning, despite the tears now forming by her eyes) What? You know of a
few more ways do ya big boy?


LUKE
You went today? (thinking about it) And you went alone didn’t you?

LORELAI
Yes. And Yes.

Luke takes a seat at the table with her.

LORELAI
I don’t want to alarm anybody. It might be nothing. And it was fine.
Really. They just took some pictures. Well a couple of the pictures they
had to kind of sandwich me in. Not all of me mind you. That was kind of
weird.

LUKE
Lorelai.

LORELAI
Tell you though. I’ll never look at a hoagie the same way again.

LUKE
You don’t have to talk about what happened.

LORELAI
Then there was this needle.

LUKE
It’s okay. (places his hand on her forearm) It’s over now.

LORELAI
No, it will be when I find out tomorrow. Then, one way or the other,
something will be over. The problem is, right now, I don’t know what that
something will be. Could be the mystery of the lump. Could be my life as I
know it. (shrugging) Could be me. Something. Something ends tomorrow.
So fast. (shaking her head a little) It all happens so fast.

LUKE
You are the toughest person on the planet. You will make it through this.

LORELAI
I need to go.

Lorelai stands up, looks around and then goes back to the counter for a
couple of napkins to wipe her eyes. Luke stands up.

LUKE
Why did you even come here?

LORELAI
What?

LUKE
Never mind.

LORELAI
No. What?

LUKE
How can you just come in here? Drop this on me. And then leave?

LORELAI
(a stunned look on her face) How can you be so selfish as to make this
about YOU?

LUKE
You were leaving weren’t you? Lorelai is done. Lorelai has said what she
needed to.

LORELAI
Well. (with a sad look and beginning a slow walk past him to the door) I
guess I better get on with that leaving part. Wouldn’t want to throw YOUR
life out of order. I guess for YOUR benefit I should leave now so as to be
the self-absorbed person YOU seem to have me pegged as.

Luke starts to say something but holds it in as Lorelai draws next to him.
He reaches back, unlocks the door and holds it open for her.

LUKE
Good night Lorelai.

Lorelai just looks at him and then steps out.
Luke closes the door and locks it. He leans his head against the door.

CUT TO- outside shot, looking in at Luke. Soft, slow piano notes of the
theme song can be heard. No words, only each piano note.
“where…you…lead..”
Camera zooms in on the top of Luke’s head planted against the door.
“…I …will…follow…”
Just as the screen is filled with the top of Luke’s head, Luke suddenly
lifts his head up and his expression fills the screen.
“…anywhere..”
Sound of piano stops.

CUT TO- a long shot of Lorelai walking slowly down the street towards home.
In the background, we see the door to Luke’s restaurant fling open and Luke
come running down the street.

Lorelai hears the footsteps and turns around.

Luke stops when he is within a foot of her and puts his hand over his heart.

LUKE
I’m sorry for everything I said. Except for the part about you being the
toughest person on the planet.

LORELAI
Thank you.

Lorelai turns to leave. Luke reaches out and grabs her arm. Lorelai turns.
They are eye to eye. Just inches apart.

LUKE
Why won’t you let me in?

Lorelai looks down and then back into his eyes.

LORELAI
Because I know. I know that if I ever let you in, I would never, ever be
able to get you out.

Luke is stunned. Lorelai leans forward and kisses him on the cheek.

LORELAI
(touching his cheek where she kissed him) Good night Luke.

Camera pulls back as Lorelai turns and walks away. Luke remains still.
Watching her as she disappears into the darkness.

INT-GILMORE HOME-NIGHT

Rory is sitting in the living room, holding a stuffed animal. The only
light comes from the TV that Rory is facing but not watching. In the
background, Lorelai enters through the front door.

LORELAI
Okay, I’m home Rory!

RORY
(softly) Okay.

LORELAI
Call off the search dogs! Turn out the bat signal!

RORY
(lost in her own thoughts)… yeah me too.

Lorelai puts her hands on her hips and gives Rory a good long look from
behind.

LORELAI
…and life goes on.

Lorelai makes her way towards the kitchen. Camera moves backwards, staying
a step ahead of her.

LORELAI
(shouting back towards the living room) Did you make yourself some dinner?

RORY
(voice from living room) Yes.

LORELAI
Good, good, good.

Lorelai opens the fridge, pulls out a bottle of water and stands up.
Through the shadows we can see her face take on a perplexed look. Lorelai
opens the fridge again and sticks her head all the way into it. Then closes
the refridgerator again.

CUT TO-a shot from the other side of Lorelai. As Lorelai looks back towards
the living room, we see her open the refridgerator once more, closes it and
then, with the bottle of water in hand, works her way back to the living
room; head tilted, a little smile.

LORELAI
Rory, my dear.

RORY
(looking up at her) Yes mom?

LORELAI
The answering machine is in the refridgerator.

RORY
Yes it is.

Lorelai looks around and notices something. Then back around to Rory

LORELAI
And the downstairs phone?

RORY
In the freezer.

LORELAI
In the freezer?

RORY
Yes.

LORELAI
Oh good. Because, unlike the answering machine, it might spoil.

Lorleai circles around Rory; studying her. Rory feels her eyes and sinks
deeper into the couch. Lorelai looks past Rory to Rory’s open bedroom door.
Rory continues to sit on the couch, clutching a stuffed animal

LORELAI
You’ve got Uncle Clucker?

RORY
Yes.

LORELAI
Out here?

RORY
So?

Lorelai sits down on the couch, next to Rory, their legs barely touching.

LORELAI
Rory what’s wrong? I know you’ve been doing a lot of thinking about
something. You always talk to Uncle Clucker when you don’t know the answer.

RORY
I do NOT talk to him! (muffles softly) I just speak out loud when he is
(beat) around.

LORELAI
And you do all your pseudo-talking to Uncle Clucker in your room. The fact
that I find the two of you out here means that whatever’s going on is so big
that your room ran out of space. So talk to me. (lowers chin, gives
pleading look) I promise to listen as well as Uncle Clucker, (smiles
wickedly) and I promise not tell anyone you consult a stuffed bird before
making any and all major decisions.

RORY
(squeezes Uncle Clucker tighter and leans back against the sofa) Paris and
I. They’re having a seminar at Chilton this weekend on the Sociological
Pressures on Teens. Normally I wouldn’t care what Chilton was doing on the
weekend, but this seminar is being conducted by Professor Maxine Albright,
Sociology Professor who teaches courses on Popular Culture at… (looks at
Lorelai)wait for it….

LORELAI
(eyes widening with understanding) Harvard.

RORY
Harvard. Yeah. I think Paris and I were the only two who knew that or even
cared. So we both hauled butt down to the counselor’s office. Only she got
there first.

LORELAI
And you both can’t go?

RORY
No. Only one of us. One boy. One girl. From each class. From each
invited school.

LORELAI
Well that sucks.

RORY
Yes it does.

LORELAI
So what are you going to do?

RORY
Tomorrow at lunch. Mrs. Carter and Professor Albright’s grad assistant are
going to do some kind of interview and pick. The thing is. (deep breath,
downcast) Paris was in the office first. She was there before me. And she
had this look. When I walked in. This look on her face. That I caused.

LORELAI
We don’t always mean to hurt people, but sometimes it happens. No matter
what we do. Or what we mean to do.

RORY
Just because you don’t mean to do it, doesn’t make it any better.

LORELAI
No. It doesn’t.

RORY
No. It doesn’t.

They sit in silence, both staring straight ahead.

LORELAI
There’s got to be a way out.

RORY
Well I could not go. Then Paris doesn’t hate me.

LORELAI
But then you don’t get to shine in front Professor Albright, a Harvard
professor.

RORY
Or I could go and-

LORELAI
And let Professor Albright bathe in the warmth of your intellect.

RORY
And suffer the full frontal assault from Paris for the rest of my time at
Chilton.

LORELAI
But Professor Albright will get the shine.

RORY
I’m not big on shining or people, um, what was that about bathing?

LORELAI
…bathing in the warmth of your intellect.

RORY
Or people bathing in my…. whatever. I just wanted to meet her, to be around
someone who is where I want to be. Maybe I’m just being a baby about this.
I should just make a decision. I should be an adult and just decide.
Instead of trying to have everything.

LORELAI
Honey that never ends, at ANY age. We all want as much as we can get.

RORY
Trust me. If there was a way to have both.

LORELAI
What’s it called again?

RORY
Sociological Pressures on Teens.

LORELAI
Wow. And to even go to the thing you have to get by Paris?

RORY
Yep. Kind of ironic huh? Spending a whole day, pulling out my hair and
(looking down) poor Uncle Clucker’s fuzzy feathers figuring out a way to go
to a seminar dealing with pressure.

LORELAI
(scratching the back of her head) Kind of stupid actually. I can just hear
them saying it too (in a nasty voice) One. boy. One girl. From each
school. From each…

RORY
(cutting Lorelai off) Oh my God!

LORELAI
What?

Rory leaps off the couch. Uncle Clucker goes flying in the air and Lorelai
catches him.

RORY
That’s it! I gotta go to Lane’s!

LORELAI
What? What is it?

RORY
I got to go, okay?

LORELAI
Uh. Okay.

Rory runs out the front door.

CUT TO-Long Shot of Lorelai sitting on the couch.

Sound of the front door opening. Rory comes running back into view and,
from behind the couch, throws her arms around Lorelai’s neck.

RORY
Thank you so much!


LORELAI
You bet.

Rory runs back out . Lorelai places Uncle Clucker in her lap and stares
into his face.

CUT TO-Close up of Uncle Clucker’s face.

Fade to black.
End of Scene.

INT-GILMORE HOME-MORNING

Camera begins at the window, with the morning rays of the sun glowing
through, then slowly moves across the living room to the sofa.
Usher’s “U Remind Me Of” plays in the background.
Lorelai is crashed out on the sofa. Camera slows when it comes to her feet
then very slowly works its way up. Lorelai is asleep on her back, head
slightly propped up like she was waiting for something (or someone). Camera
reaches her angelic, sleeping face then circles around so that the front
door is now in the background.

Door barges open and Rory comes flying into the house.
Music fades out.

The sudden sound causes Lorelai’s body to jolt.

LORELAI
(eyes still closed, right hand reaching for the sky) The waffles! Get the
waffles!

Rory stops and looks down at her mother.

RORY
Mom?

Lorelai’s eyes pop open.

LORELAI
Rory?

RORY
What? (gives a little smile) Did you wait up for me?

LORELAI
I was waiting for you to come back-

RORY
I did. Twice.

LORELAI
Oh.

RORY
I thought I was done, but then I needed to get a real nice folder so I went
over to Taylor’s store.

LORELAI
Taylor had his store open?

RORY
No. I went by his house and got the key.

LORELAI
Okay. (sitting up, wiping her eyes, hair everywhere, but then she sees the
look in Rory’s face and gives a little smile) So?

Rory says nothing. Just gives a big wide grin and hands Lorelai a light
colored folder.

LORELAI
What’s this?

Camera goes to close up of Lorelai as she opens the folder. We can’t see
the words, only Lorelai’s face.

CUT TO-Rory, grinning and swaying on the balls of her feet.

BACK TO-Lorelai, now looking at Rory in awe.

LORELAI
Oh. You’re good.

RORY
I’m going to go on the early bus so I can turn it in before school starts.

LORELAI
What’s the rush?

RORY
What if Paris-?

LORELAI
You think PARIS would (holds up folder) ?


RORY
Who knows what Paris might do before I can-

LORELAI
You’re right. Go. No wait! (flings herself off the couch) Let me get some
coffee and I’ll drive you.

There is a moment of silence as Lorelai gains her bearings and looks at
Rory. Nothing happens for a whole moment while the two just look at each
other.

RORY
Is this the part where I say, “to the Batcave”?



INT-LUKE’S RESTERAUNT-MORNING

Place is hopping with the early morning crowd. Camera begins on the back of
Luke; who is making the rounds of the customers at the tables. Camera
follows him around the room and then as he heads back behind the counter,
the image of Rory passes by in the background.

CUT TO-Rory seated at the bar.

RORY
Luke can we get two coffees here. To go?

LUKE
Coming up.

Camera stays on Rory, then slides slightly to the right and we can see
Lorelai looking at Rory. Rory turns to face her and sees the look on
Lorelai’s face.

RORY
What? (reaches to the back of her head) Do I got something stuck?

LORELAI
No I was just looking (gives her head a little shake) having a mom moment.
And trying to get the weird dreams I had out of my head. (beat) Was I
talking in my sleep?

RORY
Um, no. (smiles)

LORELAI
(eyes narrow) You lie.

RORY
Yes.

There is a pause. Rory looks around out of boredom. Lorelai puts her elbow
on the bar and looks at the side profile of Rory’s face.

LORELAI
I am so proud of you, honey.

RORY
(pretends to be confused) For lying?

LORELAI
No.

RORY
Hey you’re the one that got the idea going.

LORELAI
Not just about last night. But how proud I am of the kid that you are. And
the woman you are becoming. (reaches out and lightly touches a few strands
of Rory’s hair) I don’t tell you that enough. How proud I am. How small
you once were. How your entire head used to fit in the palm of this hand.
(her voice trails off) Listen, after school you got any plans?

RORY
Not really.

LORELAI
Oh good. I mean, um (her eyes get serious and focus in on Rory) could just
be home when I get there tonight?

RORY
Yeah. Sure.

CUT TO-Luke, who approaches with two paper cups full of coffee.

LUKE
Two coffees.

RORY
Thanks.

LUKE
You catching the early bus?

RORY
No, mom’s taking me in the jeep. (pause) Jeep. Oh. (looks to Lorelai) Sorry.

LORELAI
It’s okay.

LUKE
(to Rory) Yeah, everything’s fine. (then to Lorelai) Jeep’s okay right?

LORELAI
Um yeah. Yeah. Have to take it back for one more, I don’t know, “thing”
this afternoon. Don’t worry Luke. I know I made a mistake. (she looks
right into Luke) It won’t happen again.

LUKE
Good to hear.

LORELAI
We better get going.

LUKE
Nothing for the road?

LORELAI
We don’t have time, but I- God!

LUKE
What is it?

LORELAI
I don’t know why but I am dying for waffles!

(Rory gives a quick burst of laughter, covers her mouth and her face goes
red.)

LORELAI
What? What?

RORY
Nothing.

(Rory grabs her stuff and her coffee and, still smiling, bounces off the
stool. Lorelai lags a second behind her.)

LORELAI
(to Luke) Talk to you later?

LUKE
(a tight smile) You bet.

INT-CHILTON-LATER

Paris is sneaking along a corridor; crouching, ducking, looking every which
way. She passes under a sign that reads: COUNSELOR’S OFFICE with an arrow
pointing the way.

CUT TO-camera is now following her from behind, seeing what she sees. Paris
comes to an open area of secretaries. One of them is on the phone.

SECRETARY
(into the phone) Mrs. Carter is here right now but she is in with someone
right now. Would like to leave a message or call back?

Paris slinks along the wall, trying to stay out of the secretary’s view but
get to Mrs. Carter’s office. She is only a few feet from the closed door
that reads: MRS. CARTER when the door suddenly opens inward.

MRS. CARTER
(voice of, from inside the room) Well this is something we will definitely
give consideration-

Before Paris can react, Rory steps out of the office, turns to her right and
smacks right into Paris.

CUT TO- Long shot of scene. Mrs. Carter is visible in the doorway, a second
ago smiling and now looking at the crash site, holding the light colored
folder Rory had earlier.

RORY
Paris? (gets to her feet) You okay?

PARIS
You? (scrambles to her feet) Oh, hi Mrs. Carter. I was just, I was just-

Paris seems to be out of breath, she steps to the side and crashes into a
potted plant that was on a four foot high stand. The stand rocks back and
forth and then topples over, along with the plant and shattering the clay
pot.

CUT TO-reaction of Rory. She is sad and feeling worse with each second.

BACK TO-Paris, staring at Rory. The sympathy Rory shows just seems to
humiliate Paris further.

Paris slips her backpack onto her right shoulder, spins around and scrambles
out.

RORY
Paris, wait! (to Mrs. Carter) Excuse me, Mrs. Carter.

Rory sprints out, down the hallway, and pass the COUNSELOR’S OFFICE sign.
Only to find Paris waiting for her just around the next corner.

PARIS
How could you? How could you be so sneaky? So conniving?

RORY
(little smile) And you were just “stopping by”?

PARIS
It’s different!

RORY
How?

PARIS
Different because I don’t hide it! Everybody at this school knows what I
would do to get what I want. But you. (shakes her head) You.

RORY
Out of curiosity, what do you think Mrs. Carter and I were talking about?
Good things about me? Or bad things about you?

PARIS
Well by the smile on your face and that little glint in your eye like your
boyfriend just bought you a (searching her mind) I don’t know, a puppy with
a pink bow around its neck, I would guess that WHATEVER you said WORKED!
And I can start making other plans for Saturday night because I won’t be
meeting Professor Albright!

RORY
A pink bow?

CUT TO-close up of Paris, who tilts her head and puts her hand on her hip.

RORY
Look Paris. I’ve already surprised you once today, okay in a bad way I
suppose, but give me a chance and I might surprise you again. Maybe this
time in a good way. (smiles) See you in class.

Rory walks away. Paris doesn’t move, considering Rory’s words, searching
for a clue. Then she looks in the direction that Rory left.


PARIS
(shouts) You better not be giving me a puppy!

EXT-GILMORE MANSION-AFTERNOON

EMILY
(voice of) No! No! No! That is unacceptable! Completely unacceptable!

CUT TO-

INT-GILMORE MANSION-SAME

Members of the household staff are bustling in and out of the hallways. It
is difficult to tell if they are walking towards someplace or just away from
the sound of Emily Gilmore’s voice.

CUT TO-the side kitchen

A frazzled housemaid, holding an open cardboard box, standing in front of
Emily. Only the cardboard box separates them.

EMILY
How could you possibly think that I would order such hideous china? This is
a banquet, not a barn dance!

HOUSEMAID
The deliveryman already left.

EMILY
Then you better run after him. (looks once more into the cardboard box) And
if you are unable to catch him (looks right into the housemaid’s frightened
eyes) Keep running.

There is a pause.

EMILY
Go!

The housemaid nearly jumps out of her shoes, the china rattles. The
housemaid sets down the cardboard box on the nearest counter and sprints out
the nearest door.

Camera follows Emily as she heads through the dining room and down the
hallway. On the edges of the scene we see her staff ducking out of the way
or doing a U-turn upon seeing her. Emily enters the living room with the
large oil painting and all the family photos. And the liquor bar.

There is a woman setting up the bar. Her back is to Emily

EMILY
What ARE you doing?

The woman turns towards Emily, who is quickly covering the distance between
them.

EMILY
There is a reason a certain liquor is called top shelf! Because it goes on
the top shelf you twit! (steps in and gives the woman a little hip check)
Here just give it to me.

Emily grabs a small metal rack containing four bottles of liquor and comes
swinging around with it. She gives a quick look around and sets the metal
rack on a small end table; knocking off several photographs.

EMILY
Oh now look! (she kneels down) This is a disaster! (picks up one frame
and sets it face down on the table) Simply a-

Emily stops, her face locked onto the framed photograph now in her hand.

CUT TO-Close up of the photo. The same close up used before when Lorelai
touched this same photograph. It’s a woman in her 50s with the same dark
hair as Lorelai and Emily.

INT-THE INN-SAME

Camera begins at one end of the kitchen and slowly works its way across.
Chefs and waiters are bustling back and forth. Light music in the
background; no words, only a soft chorus-like sound. Camera gets to the door
that leads to the dining area. Door swings out as a waiter leaves and a cook
enters in the same movement. The cook goes to the a back area and brings out
a carton of eggs.
Throughout, we can hear Lorelai and Sookie talking somewhere off camera;
Sookie's voice high-pitched and quick, Lorelai's sharp and solid.
The cook carries the carton of eggs past the door, around a table and passes
Lorelai and Sookie, who we see for the first time.

SOOKIE
Excuse me?

The cook stops and does a small circle with the carton of eggs in one hand
as he pivots to face Sookie.

SOOKIE
Yeah, hi. Hello. (a little wave) Where you going with those?

THE COOK
They're for the pies.

SOOKIE
Okay, um (looks back at Lorelai who just shrugs) Tell you what, how about
first these are not pies? (giggles) Pies your grandma makes for a picnic.

THE COOK
(straight faced) My grandmother died two years ago.

SOOKIE
(raises her palms towards the cookie) Okay fine then the OTHER grandma-

THE COOK
I never-

SOOKIE
- well whoever it is that fills the tables and the ovens back home with the
blue ribbon pies were not making these. These are Eggnog Chiffon Pies. More
importantly, my Eggnog Chiffon Pies.

THE COOK
So what are you trying to say?

SOOKIE
I need to feel your eggs.

The cook looks past Sookie to Lorelai. Lorelai puts her hands together like
she's praying and gives a quick little nod. The cook rolls his eyes and
opens the carton.

SOOKIE
Thank you (she reaches in) Oh no, no, no. Lorelai, feel an egg.

LORELAI
I don't want to-

Sookie reaches into the carton, grabs and egg and hands it to Lorelai

SOOKIE
Does that feel room temperature? I don't think so. Maybe, maybe some other
room. Maybe Tom and Nicole room temperature, (giggles then goes serious)
but- no, no, no. We can't we just can't.

THE COOK
I'll warm them.

SOOKIE
(smiles) Thank You. (to Lorelai) Can you believe that?

LORELAI
No. I mean WHO would divorce Tom Cruise?

The cook takes the eggs back and walks away.

SOOKIE
(shouting after him) But not too warm! Don't. Wan't. Them to- (shakes her
hands in the air, her head back and forth) I'm sorry Loreai, but-

LORELAI
It's okay. I know how you get around room temperature eggs.

SOOKIE
I mean one hand, the taste and the recipe, and then on the other room
temperature eggs means they're like- the room. With germs and you're not
cooking them. All the germs-

LORELAI
(smiles, they've had this conversation before) Like salmonella enta, enter-

SOOKIE
Salmonella enteridis! (claps, and points at Lorelai) exactly!

LORELAI
(playing along) Tell me Sookie do you know how many eggs-

SOOKIE
5 thousandths of a percent of all eggs have salmonella enteridis! 1 in
20,000 eggs! I'm due Lorelai! I'm due! And of course it won't be an egg of
mine it'll be for someone important or someone I love; you! or Rory! (covers
her mouth with her hand) or Jackson!

LORELAI
(grabbing Sookie's arm and starting to lead her out) Okay, you have
officially freaked yourself out. Let's get out of here.

SOOKIE
No, Lorelai! I promise I'll be okay. Aha! (she claps her hands, gives a
little jump in the air and heads over to a cook finishing up a mixture in a
large silver bowl) Look what's done!

Sookie has completely forgotten about the eggs as she walks over to the
cook. Lorelai follows her, just watching her.

SOOKIE
Here's the good part. (she reaches into the mixture with a ladle, scoops
some up and steers towards Lorelai) Taste a little heaven my dear.

Lorelai leans down and slurps from the spoon. Her eyebrows shoot up and her
neck tightens.

LORELAI
Whoah! That's for the chiffon pie?

SOOKIE
Yes.

LORELAI
Was is it?

SOOKIE
Well, water, flour, a little ginger, mostly Light Rum.

LORELAI
Light Rum. Who are these pies going to- Van Halen?

SOOKIE
A little strong?

LORELAI
A little? You plan on getting the salmonella enteridis drunk so it won't
hurt anbody?

Sookie looks a little hurt. Lorelai's voice had turned a little too sharp.
Lorelai puts a hand on her shoulder.

LORELAI
Everything you make always comes out good in the end. Eggnog Chiffon Pies
and all.

Sookie has kind of drooped her face and is looking down at the floor. We see
her head come up a bit and the edge of a smile.

SOOKIE
It does doesn't it?

LORELAI
Yeah. (she is now staring at Sookie, her eyes glazing over) Yeah it does.

Lorelai steps away and goes towards the coffee pot and the window. Sookie
hands the ladle back to the cook and walks over to Lorelai.

SOOKIE
You okay?

LORELAI
Yeah. I just. (turns towards Sookie) I, um, saw somebody yesterday. Somebody
who looked alot like you.

SOOKIE
Alot like me?

LORELAI
In the right ways, in the kind ways. I, um, think she was a Nurse. I thought
of you. Made me miss you.

SOOKIE
Oh sweetie. Thanks. Well I missed you yesterday too.

LORELAI
(turning and leaning against the counter) Sookie do you remember when we
first met?

SOOKIE
(turning and leaning too) Wow. The FIRST time? The first, first time? Must
have been- Mia's office. Outside of Mia's office.

LORELAI
Yep.

SOOKIE
You were sitting there on the couch crying your little eyes out. It was your
first morning working here at the Inn. Your first full day here.

LORELAI
Yep. And you sat down next to me.

SOOKIE
I remember. You told me you had just been in talking to Mia and you were
scared and alone and-

LORELAI
-and you stayed there. You talked to me. You didn't leave that couch till I
was ready to leave with you. And that whole day, that whole first day, you
were never more than a corner away.

SOOKIE
(her eyes go bright and her hand goes to Lorelai's forearm) You saw me?

LORELAI
Sookie, you are the sweetest woman alive, but a ninja you are not. (smiles)
You were right there; just around the corner, on the other side of the door,
outside the window. You have always been right there for me. I guess
sometimes I don't notice how much I need you with me, (her voice begins to
drift off) until a day like yesterday, (to barely a whisper) when you
weren't there.

SOOKIE
What's going on?

LORELAI
That first day. On the couch. I told you I was crying because I had just
been in talking to Mia.

SOOKIE
Yeah?

LORELAI
Well I lied. Mia was on the phone. I was waiting to go into Mia's office. I
was going into quit. That's why I was crying.

SOOKIE
You were quitting?

LORELAI
I was quitting. I figured it was better to get out before I got too
involved. I had no idea what I was getting into, I realized that after my
first evening shift. I woke up and knew I wanted to quit. (she looks into
Sookie's face) Then you came along. You sat. You waited. You listened. You
made new memories the minute you held my hand. You made all this happen. You
made my whole life better. And Rory's.

SOOKIE
Oh I wouldn't go (rolls her eyes) THAT far.

LORELAI
I'm serious. I was about twenty minutes from packing up everything and Rory
and going to who knows where? Without you, no Lorelai and The Inn. No Stars
Hollow. None of this.

SOOKIE
Why are telling me all this now?

Lorelai reaches out and holds Sookie's hand and gives her a little kiss on
the cheek

LORELAI
Because there are room temperature eggs in our midst. And I wanted to remind
you that everything you touch, in the end, always comes out right.

INT-CHILTON-JUST BEFORE LUNCH

Government classroom. Students are entering and unloading their stuff.
Louise and Madeline enter and take their seats. Rory comes in a few seconds
later and nods to both. Rory turns to set her book down on her desk and is
bumped from behind by Paris, who is coming down the aisle and continues on
her way to the teacher's desk.

CUT TO-Louise and Madeline look at each and smile. Madeline slides out of
her desk and approaches Rory.

MADELINE
Wow. I didn't think Paris could get any colder.

Louise leans forward at her desk and looks up at Madeline.

LOUISE
Even Alaska has a winter (quickly to Rory) Right?

RORY
Sure.

LOUISE
(eyes focusing in on Rory) So what did you do to the Ice Queen this time?

RORY
(a little smile, a little nod) The usual. Woke up. Came here. Made eye
contact.

LOUISE
(eyebrows shoot up with a mock shake of the head) God Rory, how are you NOT
in prison by now?

CUT TO-clock on the wall that reads 11:30.

Bell rings.

CUT TO- Teacher, who nods at Paris. Paris turns and goes to her seat by
Louise, Madeline and Rory.

TEACHER
All right everyone. Take your seats please. Now before we begin class. (she
reaches back on her desk for a piece of paper) I have an announcement from
Mrs. Carter in the counselor's office.

CUT TO- straight on shot of Paris, now clutching the sides of her desk,
bracing herself.

BACK TO-

TEACHER
The seminar that was to be held this Saturday night in the Conference Room
will now be held in the Auditorium.

BACK TO-Paris, eyes were shut, now open, hands still holding the desk.

PARIS
It's what?

TEACHER
The seminar. The one with Professor Albright. They moved it from the
Conference Room to the-

PARIS
(wave of her hand) yeah, yeah the Auditorium. (beat) Why?

TEACHER
(shrugs) Doesn't say. Mrs. Carter said there will be more information
tomorrow. Apparently they need more seats I guess. Okay, let's go ahead and
get started. Let me just find yesterday's quizzes and we can-

CUT TO- Paris, who swings around towards Rory

PARIS
What did you do?

Rory smiles and holds a pencil with both hands, fingertips on either end.

RORY
Well I really wanted to go to the seminar and then I found myself worried
that I wouldn't get to go. The more I thought about it, it seemd kind of
weird that I would be so worried about going to a seminar dealing with
pressure. I was. It was real. Then I started to think that it seemed even
dumber that I would HAVE to be worried. And I thought of a way that maybe I
didn't have to feel like this.

Rory reaches into her back and pulls out a stapled bunch of papers, 6 to 8
pages, and hands it to Paris.

RORY
This is a copy of what I wrote and what I gave to Mrs. Carter.

Paris takes it from her and begins to leaf through it.

RORY
It's a quick brief from various sources about the Sociological Pressures on
Teens. From Freud to Kaufman right up to Professor Albright. Turns out,
pressure works in two stages- the action and reaction. Pressure is about a
feeling and the emotion that it causes. Come to find out the source of most
pressure, the action, that kids our age feel doesn't come from magazines or
movies or video games. Of all places, the greatest pressure comes from-

Paris looks for a second from the report and notices Louise, Madeline and
Rory are all looking at her.

PARIS
-from each other. Peer Pressure.

RORY
You bet. The second stage of pressure, the reaction, the emotion isn't about
what our friends think, or our parents think, but because of what we think
we are supposed to do- it's sad. We dig our own holes. And to have a seminar
about Teen Pressure and deny students the opportunity to go, to give them
another hole to dig is, like my mom said, stupid.

MADELINE
So what? Anybody can go now?

RORY
Yep. (smiling) I'm hanging flyers tomorrow. Wanna see one? My friend Lane
has a cool art program.

MADELINE
Sure.

Rory reaches into her bag and pulls out a light red flyer. Paris is still
reading, shaking her head, Louise leans back in her chair.

LOUISE
Sounds pretty lame.

Madeline is reading the flyer. She looks up, to Rory then over to Louise.

MADELINE
We know her.

LOUISE
What?

Madeline hands her the flyer. Louise takes it.

LOUISE
That's a professor? This is what the plastic surgeon promises my mom every
time she'll look like when he's done. (begins reading) CNN? Who cares? Meet
The... whatever? MTV? (looks to Rory) She's on MTV?

RORY
All the time. Whenever something happens like Columbine or they do a story
on gangs.

LOUISE
(a quizzical look) Saturday night?

RORY
In and out in less than an hour.

MADELINE
Well I'm going. I mean meeting somebody like that, a professor who knows
Carson Daly? God, I wonder what she wears?

LOUISE
Gucci (looking over the picture) That is a Gucci girl all the way; a little
accessorizing from Channel.

MADELINE
Oh please, Gucci is SO over the top! If I WAS a professor and on TV, I would
go Louis Vitton- all the way!

LOUISE
Oh please Madeline, if you were a professor-

Camera turns to Paris as Louise and Madeline's conversation dies away in the
background. Paris looks helplessly towards Louise and Madeline's chatter,
back to the report and then to Rory

CUT TO- Rory, beaming proudly.

RORY
See you there.

INT-THE INN-AFTERNOON

The lobby of the Inn is packed and chaotic. A bus load of tourist has just
arrived and they are everywhere.

ONE WOMAN
Where is my suitcase? I left my suitcase right here and now-

ANOTHER WOMAN
Angela! Angela! Come back here!

Camera sweeps across the crowd and comes to Michel, admist the calamity,
standing calmly at his counter, writing in the reservation book; never
looking up, seemingly oblivious.

CUT TO-

The door from the lobby to the kitchen swings out and Lorelai leans again
the frame, still facing into the kitchen.

LORELAI
(pointing inside) Just do what she needs! Sookie you got it in here? Are you
sure? (beat) Sookie you're on fire. Yes. Put the fire out. Then answer me.
(beat) Under control?

SOOKIE
(voice from the kitchen) Under control. Bye sweetie.

Lorelai leans away off the door, letting it swing shut behind her, gives a
look at her watch.

LORELAI
Michel are you okay?

MICHEL
(without looking up) Of course.

LORELAI
I have to go now.

MICHEL
Then go.

LORELAI
You're gonna take care of all these people?

MICHEL
They will either find their own way or kill each other in process. Either
way, the matter will be resolved.

LORELAI
(a little angry) You're going to take care of all these people?

For the first time, Michel looks up and at Lorelai.

MICHEL
Everything will be fine.

LORELAI
(face softens, a faint smile) Okay thanks.


Lorelai begins to fight her way through the tourist and the luggage and the
shouting. Camera runs parallel to her to gain a sense of Lorelai's urgency.

CUT TO-

EXT-THE INN-SAME

Lorelai steps out of the noise and the crampness. She stands still for a
moment, gathers herself and walks towards her jeep. She reaches into her
purse, grabs her keys and also her cell phone. Slipping her purse back over
her shoulder, she begins to dial the phone.

LORELAI
(into phone) Hi this is Lorelai Gilmore. I'm coming in for a four o' clock-
(beat) on schedule? Great.

Comes to her jeep, unlocks it, flings her purse in, and sits in the driver's
seat. Door still open.

LORELAI
I just wanted to let you know I was on my way. Can you tell me- (pause)
Okay. I understand. Thanks.

Lorelai turns off the phone, stares at it then sets it on the seat next to
her. Her left leg is still sticking out of the jeep. She is about to bring
in her leg and close the door when she takes one long look at the Inn.

CUT TO-

Camera sees what Lorelai sees; the front door across to the far corner, down
to the lake and the grass and the flowers, up along the edge of the INN and
all the way across. All along there is a soft piano playing; the GG theme
song, "where you lead, I will follow..."

Camera comes back around to Lorelai who is now crying; her head against the
steering wheel, her left leg still sticking out and the keys in her right
hand. Camera is looking at her through the open doorway.

Lorelai gathers herself, head still down and wipes her eyes with the back of
her right hand. She then goes to put the key in the ignition. The keys slip
and drop to the floor. Piano notes stop.

CUT TO-

Camera has moved slight to the left; now looking at Lorelai through the
front windshield. Lorelai swings in her leg, we hear the door shut, and we
see Lorelai go below view to gather her keys. We then see Lorelai, who puts
the key in the ignition and looks up for the first time; right into the
camera.

CUT TO- Luke. Standing not 10 feet from the front of the jeep.

Piano notes begin again. Slower. The same speed they played the night
before. "where.... you.....lead..."

Camera slowly moves in on Luke, centering on his face.

CUT TO-

Camera slowly moves in on Lorelai, centering on her face.

"....I.... will... follow...."

BACK TO-

Mid-range shot of Luke, who sticks both hands in his pockets, lowers his
head and gives a shy smile.

"...anywhere...."

Luke walks slowly towards the jeep and then angles off towards the
passenger's door. Lorelai has yet to move; only her eyes, following him.
Luke is now at the passenger door and looks in at Lorelai.

LUKE
You gonna let me in?

Lorleai looks at him, bites the corner of her lip, then leans over and opens
the door. Luke climbs in. Lorelai starts the jeep. Luke looks at her; now
a little less confident. Lorelai only looks forward, puts the jeep in gear
and drives the jeep off camera.



INT-HOSPITAL-LATER

Camera is pointing towards the automatic doors. Nurses and doctors walk back
and forth in the foreground. An orderly pushing an empty stretcher rolls
from right to left. As the stretcher and the orderly clear the scene, the
automatic doors open and Luke and Lorelai walk in.

Luke hangs back a few steps as Lorelai walks in and turns to her left and
approaches the rounded corner where the receptionist sits.

LORELAI
Hi. I have a 4 o' clock. Traffic was terrible.

RECEPTIONIST
The doctor is coming down right now. You can wait right there (pointing
behind Lorelai) with her.

(Lorelai turns to where the receptionist ponts.)

CUT TO- Emily Gilmore. Seated in a chair against the wall.

CUT TO- Luke. Who follows Lorelai's gaze and sees Emily as well.

BACK TO- Receptionist.

RECEPTIONIST
She's your mother right?

LORELAI
Um. Yeah. Thanks.

(Lorelai approaches Emily; who has her hands still in her lap, only her eyes
show any life; staring then not staring at Lorelai all at the same time.)

LORELAI
What are you doing here?

(In the background, we see Luke circling behind Lorelai and off to the
side.)

LORELAI
How did you know?

(Emily unfolds her hands and gives to Lorelai the small framed picture of
the woman in her 50s.)

CUT TO- Lorelai who looks at the picture then back at Emily.

EMILY
I didn't think you were old enough to remember Ruth.

LORELAI
She was my favorite Aunt.

EMILY
You were only three-

LORELAI
I know.

EMILY
I wish you would have told me.

LORELAI
How easy would it have been for you tell me?

(Emily considers this and gives a little tilt of her head in
acknowledgement. Lorelai hands the picture back to her mother.)

LORELAI
I'm sorry I didn't tell you. (beat) But I'm glad you heard anyway.

LUKE
(softly) Lorelai

CUT TO- Luke, who is nodding down the hall.

(Coming down the hallway is the doctor and the nurse from the day before,
plus a third man. Emily stands up; shoulder to shoulder with Lorelai.)

DOCTOR
Hello Lorelai.

LORELAI
Hi. (nodding to the Nurse, then notices the third person) Who's this?

DOCTOR
Dr. Makovich. The Oncologist.

LORELAI
Oncologist? (hand to her chest) You mean-

DOCTOR
How about we step inside my exam room?

(The nurse and Dr. Makovich enter. The doctor smiles at Lorelai. Lorelai
looks to Emily.)

LORELAI
Mom?

DOCTOR
Alone- (to Emily) if you don't mind?

(Emily hands the framed photo to Lorelai. Lorelai takes it, looks over to
Luke; who gives her a reassuring smile, then she enters the office with the
doctor.)

(There is moment of silence. Emily slides back into her chair. Luke softly
walks to the chair beside her and sits in it. He leans forward, then he
leans back.)

(He wants to say something to Emily but no words come. Emily closes her eyes
and leans her head on Luke's shoulder.)

CUT TO-

INT-EXAM ROOM-SAME

Lorelai instinctively sits on the hospital bed. The nurse behind her and the
Doctor and Dr. Makovich in front of her.

THE DOCTOR
Well the test came back. While the X-ray and mammogram DID confirm an
irregular mass in your right breast, the needle aspiration came back
negative for Situ disease.

LORELAI
What?

THE DOCTOR
When we draw fluid from a bodily mass we are looking for Situ disease; this
is the point of origin, the beginning stage, of cancerous cells.

LORELAI
Okay so that test, in my, my lump, you were looking for Situ disease and- it
came back negative?

THE DOCTOR
Correct.

LORELAI
So no cancer?

THE DOCTOR
No.

LORELAI
No?

THE DOCTOR
No cancer.

LORELAI
(beat, pause) Then what the hell is it?

THE DOCTOR
It's just an irregular mass, an abnormal growth along the breast tissue.

LORELAI
That's it?

THE DOCTOR
Sometimes. Sometimes it is just a lump.

LORELAI
(pointing to Dr. Makovich) Then what is he doing here?

DR. MAKOVICH
As a precaution. Oncologist don't just deal with cancer, we deal with
preventing cancer. This time it was just a lump. But we should take some
precautions.

THE DOCTOR
Dr. Makovich is going to ask you some questions and get you started on some
medication, okay?

LORELAI
Yeah fine. Can I go and-?

THE DOCTOR
I'll let your family know.

(The doctor exits. The nurse approaches and straps a blood pressure strap to
Lorelai. Dr. Makovich sits on a stool and begins to fill out some forms on a
clipboard.)

DR. MAKOVICH
You understand this is all just precaution. We want to keep ANY abnormal
growths from happening.

LORELAI
Yeah sure.

DR. MAKOVICH
Now. (looking over his form) How much caffeine do you drink?

LORELAI
(sitting up) Whhaaaa???

DR. MAKOVICH
Caffeine. Soda? Coffee?

LORELAI
Why?

DR. MAKOVICH
Too much caffeine is a major cause of abnormal growths. (smiles) You're
gonna have to cut back.

LORELAI
Oh man (leans back, puts hand over her forehead) Shoot me now.

(Nurse sticks a thermometer in Lorelai's mouth.)

INT-HOSPITAL-LATER

Lorelai exits from the exam room. She is putting back on her jacket. We hear
the soft chorus of music in the background. Lorelai looks around, walks over
to the receptionist at her desk who points down another hallway. Lorelai
comes around the rounded off desk.

CUT TO-Luke and Emily talking. Emily leaning against the wall with a pastry
from a vending machine and Luke with a small styrofoam cup of tea.

BACK TO-Lorelai who just watches them and smiles.

CUT TO-Luke and Emily notice her and walk towards. Lorelai meets them
halfway.

LUKE
Ready to go?

LORELAI
Oh yeah. So what's going on here?

EMILY
What?

LORELAI
What were you two talking about?

LUKE
Nothing.

LORELAI
It was me, huh? (smiling) It was about me?

EMILY
(rolls her eyes) Oh Lorelai-

CUT TO- Long shot of Emily, Luke, and Lorelai walking towarsd the exit
together. Lorelai in the middle.

EMILY
Everything is about you.

LORELAI
Well... of course!

LUKE
Actually your mom was talking about you.

LORELAI
Ah ha! (giving her mom a little nudge)

EMILY
Yes. Fine. I was talking about you. About how sorry you are for everything
you did to me. About how much you love me.

LORELAI
Excuse me?

EMILY
Last night.

LUKE
You. (smiling) Lorelai. That is sooo sweet.

EMILY
You told me. You said to me, "I love you mom."

LORELAI
No, no, no. You must've heard something, the wind-

EMILY
Oh please Lorelai, I promise not tell anyone the streak is over.

(Luke gives a big grin. Lorelai slows down a little as Luke and Emily keep
walking; through the automatic doors.)

CUT TO-

EXT-HOSPITAL-SAME

(Camera facing Lorelai. In the doorway.)

LORELAI
(calling out) It's not that I don't- I mean.. (looks around, gives a frown)
Grrr... wait up!

(Lorelai runs after them, offscreen.)

INT-GILMORE HOUSE-NIGHT

Lorelai is seated on the couch, curled up in the corner, with a magazine and
a china coffee cup sitting on a plate beside her.
Front door opens, Rory enters.

LORELAI
How goes the flyer business?

RORY
Great. Lane is coming up with all sorts of designs. Louise and Madeline are
taking some tomorrow to kids they know at other schools. It's almost like a
party now.

LORELAI
Good for you.

RORY
I just needed to grab something.

(Rory goes through the kitchen into her bedroom. The camera stays on
Lorelai, who has put down the magazine and is waiting for Rory to come out.
We hear footsteps and Rory comes back into view.)

LORELAI
Rory, can you come here for a second?

RORY
No time. This is already taking longer- (looks past Lorelai) Oh coffee,
great.

(Rory goes around Lorelai and picks up the china cup and takes a sip.)

RORY
Eww. Gross.

LORELAI
Sorry. It's decaf.

RORY
I know. But that doesn't mean it has to be de-tasteful.

LORELAI
How do you know?

RORY
You found a lump. Too much caffeine causes abnormal growths.

CUT TO-Close up of Lorelai

LORELAI
(blinks, gives a little shake of the head) You knew?

BACK TO-Mid range shot of both. Lorelai sits up slightly, Rory remains
standing, a little distant, only a small amount of awkwardness in her voice.

RORY
I knew something was wrong. The last couple days around the house, you've
been touching yourself so often, I can't tell you how often I caught myself
humming that song by the Divynls-

LORELAI
(eyes soften) Rory-

RORY
Then this afternoon, after you were hugging me a little too tightly and went
to the grocery store to get- what I'm now guessing was decaffinated coffee
beans- I found a bottle of pills by your purse that were gone shortly after
you came back.

LORELAI
They're just a precaution, honey. Everything is okay-

RORY
I know. The pills were tamoxifen. It's been around for a while but only
recently they discovered how well it helps prevent abnormal cell growth.
It's an estrogen growth prohibitor. The less estrogen, the less cells, the
less of a chance of an abnormal one. (pause) They did a needle aspiration?

LORELAI
Um. (still a little stunned) Yeah.

RORY
Came back negative?

LORELAI
Yeah.

RORY
Good. (pause, looks around, points to the front door) Lane's waiting for me.

LORELAI
(eyes focus in on Rory, full of pride and love and amazement) You are SO
going to Harvard.

(Rory gives a little embarresed smile, passes behind the couch, gives her
mom a squeeze on the shoulder and exits.)

(We hear the door close, camera slowly pulls back from Lorelai. Lorelai
leans back in the corner of the couch, with her magazine, gives a big smile,
looks one last time at the front door.)

LORELAI
(setting the magazine face down)..."when I think about you, I toooouch
myself..." (reaches for coffee, camera pulling back) "everytime I think
about you..." (long sip of coffee, scene fading to black) ...oh blah! Yuck!

Fade to Black.
End of Scene.
End of Story.

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