Gilmore Girls 1x01 - Pilot

8/12/2019 Gilmore Girls 1x01 - Pilot

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TEASER

EXT. LUKE'S - DAY

This is LUKE'S DINER, a small mom and pop place in the middle

of a two hundred year old town in Connecticut. The buildingused to be a barn in the eighteen-hundreds and the pig-pensand troughs are still standing outside except that the pigtroughs are now full of flowers instead of slop. It's earlymorning and the air is crisp. A woman in a long warm coat,hat and scarf, carrying the world's largest purse, goes intothe diner.

INT. LUKE'S CUP - DAY

The woman enters. She rushes over to a table and dumps thepurse on a chair and starts unraveling herself. We meetLORELAI GILMORE, a very attractive, vibrant, thirty threeyear old woman, though she could easily pass for twenties.

She sits down and looks around her. sprints across the diner,she spots something. Her eyes widen. LUKE DANES, the owner,is taking a fresh pot off the coffee machine. Luke is ascruffy though handsome man in his thirties with the body ofa fireman under that apron. Lorelai grabs her coffee cup andsprints across the diner to the counter.

LORELAI(holding out her coffee cup)

Please, Luke. Please, please,pleeeeeese?

LUKEHow many cups have you had this

morning?

LORELAINone.

LUKEPlus...

LORELAIFive. But yours is better.

LUKEYou have a problem.

LORELAI(holding the cup out further)

Yes, I do.

Luke shakes his head and pours.

LUKEJunkie.


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LORELAIAngel. You're a Goddamn angel.

Lorelai goes back to her table. She drinks her coffee happilyfor a beat before she realizes that there's a VERY ATTRACTIVEMAN in his twenties standing over her.

JOEYYou make that look really good.

LORELAIIt is really good. Best coffee in town.

JOEYYeah? I'll have to get a cup.

LORELAIGood plan.

JOEYI've never been here before. I'm just

passing through on my way to Hartford.

LORELAIYou're a regular Jack Kerouac.

JOEY(no idea what she's talkingabout)

Yeah. Hey, you mind if I sit down?

LORELAIActually, I'm meeting someone.

He sits down next to her.

JOEYI'm Joey.

LORELAIOkay.

JOEYYou don't have a name?

LORELAII have a name. But I really am waitingfor someone so...

JOEYSo, I should get going.

LORELAISo soon?


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JOEYWhat?

LORELAIJust screwing with your mind.

(she smiles at him)It's been nice meeting you Joey. Enjoy

Hartford.

JOEYEnjoy your coffee, mystery woman.

LORELAIOh, I like that.

Joey smiles at her and moves off. The door opens and anotherbundled up young woman comes in. She makes her way over toLorelai's table. This is RORY. She looks a bit younger thenLorelai, but is also tall and pretty. Rory's more serious andshy then Lorelai, but just as sharp.

RORYFreezing.

LORELAIWhat do you need, hot tea? Coffee?

RORYLip gloss.

LORELAIHere.

Lorelai rifles through her purse.

LORELAICocoa, strawberry, vanilla, or toastedmarshmallow?

RORYYou've got to go back on sugar.

Rory peers into Lorelai's bag.

RORYAnything in there not resembling abreakfast cereal?

LORELAIBoring, but yes.

She pulls out a jumbo size make-up bag.

RORYGod, RuPaul doesn't use that much make-up.


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LORELAIYou're crabby.

RORYSorry. I lost my Macy Gray CD and Ineed caffeine.

LORELAIAh, well...

(she rifles through the bagagain)

I have your CD...

RORYThief.

LORELAI(hands over the CD)

...here. And I'll get you some coffee.

Lorelai grabs an empty cup and heads to the counter. Rory

starts looking through Lorelai's make-up bag.

LORELAIIt's not for me. It's for Rory. Iswear.

LUKEYou're shameless.

LORELAI(pointing)

Hey, Officer Krupke, look. Over thereat that table.

ANGLE ON Lorelai's table where we see that Joey has returnedand is now chatting up Rory. Lorelai shakes her head indisbelief.

LORELAI(to herself)

He's got quite a pair, this guy.

Lorelai walks up behind Joey.

JOEY(talking to Rory)

Yeah, I've never been through herebefore.

LORELAIOh, you have too.

Joey whirls around surprised.


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JOEYOh, hi.

LORELAIYou really like my table, don't you?

JOEY

I'm just...

LORELAIGetting to know my daughter.

JOEYYour...

He looks at Rory. Rory smiles at him.

RORYAre you my new daddy?

JOEY

(to Lorelai)Wow, you do not look old enough to havea daughter. I mean it.

(to Rory)And you do not look like a...daughter.

LORELAIThat's possibly very sweet of you.Thanks.

JOEYSo...daughter, huh?

(beat)You know I'm traveling with a friend.

LORELAIShe's sixteen.

JOEYBye.

LORELAIDrive safe.

Lorelai and Rory wave good-bye to the nice man, then look ateach other and laugh.

FADE OUT.

END OF TEASER


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ACT ONE

FADE IN:

ESTABLISHING SHOT OF MAIN STREET, STARS HOLLOW, CONNECTICUT.

This is a historical old town with white clapboard houses,huge trees, rolling hills, and no fences. Everywhere you lookthings are perfectly maintained. The residents obviously lovethis place where hayrides, pumpkin patches, town parades, andfourth of July picnics are the way of life.

EXT. INDEPENDENCE INN - MORNING

ESTABLISHING SHOT of a beautiful old inn with tall whitecolumns and a wrap around that Mark Twain could've writtenon. Lorelai is with a very harried looking older woman, MRS.LANGWORTHY, who is wearing an expensive fur coat and an evenmore expensive facelift. This is no longer the jeans wearingcaffeine junkie we met earlier. Lorelai is now in a chicblack suit looking calm and completely in control.

MRS. LANGWORTHYThree hundred is the final count as ofyesterday. Now, is the cake ready?Margie's frantic about the cake.

LORELAIThe cake is ready and gorgeous. It'sgoing to be a beautiful wedding. Youjust have to relax.

MRS. LANGWORTHYRelax. Yes. Oh God, just let her stay

married to this one.

INT. INDEPENDENCE INN - MORNING

An oil painting of A VERY SCARY OLD GUY WEARING A POWDEREDWIG AND KNICKERS fills the screen. We pull out to reveal thefoyer of the Independence Inn. Behind a beautifully carvedwood front desk stands JUDY TOLAN. Judy's the young, brandnew and very unsure desk clerk. She has a handful of keys andis putting them in the corresponding slot on the wall. Nextto her is MICHEL GERARD, the concierge. Michel is a veryattractive, extremely intolerant black man in his latethirties. Michel has a beautiful French accent which helps

with his pursuit of the ladies. Michel is on the phone.

MICHEL(into phone)

No, I'm sorry we are completely bookedthis week. We have a wedding partyhere. No, there's really nothing I cando. Yes, I'm sure. Positive. I don'thave to look ma'am I...

(MORE)


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MICHEL (CONT'D)Yes of course I'll look.

(he puts the phone down takes adeep breath and puts it back tohis ear again)

No, I'm sorry, completely booked...Yes,life is full of disappointments...No, I

don't know what the point of livingis...Yes, well, at least you're takingit well.

Lorelai and Mrs. Langworthy walk into the lobby.

MRS. LANGWORTHYTwo of the flower girls are allergic totuberoses so they can't be in theirbaskets or they'll die.

LORELAINo tuberoses. I'll take care of it.Now, you need to go up to your room,

relax, unpack, and I'll send a masseuseup to take care of you.

MRS. LANGWORTHYYou're a dear. See if someone tall andAntonio Banderas-like is available.

Mrs. Langworthy goes up the staircase. Lorelai heads over tothe front desk. Michel is still on the phone. He'sdesperately trying to keep from killing himself.

MICHELMadame, you have no idea howdesperately I'd like to help but I'dhave to build a room for you myself andI'm not a man who works with his handsso the best I can do is suggest thatyou please, please try for anotherweekend. Any weekend...The twentyfirst? Hold on I'll look.

He looks in the reservation book.

MICHELNo, I'm sorry we're all booked.

Lorelai goes behind the desk.

LORELAIJudy, get the florist on the phone.

JUDYOkay. Judy stands there lookingconfused.


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LORELAIAsk for Gee. Tell him tuberoses for theLangworthy wedding are out. Substitutethe climbing roses he used for us inthe dining room arrangement he did lastweek. Tell him to do one and send itover for approval by four o'clock and

why aren't you moving?

JUDYI don't know where I put his number.

LORELAI716-6872.

JUDY716...sorry. Numbers throw me.

Lorelai writes the number down for Judy.

LORELAI

There. Now, when the arrangement getshere, find me immediately. Has theplumber attended to room four yet?

JUDYI don't know. I was doing the keys.

MICHELHe was here, he did nothing, it's ahundred dollars.

Lorelai dials the phone. Rory enters. She's wearing jeans anda bulky sweater that goes down to her knees.

LORELAI(into phone)

Yes, Marco. Lorelai. Talk to me aboutroom four. What was wrong with it?

She covers the phone, reaches out, grabs Rory's sweater andpulls her toward her. Kiss. Rory kisses her. Lorelai goesback to the phone.

LORELAII thought you replaced that lasttime...Because you told me you did andI never forget anything. So, then thisone's on you, right?...Pleasure doingbusiness with you.

She hangs up. Rory comes behind the desk poking around. She'sobviously very comfortable back there.


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LORELAIJudy, please go up and check on roomfour. Make sure it's working.

JUDYOkay.

She looks around for someplace to dump the rest of the keys.Lorelai impatiently takes them from her.

LORELAIJudy, listen to me. I've been workingfor your aunt and uncle a long time.And they've been good to me. So, whenthey asked me to give you a job, trainyou in the family business, I was happyto do it. Happy. See, the smile? Okay,but this is a really busy week, and Ineed you to be faster and moreorganized or please God in heaven findyourself a rich husband.

ANGLE ON Michel who crosses over to Judy and whispers to her.

MICHELDon't you listen to her. Find yourselfany husband, he doesn't have to berich.

Judy looks at him dejectedly and exits. Lorelai starts filingthe keys back in their place at lightening speed. Rory startsrooting around in the drawers. Michel notices.

MICHEL(to Lorelai)

What is your offspring doing?

RORYI need stamps.

(holding up stamps)Can I have these?

MICHELNo.

LORELAITake them.

(off Rory's sweater)What's the deal with the muumuu?

RORYStop.

LORELAINo, I'm just saying you couldn't findone made of metal in case anyone has x-

(MORE)


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LORELAI (CONT'D)ray eyes?

RORYWho here heard me say stop?

DERECK an eighteen-year old absolutely adorable valet comes

up to the desk.

DERECKMan, there's a lot of people heretoday. I've got cars backed up all theway down the driveway.

RORYWell, good thing you're in here.

DERECK(to Lorelai)

Oh, well, I just wanted to tell youthat I don't have to go to my Aunt's

funeral tomorrow. She didn't die yet.

LORELAIWell, maybe next week.

DERECKYeah, maybe.

(beat, to Lorelai)That's a real nice outfit you'rewearing.

LORELAIThank you, Dereck.

Dereck smiles at her. He's smitten. He takes off out thefront door. Rory shakes her head.

RORYGod, he is so puppy faced around you.

LORELAIDereck's sweet. You should take a crackat him.

RORYHe's not into me, Mrs. Robinson.

LORELAIWell, he could be if you weren'twearing an entire flock of sheep.

RORYAnd how we say good-bye.


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LORELAIWait - give Michel your French paper tolook at before you go.

MICHELExcuse?

RORYThat would be great.

MICHELNo.

RORYCome on, Michel. I'll tell all theladies what stud you are.

MICHELI believe they already know.

LORELAI

Please, Michel? Please?(in Betty Boop-ish baby talkvoice)

Pretty please with sucre with top? I'llstop talking like this.

MICHELLeave it. I'll look at it if I get achance.

RORYIt's due tomorrow. And pay specialattention to grammar.

Rory exits. Lorelai looks at Michel smiling. Michel tries toignore her, pretending to be busy. She keeps staring andgrinning.

MICHELI despise you.

INT. KITCHEN - MORNING

The kitchen is huge and chaotic with fabulous things cookingand bubbling. On the floor under an avalanche of pots andpans is SOOKIE ST. JAMES, the chef and Lorelai's best friend.She's a brilliant cook with no hand-eye coordinationwhatsoever. Right now her forehead's bandaged, there's asplint on her left little finger and Band-Aids all over herarms. The sous-chef, SALVADOR, and a couple of the kitchenhelpers are trying to untangle her.

SOOKIEI'm okay.


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LORELAIWhat did you do now? Are you hurt? Howdid this happened.

(in Spanish)Weren't you watching her?

SALVADOR

(in Spanish)I turned around for one second.

LORELAISookie, damn it, I told you to becareful.

SOOKIEI know. I'm sorry. Hey, I fixed thepeach sauce.

LORELAIThis is blood. You're bleeding. Why areyou bleeding?

SOOKIEOh, I think my stitches opened. I usedtoo much maple syrup. It strangled thefruit.

LORELAIWhen did you get stitches?

SOOKIEFriday night. Radish roses.

Lorelai grabs a couple of kitchen towels and starts wrappingthem around Sookie's hand. Sookie tries to reach up to thecounter to get a pan.

LORELAIStop moving.

SOOKIEI want you to taste the sauce. You haveto try it while it's warm.

She reaches up again. She manages to grab a spoon and pull itdown.

LORELAISookie, I mean it. You have to stay...

Sookie puts the spoon in her mouth.

LORELAIDear God almighty that's incredible.


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SOOKIEI thought I'd put it on the wafflestomorrow for breakfast.

LORELAII swear, I want to bathe in this sauce.You know, someday, when we open our own

inn? Diabetics will be lining up to eatthis sauce.

SOOKIEOh, won't that be great?

LORELAIBut the key to achieving that dream isyou staying alive long enough toactually open the inn with me,understand?

SOOKIEYes. I understand.

LORELAIOkay, now, let's get you up and to thedoctor. On three. One, two, three.

SOOKIEOw.

LORELAI(panicked)

What?

SOOKIEI stepped on my thumb. I'm fine. Onthree.

Lorelai shakes her head and they try again.

EXT. STREET - MORNING

Rory is walking with her best friend LANE KIM. A bright quietKorean girl, Lane has the constant dilemma of having verytraditional Korean parents while being an Americanized girl.Lane hands Rory her jacket and backpack. She opens thebackpack, takes out a "Woodstock '99" tee shirt, and puts iton over her pink thermal tee. She takes back her stuff.

RORYWhen are you going to let your parentsknow you listen to the evil rock music?You're an American teenager, for God'ssake.

LANERory, if my parents still get upsetover the obscene portion size of

(MORE)


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LANE (CONT'D)American food, I seriously doubt I'mgoing to make any inroads with KidRock.

They reach the school. Kids mill around the front in a frenzyof pre-class activity. A large sign announcing the weekend

hayride is draped across the front.

LANE(re:sign)

I have to go to that.

RORYThe hayride? You're kidding.

LANEMy parents set me up with the son of abusiness associate. He's going to be adoctor.

RORYHow old is he?

LANESixteen.

RORYSo, he's going to be a doctor in ahundred years?

LANEMy parents like to plan ahead.

RORYGod, and you have to go to the hay ridewith him?

LANEAnd his older brother.

RORYOh, now you're kidding.

LANEKoreans never joke about futuredoctors. So, I guess you're not going,huh?

RORYNo. I'm still fuzzy on what's fun aboutsitting in the cold for two hours witha bundle of sticks up your ass.


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LANEWell, don't expect me to clear it upfor you.

They turn up the walk and enter the school building.

INT. CLASSROOM - DAY

MRS. TRAISTER, a tall, thin sharp-featured Americanliterature teacher is pacing the front of a packed classroom.

MRS. TRAISTERFor those of you who have not finishedthe final chapters of Huckleberry Finn,you may use this time to do so. Forthose who have, you may start youressay now. Whichever task you choose,do it silently.

Mrs. Traister sits down and starts grading papers. We PANDOWN the row of students. We reach the back of the room where

Rory is seated in the second to last row. She writingfeverishly, extremely concentrated on her task. She issurrounded by a gaggle of girls who are all deeply fascinatedby a bottle of nail polish. One girl tries it on, looks atit, shows it to the others, and then passes it on to the nextgirl, who does the same. Rory doesn't even look up. One ofthe girls notices Rory. She motions to the others to look.What is she doing that is so important? The girls lean intoeach other to conference.

GIRL ONE(whispers)

I bet it's a love letter.

GIRL TWOOr her diary.

GIRL THREECould be a slam book.

Girl One motions the girl on Rory's right, GIRL FOUR, to takea peek. Girl four leans over and starts at Rory's paper. Shefrowns. She turns to the others with a puzzled look. They alllean in to each other again.

GIRL FOUR(incredulous)

It's the assignment.

EXT. STREET - AFTERNOON

Rory and Lane walk toward a large house with a sign on frontlawn that reads "ANTIQUES. THE BEST IN TOWN."


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LANEWas it a good color at least?

RORYIt had sparkles in it.

INT. ANTIQUE STORE - AFTERNOON

This is Lane's house. The Kims have devised a veryinteresting living arrangement for themselves. The familylives upstairs except for the kitchen. The downstairs istheir antique store. It's crammed from top to bottom withantiques. Tables are piled on top of each other, chairs arepiled on top of tables. Sofas are hung from the ceiling.There's not an inch of open space anywhere. Nor is there aclear path for people to walk through. The whole place is anelaborate, dusty maze. Rory and Lane enter.

LANE(calling off)

Mom? We're home.

The girls listen.

LANEDid you hear something?

RORYI'm not sure.

LANE(calling again)

Mom?! Are you here?!

MRS. KIM (O.S.)(very muffled)

Lane?

RORYWe have contact.

LANE(calling toward the voice)

Mom? Where are you?

MRS. KIM (O.S.)Lane? Where are you?

The girls head toward the voice.

LANEBack here!

MRS. KIM (O.S.)Over here.

The girls change direction.


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RORYI think she's that way.

LANE(yells)

Are we closer?

MRS. KIM (O.S.)I'm by the table.

Rory looks around at the sea of tables.

RORYShe's kidding, right?

LANE(calling to mom)

Look, we'll meet you in the kitchen!

MRS. KIM (O.S.)What?!

RORYThe kitchen!!

MRS. KIM (O.S.)Who's that?

LANEIt's Rory, Mom.

MRS. KIM (O.S.)Oh.

RORY(to Lane)

Wow. I could hear the disappointmentfrom here.

LANECome on.

The girls start to make their way to the back of the house.

RORYYou know, it sucks that after all theseyears your mom still hates me.

LANEShe doesn't hate you.

RORYShe hates my mother.

LANEShe doesn't trust unmarried women.


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RORYYou're unmarried.

LANEI'm hayriding with a futureproctologist. I have potential.

The girls reach a small door in the back and go through it.

INT. KIM KITCHEN - AFTERNOON

The girls enter to find MRS. KIM busy at the stove. Mrs. Kimis tiny with a slight Korean accent. She wears sneakers atall times since she moves about a thousand miles a minute.

MRS. KIMTea is ready. I have muffins with nodairy, no sugar, and no wheat. You haveto dip them in the tea to make them tosoft but they're very healthy.

Lane and Rory sit at the table. Mrs. Kim puts tea cups infront of them.

MRS. KIMHow was school? None of the girls getpregnant and drop out?

LANENot that we know of.

RORYThough come to think of it JoannaPosner was glowing a little.

MRS. KIMWhat?

LANENothing Mama. She's kidding.

MRS. KIM(to Rory, stern)

Boys don't like funny girls.

RORYNoted.

The tinkling of the front door is faintly heard.

CUSTOMER (O.S.)Hello? Anybody here?

MRS. KIM(yelling)

We're here! We're coming!(to the girls)

(MORE)


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MRS. KIM (CONT'D)Have more muffins. Only good fortwenty-four hours.

Mrs. Kim exits. We hear "Is anybody here? "Over here.""Where?" "Follow my voice." As Mrs. Kim plays Marco Polo withthe customer, Rory and Lane dunk a muffin in their tea, take

a bite, and quickly spit the disgusting inedible things outinto their napkins.

INT. HOTEL OFFICE - AFTERNOON

Lorelai is sitting at her desk opening a large stack of mail.Judy pokes her head in.

JUDYHi. Uh, a man just called and said theangels for the Langworthy weddingaren't in yet. Is this...bad?

LORELAI

Well, let's see. The wedding's onSaturday, the angels aren't in, noweven with a total lack of deductiveskills, doesn't this sound...bad?

JUDYYes. I'll call him back.

LORELAITell him if they're not here bytomorrow I'll take to court and if hetries to give you any grief...

A letter has caught her attention. She opens it and reads.

JUDYWhat? If he gives me any grief, what?Please, I need the specifics.

LORELAI(off the letter)

Oh my God! Oh my God!

Lorelai runs out of the room. Judy looks after her.

JUDYAre you coming back?

INT. KITCHEN - AFTERNOON

Sookie, with one arm in a sling, is moving quickly around thekitchen. Salvador and two other guys are following herclosely, moving hanging pots she almost backs into, putting arag in her hand before she touches something hot - it's awell orchestrated ballet. Lorelai bursts through the door.


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LORELAISookie! The Chilton school! She got in!

SOOKIEOh my God! Oh my God!!

LORELAI

(reading the letter)"Dear Ms. Gilmore, we are happy toinform you that we have a vacancy atChilton Preparatory starting upimmediately. Due to your daughter'sexcellent grades and recommendations,and your enthusiastic pursuit of herenrollment..."

(to Sookie)I offered to blow the principal to gether in.

(back to reading the letter)"...we would happy to accept her assoon as the first semester's tuition

has been received."(smiling huge)

She did it. She's going to Chilton.

SOOKIEI'm so happy for you.

She and Sookie hug.

LORELAIIs something burning?

SOOKIEMy bangs. Earlier.

LORELAIThis is it, you know? From that schoolshe'll be able to get into any collegeshe wants. She's going to get theeducation I never had and do all thethings I never did and I can resent herfor it and we can finally have a normalmother daughter relationship. Okay,more hugs.

They hug again.

LORELAII love you. I really, really do!

Lorelai exits. Sookie, swept up in the moment, grabs a rag,waves it in the air doing her own little jig.


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SOOKIERory's going to Chilton, Rory's goingto Chilton.

Sookie happily tosses away the rag and goes back to work. Therag lands on the stove and bursts into flames. Salvadorcalmly clamps a lid down on it and it's doused.

FADE OUT:

END OF ACT ONE


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ACT TWO

FADE IN:

EXT. LORELAI'S HOUSE - EVENING

A charming, tiny old clapboard house, with a huge porch andtons of potted plants and flowers all over the front yard,sits happily on a hill. All the lights are on and the soundsof Keely Smith sing out strong in the night.

INT. LIVING ROOM - NIGHT

The room is small, but full of warmth and life. Old rugs,lived-in furniture and antique quilts everywhere. There'sdefinitely not a set color scheme - just the organized chaosof two young women living under the same roof. There's afireplace much smaller than the elegant ones at the inn,whose mantle is crammed with photos of Lorelai and Rory andtheir friends. A happy little fire is burning away. Lorelaigoes around the room lighting candles. Rory enters.

RORYHey.

She sees the room.

RORYWow.

(looking at the fire)Are those real logs?

LORELAIYep.

RORYWhat, are we out of Duraflames?

LORELAINope.

RORYYou're happy.

LORELAIYep.

RORY

Did you do something slutty?

LORELAII'm not that happy.

Lorelai pulls Rory into the dining room.

INT. DINING ROOM - EVENING

The beat-up round wooden dinner table is beautifully set with


23/57

can es, owers, an a gorgeous meat oa a on a s verplatter. And on top of Rory's plate is a beautifully wrappedpackage.

RORYYou made meatloaf?

LORELAIAnd mac and cheese. And that salad youlike with the sugared walnuts and theblue cheese, and, Sookie made thisunbelievable cherry rum cake that youare way too young to eat but what thehell.

RORYWhat is going on?

LORELAIOpen your present, please.

Rory rips the package open and pulls out a blue and whiteplaid skirt.

RORYI'm going to be in a Britney Spearsvideo.

LORELAIYou're going to Chilton.

RORY(floored)

What?

LORELAII got the letter today.

RORYThis is not funny.

Lorelai pulls the letter out of her pocket.

LORELAIYou're in, baby.

Rory is stunned. She smiles. She laughs. She starts to cry.

LORELAIOn no. Don't you dare cry.

Lorelai goes over and hugs Rory who is full-on crying now.

RORYI don't...how did this happen? Youdidn't really...

(MORE)


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RORY (CONT'D)with the principal, did you?

LORELAINo, that was a joke. They got anopening. I'm sending the check tomorrowand you're starting on Monday.

RORYOh my God! I can't believe this!!

LORELAII know!!

They hug big time.

RORYCan we do this? Do we have the money?

LORELAIHey, you let me worry about the money,

huh? You just worry about getting intoHarvard. Now, we have a lot offattening food to eat, so I suggest weget started.

RORYOkay.

Rory sits back down in her seat and brushes the tears out ofher eyes. Lorelai starts cutting the meatloaf. After a beatRory can't control herself anymore. She rushes at Lorelai andgives her a huge flying hug that send both of them and thechair crashing to the ground.

INT. SCHOOL HALLWAY - MORNING

Rory and Lane are at their lockers.

RORYAnd we get to wear uniforms. No morehaving people check you out to see whatjeans you're wearing. Everyone dressedalike in boring clothes just there tolearn.

LANEOkay, there's academic minded and thenthere's eighty.

A guy comes down the hall. A very intense looking, dark eyed,weirdly amazing looking guy. His eyes lock on Rory. Shedoesn't notice. He stares at her as he goes down the hall.The girls close their lockers and head the other way.

INT. HOTEL FRONT DESK - MORNING

Michel is standing next to the phone which is ringing. He's


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ett ng t r ng. Lore a storms out o t e o ce.

LORELAIMichel. The phone.

MICHELIt rings.

LORELAICan you answer it?

MICHELNo. People are particularly stupidtoday. I can't talk to any more ofthem.

LORELAIYou know who's really nice to talk to?The people at the unemployment agency.

Michel picks up the phone.

MICHELIndependence Inn, Michel speaking.

INT. OFFICE - CONTINUOUS

Lorelai is pacing, obviously very upset. Sounds of Musak areheard over the speaker phone. She's looking at the acceptanceletter. A voice comes on the speaker phone.

VOICE (O.S.)Chilton Prep.

LORELAI(frantically dives for thephone)

Yes. Hi. I've been holding for Mrs.Bell. Okay, my daughter just gotaccepted and...no this semester. Right.Well, I was so excited when I read thatshe got in that I didn't read the wholeletter and today I went to make out theenrollment check and, well, I read thewhole letter and - that's a very highfee you got yourself there. I waswondering if you couldn't take, say,part now just to get her going... Butshe's supposed to start Monday and thatdoesn't give me much time to pull abank job... I was kidding... A bank jobis robbing a bank... You know what,never mind... No, no, no. Don't giveher space away. I'll figure it out...Right. It's been a real treat talkingto you. Bye.

Lorelai hangs up the phone frustrated.


26/57

EXT. LORELAI'S PORCH - NIGHT

LORELAI(muttering)

What do I do, what do I do, what do Ido...

SOOKIEYou can have anything I own. My car.Sell my car.

LORELAIOh, sweetie...no one wants your car.

SOOKIEYou know, you might want to considerasking...

LORELAINo.

SOOKIEBut it seems like the only option.

LORELAISookie, there are several chapters froma Stpehen King novel that I would re-enact before I'd resort to that option.

SOOKIEBut...

LORELAISookie, please.

SOOKIEOkay. It's dropped.

Rory comes out of the house wearing the plaid skirt.

RORY(indicating the skirt)

So, what do you think?

SOOKIEWow. It makes you look smart.

RORYOkay, no more wine for you. Mom?

LORELAIYou look like Laura Ingalls Wilder.

RORYFine. You can hem it. A little. Only alittle.


27/57

LORELAIThank you.

Lorelai and Sookie follow Rory into the house.

INT. LIVING ROOM - CONTINUOUS

Sookie goes into the kitchen. Lorelai gets her sewing basketand starts pinning the skirt up.

RORYI can't believe tomorrow is my last dayat dormancy high school. I was soexcited today, I dressed for gym.

LORELAIYou're kidding.

RORYAnd I played volleyball.

LORELAIWith other people?

RORYAnd I learned that all this time I wasavoiding group sports?

LORELAIYeah?

RORYWas very smart because I suck at them.

LORELAIYeah, you got that from me.

Sookie comes back out of the kitchen wearing an apron.

SOOKIEWhere's the pate?

LORELAIAt Zsa Zsa Gabor's house.

Sookie goes back in the kitchen. Lorelai finishes pinning theskirt.

LORELAIOkay. Go see what you think.

RORYI love being a private school girl.

Rory runs off excitedly. Lorelai sits on the couch. She looksover at a photo on the table next to her. ANGLE ON a pictureof a six-year-old Lorelai standing in front of a brick housewith an unusually ornate iron door. ANGLE ON Lorelai as she


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p c s up t e p cture. ANGLE ON t e p cture w c s t escreen. We DISSOLVE TO:

EXT. SAME BRICK HOUSE WITH THE ORNATE DOOR - DAY

ANGLE ON Lorelai across the street from this house. She'sdrinking from a coffee container and pacing back and forth.

She drinks the final swig, and takes a deep breath. CUT TO:BLACK SCREEN. A door opens to reveal Lorelai standing there.

LORELAIHi Mom.

We open out to find EMILY GILMORE holding the ornate dooropen. Emily is a distinguished looking woman in her earlysixties. Her dress is impeccable, her hair is perfect and thepearls are real. She looks absolutely astonished to see herdaughter.

EMILYLorelai. My goodness. This is a

surprise. Is it Easter already?

LORELAII just got finished with my businessclass and I thought I'd stop by.

EMILYTo see me?

LORELAIYes.

EMILYWell. Isn't that nice. Come in.

LORELAIThanks.

Lorelai enters and Emily closes the door.

INT. GILMORE HOUSE - DAY

A far cry from the chaotic but homey clapboard house ofLorelai's, this house is very elegant and upscale. Marblefloors in the entry way, heavy drapes and crystal chandeliersmake up a house that says "front page of ArchitecturalDigest" and "don't touch anything" simultaneously. They walkdown the hall. The place looks great.

EMILYIt hasn't changed.

LORELAIWell, there you go.


29/57

INT. GILMORE LIVING ROOM - CONTINUOUS

The living room is even more imposing then the entry way.Portraits of Emily and Lorelai's father Richard hang on thewalls. Another portrait of a mischievously smiling littleLorelai also hangs on the wall. The women sit down stiffly.

LORELAISo, how are the girls at the bridgeclub?

EMILYOld.

LORELAIWell...good.

EMILYYou said you were taking a businessclass?

LORELAIYeah. I take a business class at thecollege twice a week. I'm sure I'vetold you.

EMILYWell, if you're "sure" then you musthave.

An awkward beat passes.

LORELAISo...I'm executive manager at the Innnow.

EMILYReally?

LORELAII run the whole place.

EMILYYou must be busy.

LORELAIIt's just a matter of time before I canbuy my own inn.

EMILYWell, won't that be something.

The two women lapse back into silence for a beat.

EMILYWould you like some tea?


30/57

LORELAII'd love some coffee.

We hear the front door open. A gruff voice calls out.

RICHARD (O.S.)Emily? I'm home.

EMILYWe're in here.

RICHARD GILMORE enters. Richard is a tall, strong,opinionated man of few words. He doesn't need that many. Hestops in his tracks when he sees Lorelai.

RICHARDWhat is it, Christmas already?

LORELAIHey, Dad.

EMILYLorelai was taking a business class atthe college today and decided to dropin to see us.

RICHARDWhat business class?

EMILYWell, she told us about it dear,remember?

RICHARDNo. He crosses to his very BlakeCarrington bar and pours himself adrink.

(to Emily)Is she staying for dinner?

LORELAINo, she's not. Look, I actually camehere for a reason. Dad, could you maybesit down for a minute?

Richard stands at the bar going through the mail.

RICHARD(not looking up)

You need money.

LORELAII have a situation.

RICHARDYou need money.


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LORELAIWould you please just let me get thisout? Please? Rory's been accepted toChilton.

EMILYChilton? Oh, that's a wonderful school.

It's only five minutes from here.

LORELAII know it is. I've been trying for twoyears to get her in there. And nowthere's an opening and we just foundout about it. She can start as early asMonday. The problem is I have to putdown an enrollment fee plus thissemester's tuition and I have to do itimmediately or she loses her spot.

RICHARD(beat, then without looking up)

So, you need money.

LORELAI(small)

Yes.

Richard puts the mail down. He and Emily look at each other.

LORELAIIt's not for me, okay? It's for Rory.This is a great opportunity for her,and it would simply be a loan, I fullyintend to pay you back every cent. Ijust can't let miss out on somethingthis important. I don't ask for favors,you know that.

EMILYOh, yes.

(pointedly)We know.

Richard and Emily look at each other again.

RICHARDI'll get the checkbook.

LORELAIThank you. I can't tell you...thankyou.

EMILYOn one condition.


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LORELAIA condition?

EMILYYes. Since we are now financiallyinvolved in your life, I want to beactively involved in your life.

LORELAIWhat does that mean, Mother?

EMILYIt means that I want more contact. Notjust holidays and birthdays. Rory'sgoing to be going to school fiveminutes from here, and you yourself arein town at least twice a week, as youtold us.

LORELAI(exasperated)

I did tell you.

EMILYI want a weekly dinner.

LORELAIWhat?

EMILYFriday nights, you and Rory will havedinner here.

LORELAIMom...

EMILYAnd you have to call us once a week togive us an update on her schooling andyour life. That's it. That's thecondition. If you agree, you can cometo dinner tomorrow night and leave herewith a check. Otherwise, I'm sorry wecan't help you.

LORELAI(a long beat)

I don't want her to know I borrowedmoney from you. I want this to bebetween us.

EMILYIs seven good for dinner?


33/57

LORELAI(beaten)

Perfect.

Richard goes back to the mail leaving mother and daughterlooking at each other.

FADE OUT:END OF ACT TWO


34/57

ACT THREE

FADE IN:

INT. HIGH SCHOOL - DAY

Rory is cleaning out her locker. Lane is helping her.

LANESo, I told my mom you're changingschools.

RORYWas she thrilled?

LANEThe party's on Friday.

Rory puts the last book in her bag and closes her locker.

RORYWell, that's it.

(regarding locker)Twenty - five - thirteen. It's allyours. You're gonna like it. Greatfront door access.

LANEThanks. Oops, I have to go. I have tohave a pre-hayride cup of tea with thefuture doctor. How do I look? Korean?

RORYThe spitting image.

LANEGood. Bye.

Lane disappears around the corner. Rory bends down to pick upsome trash that spilled out of her locker. When she gets backup the mystery boy is standing there.

RORY(startled)

God!

DEANSorry.

RORYYou're like Ruth Gorden in Rosemary'sBaby. Just standing there with thetannis root. Make some noise.

DEANAre you cleaning out your locker?

Rory gets her first good look at the beautiful stranger.


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S e's struc . T s s a very new t ng or er.

DEANIt looks like you're going somewhere.

RORYOh, right. I am.

She stares at him a beat.

DEANWhere?

RORYNew school.

DEANYou're moving?

RORYNo, just my books are.

DEANMy family just moved here. FromChicago.

RORYChicago. Windy, Oprah...

DEANYeah. That's the place.

They stand there a beat.Rory stares at the ground.

DEANI'm Dean.

RORYHi.

(beat, then realizing)Oh. Rory. Me. That's...me.

DEANRory.

RORYWell, Lorelai technically.

DEANLorelai. I like that.

He smiles at her. She's melting.

RORYIt's my mother's name, too. She namedme after herself. She was lying in thehospital thinking about how men name

(MORE)


36/57

RORY (CONT'D)boys after themselves all the time, youknow? So, why couldn't women? Herfeminism just took over. Althoughpersonally I think a lot of Demerolalso went into the decision.

(beat)

I never talk this much.

They stand there a beat.

DEANWell, I'd better go.

RORYOh sure. Bye.

DEANI have to go look for a job.

Dean takes a pen and a paper scrap out of his pocket and

writes something down. He holds out the paper to her.

DEANIf you hear of anyone hiring aroundhere maybe you could give me a call.

RORYOh sure. If I hear.

They look at each other a beat. Dean starts to walk away.

RORYYou know you should check with MissPatty. She teaches dance. She wasactually on Broadway once.

DEANI don't really dance much.

RORYNo. She just kind of knows everythingthat's happening in town. She'll knowif someone's looking.

DEANOh. Great. Thanks.

Dean starts away again. Rory looks after him wishing he'dstop but not knowing how to make him. Dean stops.

DEANHey, what're you doing now?

RORYNothing. Much.

(looks at the trash in her hand)(MORE)


37/57

RORY (CONT'D)I should throw this way at some point.

DEANMaybe you could show me where this MissPatty's place is?

RORY(brightening up)

Yeah. I guess so. I don't really haveanything important to...let's go.

Rory drops the trash on the ground and they start off. Deangrabs her backpack and swings it over his shoulder.

INT. LUKE'S CUP - NIGHT

Lorelai and Rory sit eating salads. Neither with a lot ofgusto. They're both a little preoccupied.

LORELAI

You were late getting home tonight.

RORY(lying)

Yeah. I went to the library.

They sit a beat.

LORELAIOh, I forgot to tell you, we're havingdinner with the grandparents tomorrownight.

RORYWe are?

LORELAIYeah.

RORYBut it's September.

LORELAISo?

RORYWhat holiday is in September?

LORELAI(exasperated)

Look it's not a holiday thing, okay?It's just dinner.

RORYFine. Sorry. God.

They sit there not eating a beat. Luke brings over their


38/57

urgers.

LUKE(to Lorelai)

Rare meat can kill you. Enjoy.

Luke walks away. Lorelai and Rory just sit a beat.

LORELAII finished your skirt today.

Rory doesn't answer.

LORELAIA grunt of acknowledgment might benice.

RORYI don't understand why we're going todinner tomorrow night. What if I hadplans? You didn't even ask me.

LORELAIIf you had plans I would've known.

RORYHow?

LORELAIYou would've told me.

RORYI don't tell you everything. I have myown things.

LORELAIFine. You have things.

RORYThat's right. I have things.

LORELAIHey, I had dibs on being the bitchtonight.

RORYJust tonight?

LORELAIWhat the hell is up your butt?

Beat.

RORYI'm not sure I want to go to Chilton.


39/57

LORELAI(floored)

What?

RORYThe timing is just really bad.

LORELAIThe timing is bad?

RORYAnd the bus ride to and from Hartford?It's forty minutes each way. That'stime I could be studying, or helpingyou out at the inn.

LORELAII can't believe what I'm hearing.

RORYPlus, I don't think we should be

spending the money right now and I knowChilton's gotta be costing you a lot.

LORELAI(rubbing her temples)

Oh, you have no idea.

RORYAll of your money should be goingtoward buying an inn with Sookie.

LORELAIWhat about college? What about Harvard?

RORYWe don't know that I can't get intoHarvard if I stay where I am.

LORELAIOkay, end of the crazy talk. Iappreciate your concern about themoney, but I've got all that covered.

RORYI still don't want to go.

LORELAIWhy?

RORYBecause I don't.

LORELAII have to get out of here.

Lorelai gets up and heads for the door.


40/57

RORYWe have to pay first.

Lorelai comes back, takes a twenty out of her purse, throwsit on the table and heads out. Rory follows her.

EXT. STREET - NIGHT

The two women walk in silence. Lorelai is still in shock. Wehear the clip-clop of horses hooves getting closer. A horsedrawn wagon comes into frame. The wagon is filled with bailsof hay, and kids, including a miserable looking Lane flankedon both sides by two somber Korean boys. The hayride passesLorelai and Rory. They walk past the old converted town hallthat sports a big sign: "MISS PATTY'S SCHOOL OF BALLET,GYMNASTICS, ICE SKATING, CHEERLEADING, BATON TWIRLING, ANDMODELING." The front door is open and we see a room full oftiny girls in black leotards, pink tights, and green tutu's.Standing just outside the front door is MISS PATTY. A twohundred pound, heavily made-up woman of indeterminable age,Miss Patty was formerly a professional dancer who at some

point decided having a sandwich was more important thenworking with Bob Fosse. Miss Patty is smoking a cigarette andpounding a cane to help the girls keep time.

MISS PATTYOne two three, one two three it's awaltz ladies. Susie you have to tinkle?Then uncross your legs, darling.

Patty sees Lorelai and Rory walking by.

MISS PATTYRory, good. I think I found a job foryour male friend.

Rory looks up startled. Lorelai stops in her tracks.

LORELAIWhat male friend?

MISS PATTYThey need a stock boy at the supermarket. I already talked to TaylorDoose about him. You tell him to go bytomorrow.

RORY(weakly)

Okay. Thanks.

MISS PATTYCute boy. You have good taste.

(back to the little ballerinas)Hands in the air, not in the nose!

Rory starts walking faster. She walks right past Lorelai notlooking at her.


41/57

LORELAIWhat male friend?

Rory picks up her pace.

LORELAIOh, you're going to have to walk a lot

faster then that. You're going to haveto turn into friggin' FloJo to get awayfrom me.

Lorelai takes off after her.

INT. LORELAI'S LIVING ROOM - NIGHT

Rory enters and slams the door. Lorelai enters right on herheels. The door gets slammed again.

LORELAIThis is about a boy. Of course. I can'tbelieve I didn't see it. All this talk

about money and bus rides...you've gota thing going with a guy and you don'twant to leave school.

RORYI'm going to bed.

LORELAIGod, I'm so dense. That should've beenmy first thought. After all, you're me.

RORY(emphatically)

I'm not you.

LORELAIReally? Someone willing to throwimportant life experiences out thewindow to be with a guy? Sounds like meto me.

RORYWhatever.

LORELAISo who is he?

RORYThere's no guy.

LORELAIDark hair? Romantic eyes? Looks alittle dangerous?


42/57

RORYThis conversation is over.

LORELAITattoos are good too.

RORY

I don't want to change schools becauseof all the reasons that I already toldyou a thousand times. If you don't wantto believe me, that's fine. Good-night.

LORELAIDoes he have a motorcycle? 'Cause ifyou're going to throw your life away,he'd better have a motorcycle!

Rory exits off to her bedroom.

INT. RORY'S BEDROOM - NIGHT

Rory is changing into her sweats. Lorelai enters.

RORYThanks for the knock.

LORELAIRory, please, just talk to me.

Rory gets into bed, grabs a book and proceeds to read.

LORELAIFine, I'll talk. Look, don't get mewrong. Guys are great. I'm a huge fanof guys. You don't get knocked up atsixteen being indifferent to guys. Butbabe, guys are always going to bethere. This school isn't. It's moreimportant. It has to be more important.

RORYPlease, let me go to sleep.

LORELAIYou've always been the sensible one inthis house. I need you to remember thatfeeling now. You will kick your own asslater if you blow this.

RORYWell, it's my ass.

LORELAIOkay, you know what? We've always had ademocracy here. Nothing happened unlesswe both agreed.

(MORE)


43/57

LORELAI (CONT'D)But this time I'm gonna have to playthe "Mom" card.

She stands up.

LORELAI

You're going to Chilton. I don't carewhether you want to or not. Mondaymorning you will be there, end ofstory.

RORYWe'll see.

LORELAIYes, we will.

Lorelai exits the room. Rory turns on her CD player. MacyGray's "I Try" plays as Rory lays there miserable.

INT. LORELAI'S BEDROOM - NIGHT

Lorelai enters and slams the door. She turns on her CDplayer. The same Macy Gray song, "I Try", plays as she liesdown on her bed miserable.

FADE OUT:

END OF ACT THREE


44/57

ACT FOUR

FADE IN:

INT. INDEPENDENCE KITCHEN - DAY

A team of burly men are moving an enormous stove out of thekitchen. Black smoke pours from it. Lorelai is signing aclipboard full of papers. A very distraught Sookie standsnext to her.

SOOKIEI swear, I don't know what happened.

LORELAIIt's not important.

SOOKIEI've made that dish a hundred times.It's never exploded.

LORELAIIt's fine.

SOOKIE(tearing up)

Oh God, I killed a Viking.

Lorelai hands the delivery man back his clipboard. He exits.

SOOKIEYou should fire me. Or at least takethe cost of the new stove out of mypaycheck.

LORELAIWhatever you want.

SOOKIEI can't afford to pay for a new stove.Those things are expensive.

LORELAISookie, please, I'm begging you, pullyourself together because I got nosleep last night and I think I put mypantyhose on backwards.

SOOKIERory's still mad at you?

LORELAIHey, I'm not so crazy about her either.


45/57

SOOKIEIt was just a fight. Mothers anddaughters fight.

LORELAINo. We don't fight. We never fight.

Michel enters.

MICHELYou told me to inform you when yourdaughter arrived. Well, she's here andshe's sitting in my chair.

LORELAII'll be back in minute.

Lorelai rushes out of the kitchen. Michel looks at the emptyhole where the stove once stood, and then at Sookie.

MICHEL

And you're the one left standing.Life's a funny, funny thing, no?

INT. FRONT DESK - DAY

Rory is sitting in a chair reading. Lorelai walks over.

LORELAIHey, no muumuu today. You know what'sweird? I kind of miss it.

RORYYou left me a note to meet you here.

LORELAIYeah, I thought maybe you could helpout for a couple of hours. We've gotthis wedding tomorrow, things arecrazy. You could make a little extracash.

RORY(goes back to her reading)

Fine.

LORELAISo, are you going to give me the "mommydearest" treatment forever?

RORYYou wanted me here, I'm here. Should Ido something, or what?

LORELAI(fed up with her)

Yeah. Go home. Dinner's at seven.(MORE)


46/57

LORELAI (CONT'D)Be ready to go.

RORYFine.

Rory exits. Lorelai looks after her. Michel comes over.

MICHEL(happily)

Ah, my chair.

He sits at his chair. Lorelai goes in the back office andslams the door.

EXT. ORNATE DOOR - NIGHT

The huge ornate door fills the screen. We pull back to find anow very dressed up Lorelai and Rory standing there. As usualLorelai is holding a unusually large container of coffee. Theweather's cold but Lorelai still won't ring the bell. They

stand there a beat. Finally Rory speaks.

RORYSo...do we go in or stand herereenacting the "Little Match Box Girl"?

LORELAIOkay, look, I know you hate me. I'm themost horrible woman in the world.Message received. But I need you to becivil me, just for dinner. And then onthe way home you can pull a Menendez.Deal?

RORYFine.

LORELAI(mumbling to herself)

Fine. Everything's fine. That's herfavorite word lately.

Lorelai rings the bell. The door opens. Emily answers,looking even more regal then she did before.

EMILYWell, you're right on time.

LORELAIYeah, no traffic at all.

Lorelai and Rory enter.

INT. ENTRY WAY - CONTINUOUS

Lorelai and Rory enter.


47/57

EMILYI can't tell you what a treat this isto have you girls here.

LORELAIYeah. We're pretty excited, too.

Emily looks at Lorelai's coffee container.

EMILYIs that a collector's cup or can Ithrow it away for you?

LORELAIOh, I can do it. She starts to drop thecup into a small waste basket.

EMILYIn the kitchen, please.

LORELAI

Right. Sorry.

EMILYRory. Just let me look at you. You arejust exquisite. Look at that skin. Oh,it's so good to see you.

Emily gives Rory a long hug.

RORYIt's good to see you too, Grandma.

Lorelai and Rory take their coats off and hang them up.

EMILY(grabbing Rory's hands andleading her into the livingroom)

So, I want to hear all about Chilton.

RORYWell, I haven't actually started yet.

They exit into the living room. Lorelai drops her cup intothe forbidden trash can and follows them in.

INT. LIVING ROOM - CONTINUOUS

Richard is sitting reading a paper. Emily and Rory enter withLorelai right behind them.

EMILYRichard, look who's here. He glancesup.


48/57

RICHARDRory. You're tall.

RORYI guess.

RICHARD

What's your height?

RORYFive eight.

RICHARDThat's tall. She's tall. He goes backto his paper.

LORELAIHi, Dad.

RICHARDRory. Your daughter's tall.

RORYYeah. It's freakish. We're going tohave her studied at M.I.T.

Emily goes to the bar and starts pouring champagne.

EMILYChampagne anyone?

LORELAIChampagne. Wow. Fancy.

EMILYWell, it's not every day that I have mygirls here for dinner on a day thebanks are open...A toast.

She hands a glass to Lorelai and a glass to Rory.

EMILYTo Rory entering Chilton. And anexciting new phase in her life.

RICHARD(still reading the paper)

Here, here. They all toast and take asip of champagne.

EMILYThis is so exciting. An education isthe most important thing in the world,after family.


49/57

LORELAIAnd pie.

Emily and Richard look at her.

LORELAIJoke.

EMILYAh.

The room sinks into silence with Lorelai and Emily avoidingeach others eyes. Without looking up Richard hands Rory partof the paper.

INT. DINING ROOM - NIGHT

The dining room is formal and a bit Citizen Kane-ish. Severallarge silver platters with domed lids have been set on thetable.

EMILYRory, how do you like the lamb?

RORYIt's good.

EMILYToo dry?

RORYNo.

EMILYTina always leaves it in too long. I'llhave her make something else.

RORYPlease don't. It's fine.

EMILYWell, alright then.

Beat.

LORELAIThe potatoes are a little salty though.

EMILYExcuse me?

RORY(jumping in)

So, Grandpa, how's the insurance biz?


50/57

RICHARDPeople die, we pay. People crash cars,we pay. People lose a foot, we pay.

LORELAIWell, at least you've got your newslogan.

RICHARDAnd how are things at the motel?

LORELAIThe inn. They're fine.

EMILYLorelai is the executive manager now.Isn't that wonderful?

RICHARDSpeaking of which, Christopher calledyesterday.

LORELAI(incredulous)

"Speaking of which"? How is that a"speaking of which"?

RICHARDHe's doing very well out in California.He's got his own practice now.

(to Rory)He's a very talented man, your father.

LORELAIShe knows.

RICHARD(to Rory)

Always was a smart one, that boy. Youmust take after him.

Rory shoots a look at her mother nervously. Lorelai's pissed.

LORELAISpeaking of which, I'm going to get aCoke...or a knife.

Lorelai exits into the kitchen.

INT. KITCHEN - CONTINUOUS

The kitchen is huge, with state-of-the-art restaurant qualityappliances. There are dirty pots pans everywhere. Tina, themaid, is piping whipped cream on the dessert. Lorelai enters,fuming. She paces around trying to figure out what to donext. She spots a sink full of dishes. She grabs a pair ofrubber gloves and furiously starts to wash them. Lorelailooks over at the stunned maid.


51/57

LORELAI(gruffly)

Hey, how're ya doing?

She continues to scrub like a mad woman.

INT. DINING ROOM - NIGHT

Emily and Richard continue to eat. Rory stares at the kitchendoor. She starts to get up.

RORYI think I'm going to go talk to...

EMILYNo. I'll go. You stay and keep yourGrandfather company.

Rory sits down reluctantly. Emily goes into the kitchen.

INT. KITCHEN - SAME TIME

Emily enters to find Lorelai at the sink.

EMILYLorelai, come back to the table.

LORELAIHe's a piece of work, my father.

EMILYHe didn't mean anything by that.

LORELAIIs this what it's going to be likeevery Friday night? I come over hereand let the two of you attack me?

EMILYYou're being very dramatic.

LORELAIDramatic? Were you at that table justnow?

EMILYYes, I was, and I think you took whatyour father said the wrong way.

LORELAIHow could you take that the wrong way?What was left open to interpretation?

INT. DINING ROOM - CONTINUOUS

Richard persues the paper as Rory stares at the kitchen door.You can clearly hear the conversation going on inside.


52/57

EMILY (O.S.)Keep your voice down.

LORELAI (O.S.)No. I can't take it anymore. Tonighthas been like a nightmare.

EMILY (O.S.)You're dripping all over the floor!

LORELAI (O.S.)So, sue me. Hire Christopher to be yourlawyer. That would be cozy!

Rory is starting to get uncomfortable.


LORELAIWhy do you pounce on every single thingI say?

EMILYThat's absurd. You've barely uttered aword all night.

LORELAIThat's not true.

EMILYYou said "pie".

LORELAIOh, come on.

EMILYYou did. All I heard you say was "pie".

LORELAIWhy would he bring up Christopher? Wasthat necessary?

EMILYHe likes Christopher.

LORELAIWell, isn't that interesting? Becauseas I remember, when Christopher got mepregnant, Dad didn't like him so much.

EMILYOh well, please. You were sixteen. Whatwere we supposed to do, throw the twoof you a party? We were disappointed.The two of you had such bright futures.


53/57

LORELAIYes. And by not getting married we gotto keep those bright futures.

EMILYWhen you get pregnant, you get married.A child needs a mother and a father.

LORELAIMom, do you think Christopher would bea lawyer right now if we had gottenmarried? Do you think he'd be anythingat all?

EMILYYes, I do. Your father would have puthim in the insurance business and you'dbe living a lovely life right now!

EMILYThat's right. Far away from us.

LORELAIOh, here we go.

EMILYYou took that girl and completely shutus out of your life. You moved, youwouldn't accept our help, our money...

LORELAIYou wanted to control my life.

EMILYYou were still a child.

LORELAII stopped being a child the minute thestrip turned pink, okay? I had tofigure out how to build a life. I founda good job...

EMILYAs a maid. With all your brains andtalents.

LORELAII worked my way up. I run the placenow. I built a life on my own. With nohelp from anyone.

EMILYAnd think of where you would've been ifyou had accepted a little help, hmm?And where would Rory have been?


54/57


The voices are crystal clear.

EMILY (O.S.)If it weren't for your ridiculous prideyour life could've been better. But no.

You were too proud to take anythingfrom anyone. You were always too proudto accept anything from anyone.

LORELAI (O.S.)I wasn't too proud to come here to youtwo, begging for money for my kid'sschool, was I?

Rory looks up, stunned. This is big news to her.


EMILY

No, but you're too proud to let herknow where you got it from, aren't you?Well, fine. You have your preciouspride. And I have my weekly dinners.Isn't that nice? We both win.

Emily exits back in to the butler's pantry. Lorelai standsthere exhausted.


Rory doesn't know what to do now. She turns toward herGrandfather. ANGLE ON: Richard. His head dropped. He's fastasleep.

INT. CAR - NIGHT

Lorelai drives silently. Rory looks at her mother a beat.

RORYSo...you want to get a cup of coffee?

LORELAIDesperately.

INT. LUKE'S - NIGHT

Lorelai and Rory enter. They sit at their usual table.

RORYSo, nice dinner at the grandparentshouse.


55/57

LORELAIYep. Her dishes have never beencleaner.

RORYYou and Grandma seemed to have a nicetalk.

LORELAIHow much did you hear?

RORYOh, not much. You know, snippets.

LORELAISnippets.

RORYLittle snippets.

LORELAI

So you heard everything.

RORYBasically. Yes.

LORELAI(sighs)

Well, the best laid plans.

RORYI think it was very brave of you to askthem for money.

LORELAII so do not want to talk about it.

RORYHow many meals is it going to take tillwe're off the hook?

LORELAII think my funeral will be the lastone.

(beat, then realizing)Oh, wait, does this mean...

RORYI can't let a perfectly good plaidskirt go to waste.

LORELAIYou won't be sorry.

Luke comes over. He's dressed in a clean button up shirt anda good pair of 501's. He cleans up good.


56/57

LORELAIWow. You look...nice. Really nice.

LUKEOh, I had a meeting earlier. At thebank. They like collars. You look nicetoo.

LORELAIYeah, well, I had a flagellation to goto.

LUKESo, what'll you have?

LORELAICoffee. In a bowl.

RORYI'll have Coffee also. And chili fries.

LUKEThat's quite a refined palate you gotthere.

Luke walks off. Lorelai watches him go a beat. She then turnsback to Rory.

LORELAIBehold the healing powers of a shower.

(turning back to Rory)So.

RORYWhat?

LORELAITell me about the guy.

RORYYou know what's really special aboutour relationship? The totalunderstanding about the need for one'sprivacy. I mean, you really understandboundaries.

LORELAI(beat)

So, tell me about the guy.

RORYMom...

LORELAIIs he dreamy?


57/57

RORYOh, that's so Nick at Nite.

LORELAII'm going to find out anyhow.

RORY

Really, how?

LORELAII'll spy

Luke brings over the coffee and the fries.

LUKEFries and coffee. I can't stand it.This is so unhealthy. Rory, please, putdown that cup of coffee. You do notwant to grow up to be like your mom.

RORY

Sorry. Too late.

Lorelai smiles at Rory, then sips her coffee happily as we:

FADE OUT:

END OF SHOW

Gilmore Girls 1x01 - Pilot

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Transcript of Gilmore Girls 1x01 - Pilot