A step-away is in order. Give some thought to remaining beats, given shifting form. This is coming together, close to right about halfway point.
EXT. FOREST - DAY
Shafts of high noon sunlight through ponderosa pines.
SOUND OF WOODPECKER PECKING SILENCED BY FAINT CUH LIP-CUH-LOP OF HORSE HOOVES, LOUDER before the riders in their saddles enter frame spread out in fan fashion, as if a search party at a leisurely pace.
They leave frame, CUH LIP-CUH LOP FADES to MOMENTS OF silence before WOODPECKER RESUMES.
EXT. AIRSTREAM TRADE WIND TRAVEL TRAILER IN CLEARING IN WOODS - DAY
SESS and CLAIRE, 50ish cowgirls from boots to hats, belt buckles and bandanas in-between, sit on a log bench outside the door, facing forest and the dirt driveway that emerges from it to end at adjacent carport.
Older Ford F-450 pickup with New Mexico plates shares the port with a Jeep CJ-7 with Oklahoma plates and old Husqvarna motorcycle.
Six-horse trailer with New Mexico plates stationed near a barn, corral and hitching post behind the Airstream, eight tents farther back among ponderosa pines.
EIGHT TEENAGERS OF MIXED GENDER tend to SIX SADDLED HORSES tied to the hitching post.
CLAIRE: How'd they meet
SESS: Sat next to each other on a flight from Denver to A-B-Q.
CLAIRE: What does Hunter do?
SESS: He's a writer.
CLAIRE: Of?
SESS: Fiction.
CLAIRE: A title I might recognize?
SESS: Foglost is his latest.
Claire, shocked, turns to Sess two beat before we HEAR THE ROVER'S ENGINE, moments before it comes into view out of the woods. They stand and watch Hunter drive to the carport as Jackie waves out the window. They wave back, walk to the Rover as Hunter, Chloe, Tom and Jackie walk to them.
CLAIRE: My dad's gonna shit when I tell him.
SESS: Send him a selfie.
CLAIRE: Do you think he'd be cool with it?
SESS: I asked. Jack says yes.
CLAIRE: Who's the cowboy to Hunter?
SESS: Surprise visitor's all I know.
Sess and Jackie open their arms to each other.
SESS/JACKIE: Cuz!
They embrace.
SESS: You made it.
JACKIE: Small fire delay at Sherwood.
SESS: Heard it on the radio.
CLAIRE: And saw it on the way in.
JACKIE: What a wonderful surprise.
They speak into each other's ear.
CLAIRE: Your friend is gonna be a helluva surprise to my dad.
JACKIE: How's he doing?
CLAIRE: Better. More later.
JACKIE: K.
CLAIRE: You're glowing.
JACKIE: It's the mountain light.
CLAIRE: Right.
Theyh break embrace.
JACKIE/SESS: So.
Sess nods to Jackie.
JACKIE (CONT.) Intro ductions. Cecilia, Claire, it is my pleasure to introduce you to Hunter, Chloe and Tom. Tom, Chloe and Hunter, meet Claire and my cousin Cecilia.
Exchange of variations of hellos and good to meet yous.
SESS: And it's Sess henceforth. So, Jacqueline told you what we have here with the horses and kids.
Hunter, Chloe and Tom nod.
TOM: It's a wonderful thing y'all are doin'.
SESS: Early into it and learning on the run but so far so good. So Tom, I'm gonna take a wild guess that this is not your first rodeo.
TOM: I been to a couple.
SESS: I'd bet maybe more like a few.
TOM: Probly a little closer to accurate.
CHLOE: Tom's a retired cattle ranch foreman.
SESS: More like a few I reckon.
TOM: Yes ma'am.
SESS: How 'bout we meet the ponies and youngsters and saddle up?
JACKIE: Let's.
Jackie, Sess and Claire lead Hunter, Tom and Chloe.
CHLOE: Did you ever do any real rodeo, Tom?
TOM: Little bit, when I was a kid. Whatcha might call junior rodeo.
CHLOE: Like baseball little league?
TOM: Somethin' like that.
CHLOE: What event or events did you do?
TOM: Well, started out barrel racin', if ya know what that is.
CHLOE: I do. Seems like the barrels never win.
All smile.
TOM: Well more'n a couple few got me along the way before I moved into tie-down ropin'.
CHLOE: That's the one the calves love so much.
TOM: I reckon it ain't their favorite thing.
CHLOE: No, I reckon that would be being branded.
All smile bigger.
TOM: My experience suggests otherwise.
CHLOE: Maybe it was for their own good?
TOM: Well, that's when we'd give 'em their vaccinations.
CHLOE: Maybe someday you can tell me more about cowboying.
TOM: Be happy to and try to not bore ya too much.
CHLOE: I don't see that happening, Tom.
HUNTER: I want in on this campfire.
JACKIE: Maybe a story on the way home?
TOM: Sure.
SESS: And at lunch?
TOM: If you'll gimme a category somethin' might come to mind.
CHLOE: The best and worst of it.
TOM: I'll give it some thought.
CHLOE: One more thing.
TOM: Yes ma'am.
CHLOE: For now anyway.
TOM: Alright.
CHLOE: Sess, might be there be a rope around that Tom could use to show me how to tie a honda knot?
SESS: I know right where it's coiled and waiting.
CHLOE: Tom?
TOM: Well, it's been awhile but I think it might come back to me.
CHLOE: Yay.
As they near the horses and teens, the palomino in the group swishes its tail and seems to fix its gaze on Tom. Sess and Claire shoot each other a look.
SESS: Tom, you'll be on Butter, he's the palomino.
TOM: Yes ma'am.
Butter keeps its gaze on Tom looking back at him and swishes his tail.
EXT. SOUTHWEST-STYLE COURTYARD - DAY
Adobe, Talavera tiles, fountain in a small square suggesting professional offices. DOC, mid-60s - moccasin-style slippers, new jeans, dress shirt, bolo tie, long silver hair in a tail - sits on a bench facing the fountain, writing notes on a yellow legal pad. When his PHONE DINGS he gets it from pocket, stares at a selfie both Hunter and Tom have taken where they stand with a carved wooden bear between them. He finally pockets phone, leaves courtyard.
INT. ROVER - DAY
Northbound on Highway 70 nearing White Sands National Park.
TOM: When's the last time you were on a horse?
CHLOE: A couple years in Costa Rica.
TOM: Vacation?
Chloe nods.
CHLOE: Spring break. We did a sunset ride on the beach.
TOM: We bein' who.
CHLOE: My mom and grandparents. How 'bout you?
TOM: Last time on a horse?
Chloe nods.
TOM (CONT.) A year ago at an annual event called Cheyenne Frontier Days. Rode in the parade.
HUNTER: With a group?
TOM: Yessir. V-F-dubya.
CHLOE: Were you in a foreign war?
TOM: Vietnam.
Pause.
CHLOE: Is that something you'd be willing to talk about sometime?
TOM: We can do that.
HUNTER: What branch, Tom?
TOM: U-S-M-C.
HUNTER: Drafted?
TOM: Yessir. Plan was army but I was told otherwise when I got to the induction center.
Dunes of White Sands National Park appear in the driver's side windows.
TOM (CONT.): I'm gonna take an educated guess that we're in the neighborhood of White Sands National Park.
CHLOE: Good guess. Have you ever been?
TOM: I have not. I bet you have.
Chloe nods.
HUNTER: I thought we might shoot for stopping in for the sunset on the way home.
JACKIE: Yay.
HUNTER: You up for that, Tom?
TOM: Sure am. Maybe get a nice picture to send Wanda and Ruthie.
CHLOE: I brought a pretty good camera.
TOM: Probly better than my phone's.
CHLOE: Probably.
TOM: Thanks.
CHLOE: Sure.
She uses her phone to take a picture of Tom looking out the window at the dunes.
EXT. WINERY/VINEYARDS - DAY
Rural rustic amid rolling hills. Half-empty parking lot.
PATRONS seated at outside tables under shade include John and Jan, staring at the San Augustin Pass photo that fills laptop screen. Glasses of white wine and bottle on table.
JAN: Now what?
JOHN: We forward Cedric's email to Barb, she forwards to Hunter, Hunter asks him if he's ever met a marine captain named Cedric Turner in Vietnam.
They swirl and sip simultaneously.
INT. READING ROOM - DAY
Loaded bookshelf, chair with lampstand in corner near window to Texas Redbud tree in fenced yard. Phone and Foglost page-marked on the lampstand, framed oil-on-canvas painting of field of bluebonnets among oaks. Braided oval rug on hardwood. FLOOR CREAK before Ruth enters with framed San Augustin pass photo, sets it on shelf next to the Hunter, Tom and Chloe lemonade photo, near Hunter's books, smiles at it, sits at chair, opens Foglost to near the end, reads, turns page.
INT. CAFE- DOWNTOWN LARAMIE - DAY
Business busy, MURMUR OF PATRONS, FAINT COWBOY INSTRUMENTAL MUSIC, gingham table clothes, framed local landscape paintings
HOSTESS, PHOEBE by her name tag, 25, menus in hand, walks Wanda and Daisy into frame and table at window to PEDESTRIANS on sidewalk, parked cars with Wyoming plates, and the shops across the street.
Wanda and Daisy, set purses on table, take their seats.
HOSTESS: Your waiter will be here in a moment.
DAISY/WANDA: Thank you.
Hostess leaves.
WANDA: Wanna see a selfie?
Daisy nods vigorously, they scoot closer together, Wanda gets phone from purse, shows Daisy the lemonade selfie Chloe took with Hunter and Tom. They stare at it.
DAISY: So tell me everything you know about her.
WANDA: She's seventeen, lives in San Luis Obispo with her mother Barbara, is about to start her senior year, scholar and surfer. Barbara's parents John and Jan are retired attorneys in Paso Robles. Last night she made a vegetarian casserole that Tom is going to get the recipe for. Today they're going on a horseback ride with Hunter's girlfriend Jackie, a history professor at New Mexico State University there in Las Cruces.
WANDA'S PHONE CHIRPS. She picks up, stares at selfie Chloe has taken with Hunter, Tom, and Jackie bunched together at San Augustin Pass parking area.
DAISY: We've been there. Clem and I.
WANDA: Where is there?
DAISY: San Augustin Pass on highway seventy between Las Cruces and Alamogordo, between the Organ Mountains and the San Andres Mountains. If I recall correctly.
WANDA: What were you doing there?
DAISY: On the way to White Sands with friends we had in El Paso. That's what's called the Tularosa Basin in the background. She's radiant.
WANDA: She is.
DAISY: And look at Tom's smile.
WANDA: I am.
WAITER, GREG by name tag, 21, arrives.
WAITER: Good morning, ladies.
DAISY/WANDA: Good morning.
WAITER: I am Greg, per the nametag. Have you had a chance to look at the menu?
WANDA: We know what we want, Greg.
WAITER: Alrighty then.
WANDA: I'll have the French toast and coffee.
WAITER (WRITING ON PAD): French and coffee.
He looks to Daisy.
DAISY: I'LL the eggs over easy and hash browns, crispy, and a coffee.
WAITER (WRITING): Over and crisp hash, coffee. Ice water with coffee?
DAISY/WANDA: Yes.
WANDA: And I'll add an orange juice.
DAISY: Second that.
WAITER: O-J times two.
WANDA/DAISY: Thank you.
WAITER: My pleasure. So who knows H-C Hardyn?
Wanda and Daisy look at each other, at waiter.
WAITER: The man in the photo who isn't the cowboy is a best-selling author, in case you didn't know and unless that's H-C Hardyn's doppelganger. Hardyn with a Y. And yes, I am being absolutely none-of-my-business nosey.
WANDA: How do you know him?
WAITER: I'm an English major at the U. I wrote a paper on Isleton last semester. I'm re-reading Yubaville before I start his latest novel Foglost. How do you know him?
WANDA: I don't. My husband, the cowboy, just met him.
WAITER: Cool. Sorry if I was intrusive, which of course I was.
WANDA: Not at all.
WAITER: B-R-B with your water, coffee and O-J.
He leaves. Wanda and Daisy look at each other, then back at the photo.
DAISY: Small world.
WANDA: Getting smaller.
EXT. MOUNTAIN CABIN IN WOODS - DAY
EDIT 6/614 Cedric does NOT know “Travis,” he knows a “Tom Walker from Bandera Texas.”
RUTH: How.
Etc
CHANGES JOHN/JAN WINERY
———-
Deck aimed at meadow, footpath through which into Lodgepole Pine forest. Grill, table and chairs, fire pit, telescope, bench swing. Sliding glass door to master bedroom behind KATE and CEDRIC, fit 70-somethings, in chairs with small table between them. Their phones, pitcher of water and their half-empty glasses on table. Both in jeans, running shoes, unbuttoned flannel of t-shirts. Kate's attention is aimed at her laptop, Cedric turns a page halfway through Foglost.
INTERMITTENT WARBLER SONG throughout.
CEDRIC: Do we know if Hunter drinks or drank.
Kate looks up, smiles at him, squeezes his hand.
KATE: Your first do we know.
He winks.
CEDRIC: I was waiting until we were married.
They kiss.
KATE: Why do you ask?
CEDRIC: A character in the book.
KATE: We know that he did, we are pretty certain he no longer does. He looked great at John's birthday. Clear eyes, working out.
CEDRIC: When will I meet him?
KATE: Chloe's graduation for sure. Which reminds me that she's at Hunter's for the rest of her summer. I think she arrived yesterday. Hunter's renting a motorcycle for a tour, the route of which I don't remember but I think Flagstaff is a stop.
Her PHONE RINGTONES THWACK OF CLUB ON GOLF BALL AND MAN YELLING FORE!
She picks up.
KATE: Hey.
He's right here in the middle of Foglost.
(Her face expresses surprise.)
Wow. I'm speechless, John.
Do we know his middle name?
Well send the picture.
Okay. Call me when you hear more.
Love you too.
(She sets phone.)
CEDRIC: Kate? What's wrong?
KATE: I don't know if anything is wrong. Yesterday I told you that Hunter's short story Honda Knot might get made into a movie.
CEDRIC: Yes. And you telling me that day in Dallas that the character Cade Satterwhite is based on what Hunter knows about his father, Tom Walker from Texas.
KATE: Good memory.
CEDRIC: Hard to forget.
KATE: It's Thomas Travis Walker from Bandera, Texas. He arrived at Hunter's yesterday. He and Hunter and Chloe are riding horses with Hunter's new girlfriend today.
CEDRIC (BEAT): Kate. I knew a man named Thomas Travis Walker from Bandera, Texas.
KATE (BEAT): How? When? Where?
CEDRIC: Vietnam.
Kate picks up when her PHONE BUZZES. She stares at and shows Cedric the lemonade selfie Chloe took with Hunter and Tom.
CEDRIC: Been awhile but I see the resemblance.
KATE: Would he know your name?
Cedric nods.
CEDRIC: If it's him. And unless he's forgotten saving my life.
They look at each other.
KATE: A story you'd be willing to share?
He nods.
CEDRIC: Let's take a walk.
She pockets phone, takes his hand. They walk to and enter bedroom, leave view.
Act 2
EXT. HUNTER'S DRIVEWAY - DAY
Tom's truck parked in driveway. GROAN OF GARAGE DOOR OPENING to reveal Hunter getting in behind wheel to back the Rover to the street, does so as Tom and Chloe loom at the Honda Gold Wing motorcycle.
TOM: Got a helmet?
CHLOE: Picking one tomorrow.
Chloe leads to the truck.
CHLOE (CONT.) Cool truck.
TOM: Like it?
CHLOE: Love the two-tone.
TOM: Ain't original paint but the same colors as when my dad bought it. This was his last truck.
Hunter parks, approaches.
CHLOE: Really?
TOM: Yes ma'am.
CHLOE: Can I see inside?
TOM: Course ya can. Need to get my sunglasses anyway.
Tom uses key to open door, gets aviator sunglasses from sleeve on driver's sun visor, steps back for Chloe to look as Hunter arrives.
HUNTER: Eighty-six.
TOM: Good. Eighty-seven.
CHLOE: This was Tom's dad's.
HUNTER: Really?
TOM: Yessir.
HUNTER: Nice dash.
TOM: Ain't original a course, like I was tellin' Chloe.
HUNTER: It's immaculate.
TOMz: I try to take care of it.
HUNTER: Can I hear the engine?
TOM: Sure.
He hands keys to Chloe.
CHLOE: Really?
TOM: It's the middle key.
Chloe starts the engine.
HUNTER: What is that?
TOM: Remanufactured Chevy five-seven vee-eight.
Chloe notices the early-90s Alfa Romeo Spider, top down, approaching from the direction Tom had arrived.
CHLOE: Along comes a convertible.
Hunter and Tom turn to see.
HUNTER: Heeere's Jackie.
Chloe turns of engine, gets out, hands keys to Tom as Hunter walks to street to guide JACKIE, 50ish, into the driveway as an aircraft marshaller guides a passenger jet to gate. Tom pockets keys, closes truck door, watches with Chloe as Jackie arrives and pull into driveway.
TOM: Sporty ride.
CHLOE: The Graduate.
TOM: How do you know that?
CHLOE: Extra credit U-S culture in cinema class last year.
Jackie, 50ish, hair in a tail under SKI APACHE ballcap, parks in garage, gets out meets Hunter's quick kiss, gets backpack from passenger seat, takes Hunter's hand.
JACKIE: And I was nervous about meeting Chloe.
HUNTER: Well she's nervous about meeting you. Ready?Z
JACKIE: No.
HUNTER: Great. Let's go.
They walk to Tom and Chloe walking to them.
HUNTER: So. Jackie, it's my pleasure to introduce you to Chloe and mister Tom Walker.
Jackie extends hand to Chloe.
JACKIE: Chloe, it's great to finally meet you.
CHLOE: Mutual, Jackie.
They shake. Jackie extends hand to Tom.
JACKIE: Mister Walker, I'm happy you're able to join us today.
TOM: Pleasure's mine and thank you - thank y'all - for havin' me along.
JACKIE: We have another surprise visitor late edition in my cousin's partner, who'll be arriving right about when we do.
HUNTER: The more the merrier, right?
JACKIE: In this case absolutely.
HUNTER: Ready?
JACKIE: Let's go.
Hunter uses remote to CLOSE GARAGE DOOR, leads to the Rover, opens front passenger door for Jackie, Tom and Chloe use their respective doors to get in back, Hunter gets in behind wheel, all buckle up, Hunter starts engine, drives away out of view in the direction Tom had driven to hide behind neighbor's house.
EXT. HUNTER'S PATIO - NIGHT
Hunter, Tom and Chloe seated at tables, remnants of dinner on plates and silverware pushed to center near glass pitcher of ice water. Each with half-empty glasses at hand. Tom's hat on back of chair. Starry sky.
HUNTER: So do you and Wanda have plans for your twenty-fifth?
TOM: We do. Goin' to Hawaii.
CHLOE: That's cool. Which island or islands?
TOM: Oahu. Doin' Waikiki the first few nights, last few in a place called Kailua, if I'm sayin' it right.
CHLOE: You are. That's where I learned to surf.
TOM: Wanda don't believe it but I'm takin' a lesson at Waikiki.
CHLOE: Great place to learn.
TOM: That's what I been readin'. Figure I'll do plenty a fallin' before I get the hang of it but I'll already be wet and it's gotta be a softer landin' than comin' off a horse. Did you take a lesson and how old were ya?
CHLOE: Twelve. My mom taught me. Have yiu been before?
TOM: No ma'am. First time for both of us.
CHLOE: That's great. Excited?
TOM: We are. Not so much about the flyin' part but that's part a the package. Where do you surf outta San Luis Obispo?
CHLOE: Pismo, Morrow Bay, sometimes farther up or down the coast.
TOM: I reckon the water's a little colder than Hawaii.
CHLOE: You have to wear a wetsuit. Speaking of cold, what's the coldest Laramie gets?
TOM: Plenty cold enough, then add the wind. It'll keep ya inside. Below zero most a the winter. Been as low as fifty below.
CHLOE: Kerrville's probably a little milder.
TOM: A lot milder. Lows in the thirties. Above. Usually warmer. Sometimes a little colder but that's mostly rare. Nothin' ya can't layer up to take a walk in. Darn near tropical compared to Laramie. Not so tropical that we won't have a fireplace.
CHLOE: Maybe tropical enough in the summer.
TOM: Warmer and stickier for sure but we'll take the trade. You prob'ly got it pretty good weather-wise in San Luis Obispo.
CHLOE: I'm spoiled. But I have been in twenty-below.
TOM: Where and when?
CHLOE: Two Christmases ago at my aunt Kate and her husband Cedric's house in Wilson, Wyoming.
TOM: Alright.
CHLOE: Before they were married.
HUNTER: Kate is John's sister.
TOM: Okay.
CHLOE: You've probably been to Wilson.
TOM: I have. Usually for fishin' with my friend Clem whose wife Daisy is who Wanda's stayin' home with.
CHLOE: Cedric fishes.
HUNTER: They share a trout creek with a neighbor.
CHLOE: Well that works alright.
HUNTER: You fly fish.
TOM: Yessir. You ever do any fishin'?
Hunter shakes his head.
TOM (CONT.): Think you'd be interested in givin' it a shot sometime?
Hunter nods.
CHLOE: I wanna come.
TOM: Hope y'all can when we're settled into Kerrville. Room'll be watin'. My friend Gil's got a boat we'll put on the lake.
CHLOE: What lake?
TOM: Medina. Which is actually reservoir, if ya wanna look it up.
CHLOE: I will.
TOM: Well folks, I hate to be a party-pooper but it's a little past our bedtime so I reckon I'll be a party-pooper and get on to bed after I call and get 'em caught up, per my standin' orders from both.
Tom stands, puts on hat.
CHLOE: Did you send them the selfie I took?
TOM: I did. I'm sure they both got framed and placed by now. Maybe we could take one or two more before I leave in the mornin'.
Chloe nods.
HUNTER: I'm up with the sun and right here with coffee so pour a cup and join me if you're up.
TOM: I do the same every mornin'. You got a date. Chloe, another thing before I leave is that casserole recipe. That was delicious.
CHLOE: Thank you. I'm glad your liked it.
Tom tips his hat.
TOM: Goodnight, y'all.
CHLOE/HUNTER: Goodnight, Tom.
Hunter watches Chloe watch Tom walk to kitchen, stop and turn to them.
TOM: Hunter, I hope you don't mind signin' my copy a Foglost.
HUNTER: I'd be very happy to, Tom. On the condition that you sign the guest book.
Tom nods.
TOM: I plan to.
HUNTER: Thanks.
TOM: Thank y'all. I won't forget this.
HUNTER: Neither will we.
Hunter and Chloe watch Tom continue to kitchen and out of view.
CHLOE: Dad?
HUNTER: Daughter.
CHLOE: Assuming Jackie's cousin could wrangle another horse...and that Jackie and her cousin are okay with the idea...
HUNTER: Would you be okay with Tom coming along, assuming he can and would like to?
Chloe nods. Hunter picks up phone, speaks into it.
HUNTER: Jackie.
Right here across the patio table from me.
We are absolutely still on. The reason I called, by the way.
END Act 1
EXT. JOHN AND JAN'S MASTER BEDROOM DECK - SUNSET
John and Jan in rockers on deck with view to last light of day on handsome homes on big lots in rolling hills dotted with oak trees. sliding glass door to master bedroom behind them. OCCASIONAL CRICKET CHIRP throughout. They swirl and sip at the same time.
JAN: Have you told Kate?
JOHN: Tomorrow after we hear more.
Long pause.
JAN: Have you ever talked to Hunter about him?
JOHN (BEAT): Sort of. Briefly. And mostly listened. He'd had a couple drinks, brought it up out of the blue and dropped it just as abruptly. I thought to pursue but did not.
JAN: When was this?
JOHN: A few weeks before the wedding. You and Kate and Barb went to Sausalito.
JAN: I remember. You and Hunter went for a drive in the Boxster.
JOHN: We did.
JAN: To Bodega.
JOHN: Good memory.
JAN: Do you remember how he brought it up?
JOHN: He asked about my relationship with my dad.
JAN (TWO BEATS): I'm sorry, John, you told me this.
JOHN: I thought I might have.
JAN: You stopped at the shack for oysters
JOHN: Yep. Hunter drove down, I was driving back so he asked if I minded if he had a couple drinks.
JAN: You said he had a few margaritas.
JOHN: Four over the course of the hour I nursed my beer.
JAN: He told you about a dream he had but I don't remember the details.
JOHN: Neither do I other than something about a cattle drive river crossing and a cowboy across a fire from him. And the sadness in his eyes as he looked off into space after telling me the dream before suddenly gulping back his margarita, setting his glass heavily on the table, standing and excusing himself to the restroom and saying he was ready to go whenever I was. Halfway to the restroom he turns around, looks at me and nods. Says, John boy, sure as shucks, that's him.
Both startled when their PHONES RINGTONE The Beach Boys' Little Surfer Girl. They pick up and stare at the Tom and Hunter lemonade patio selfie Chloe took. They show each other the same photo, look at their phones as the sun disappears behind a hilltop.
INT. MASTER BEDROOM - SUNSET
Barbara and Brian naked under sweat-soaked sheet in bed aimed at hillside big window to Pismo Beach and homes lower on the hill.
BRIAN: So would you be willing to paint a clearer picture of Tom, Olivia and Elvis and some of the specifics of how Hunter came to be, other than the obvious?
BARBARA: Of course. And, by the way, it's all in Hunter's short story, Honda Knot.
BRIAN: I'll read it.
BARBARA: Rumor is it may be coming to a theater near us in the not so distant future?
BRIAN: Really?
BARBARA: More on that after you read it.
BRIAN: K. Reno.
BARBARA: Reno. Tom, speaking of Honda Knot, was coming off the end of a job on a cattle ranch.
BRIAN: Cowboy?
BARBARA: From Texas, but no idea where. More on that later, I reckon. A cowboy in town for a few days before catching a plane to L-A to meet a friend for a fishing excursion in Baja. Didn't even know Elvis was in town. Olivia had tickets with a friend, the friend got sick, Olivia drove up from where she lived in Marysville, stayed at Fitzgerald's. Tom stayed at The Sundowner. Both may well be no longer. How much time do we have?
BRIAN: Ten minutes, tik tik tik.
BARBARA: They bumped into and spilled their beers on each other, beginning an exchange that led to Tom inviting Olivia for a ride around Lake Tahoe the next day.
BRIAN: Thanksgiving.
BARBARA: Olivia would have gone home to be with her mother and father but they were out of town for a funeral.
BRIAN: What town?
BARBARA: Auburn. Her father Ed was a retired civil engineer for Sacramento County, her mother Carol retired from the postal service.
BRIAN: They had Olivia when they were older.
BARBARA: They adopted Olivia when she was two.
BRIAN: Oh.
BARBARA: More on that, the Tahoe drive and a night in Carson City on the way.
BRIAN: Can't wait.
BARBARA: In case you ever wondered what Hunter's middle name is.
BRIAN (BEAT): No.
BARBARA: Yes. Proof enough that it was a memorable evening.
They exit sheets and frame naked on their sides of the bed.
INT. HUNTER'S KITCHEN - DAY
Tom sitting at patio table, right leg crossed over left, arms crossed at wrists at rest on right knee, cigarette in right hand. Hat and phone on table, gaze aimed toward ground ahead of him.
SOUND OF DOOR OPENED, SHUT, FOOTSTEPS NEARING.
HUNTER (O.S.): Tom?
Hunter enters with grocery bag, Chloe right behind, backpack slung over shoulder. Hunter sets bag, Chloe sets backpack on center island, from behind which she and Hunter stare at Tom, who takes a drag off his cigarette.
CHLOE: The Marlboro man in winter.
HUNTER: He smoked Chesterfields.
CHLOE (BEAT): I'm pretty sure you never told me that.
HUNTER: I just now remembered. How odd I'd have forgotten.
CHLOE: You'll show him the photos.
HUNTER: I will.
CHLOE: Maybe you've noticed his sitting style.
HUNTER: I have.
CHLOE: How odd.
HUNTER: Mere coincidence of course.
CHLOE: Of course.
Tom sits up, notices them, extinguishes cigarette on boot sole, sticks butt in shirt pocket.
HUNTER: Show time.
EXT. PATIO
Tom stands, watches Hunter wave and lead Chloe through door and toward him, Chloe slightly behind Hunter, semi-shield.
HUNTER: Hey there.
TOM: Howdy.
HUNTER: Sorry so tardy, bad accident at the ten twenty-five split.
TOM: Ain't no tardy to it, just been enjoyin' your fresh air.
HUNTER: Did you show yourself around?
TOM: I did. Ya got a real nice place here.
HUNTER: Tom, I'd like to introduce you to Chloe, my daughter.
TOM: Hello, Chloe.
CHLOE: Hello.
TOM: I'm sorry for interruptin' your time with your dad.
CHLOE (BEAT): It's alright.
HUNTER: Tom, would you be up for some fresh lemonade?
TOM: Well, if y'all are and it ain't no trouble -
CHLOE: It isn't. I'll get it started.
She looks to Hunter, who barely nods.
CHLOE (CONT.): If you'll excuse me, Tom.
TOM: Yes ma'am. Thank you.
Chloe nods, leaves into kitchen, visible at the center island as she gets lemons from bag, leaves view with bag.
HUNTER: She's shy and nervous.
TOM: Like me. .
HUNTER: But will have a question or two for you about my mom.
TOM: I'll any and all questions y'all got best as I can remember things.
HUNTER: What moved you to search for her and when did you?
Chloe appears at center island with all ingredients, begins making lemonade, aimed at Tom and Hunter.
TOM: My wife and I was talkin' about where to go for our twentieth anniversary. She brought up Lake Tahoe. She'd never been. Asked if I had. I told her yes, which eliminated Tahoe 'cause we wanted to go somewhere neither of us had been. But she asked about the circumstances of my time there. Told her I was passin' through from the end of a job in the Elko area on my to the airport for a flight to Los Angeles to meet a friend for a drive to Mexico and fishin'. She asked where I stayed. The Sundowner for three nights. Asked if I did anything particularly memorable. Told her I went to see Elvis at was called Centennial Coliseum. She looked it up her laptop, seen he'd been Thanksgivin' Eve of seventy-six. She was surprised I'd never mentioned it. I told her everything. She was pretty quick to start lookin' for Olivia Hardyn. Little longer to find her obituary.
HUNTER: Where?
TOM: Sacramento Bee archives.
HUNTER: What's her name and how long have you been married?
TOM: Wanda. Comin' up on our twenty-fifth in October.
HUNTER: Kids?
TOM: Wanda had a son from a previous marriage. Drowned when he was fourteen.
HUNTER: You?
TOM: No previous marriage, no other kids that I know of.
HUNTER: She knows you're here.
TOM: She does. Called her and my sister. Both more than just a little surprised.
HUNTER: What's your sister's name?
TOM: Ruth. On my way to her house in Comfort, Texas.
HUNTER: Other siblings?
TOM: No sir.
HUNTER: Parents living?
TOM: No.
HUNTER: What if I hadn't recognized your name?
TOM:.I'da been a little turned around askin' how to get back to Drippin' Springs Road.
HUNTER: No G-P-S?
TOM: I'da been fibbin'. Didn't have no plan other than to take a picture of your place, then when ya seen me, well...I didn't wantcha to think you had some sorta stalker on your hands.
Chloe comes out with three glasses of iced lemonade and sugar container and stir-stick on a platter she brings to table.
CHLOE: Tom, sugar if you'd like to add. Sorry we're all out of sassparilla.
Tom and Hunter smile.
TOM: When's the last time you had a sassparilla?
CHLOE: I have yet to make that encounter. When's the last time you had one?
TOM: Bout this time a year ago at Cheyenne Frontier Days. I'll add a dash.
He adds a dash of sugar to his lemonade, stirs it with the stir-stick Chloe hands him.
HUNTER: A toast?
All look at each other.
CHLOE: To this.
Hunter and tom nod. Hunter raises glass, Tom and Chloe raise theirs.
HUNTER/CHLOE/TOM: To this.
They drink. Chloe sets glass down, gets phone from pocket.
CHLOE: Tom, if you're camera shy you better duck now.
Chloe aims phone to take group selfie. Hunter and Tom lean into frame, raise glasses raised, Chloe takes picture they look at.
TOM: Any chance you could forward that to me? My wife and sister would sure be tickled.
CHLOE: A very good chance made more likely with your email and or phone.
Tom sets up phone for Chloe to enter as contact. Chloe does so, calls Tom, who picks up when his PHONE RINGS.
TOM: This is Tom.
CHLOE: This is Chloe. Tag. You're it.
They drink.
EXT. EL PASO INT'L AIRPORT SHORT-TERM PARKING LOT - DAY
Hunter toting roller-bag, Chloe with backpack, walking through the lot.
CHLOE: Do we know how he found out?
HUNTER: Found gramma's obituary, saw my name in the survived by, looked me up, found my date of birth, did the math, end quote. Found my Wiki page,
CHLOE: When?
HUNTER: Don't know, left it at that. Are you upset that I assumed you'd be okay with this?
CHLOE (BEAT): No. I trust your instincts. Besides which, you must feel some degree of confidence leaving your house to a stranger for three hours.
HUNTER: I have his plate number.
CHLOE: What's he driving?
HUNTER Guess.
CHLOE (BEAT): Pickup truck.
HUNTER: Check.
CHLOE: Cowboy?
HUNTER: From boots to straw Stetson.
CHLOE: Belt buckle?
HUNTER: Two linked turquoise horseshoes on silver.
Hunter aims key-remote at new Land Rover ('Rover" hereafter), CHIRP and LIGHTS FLASH.
CHLOE: And I was nervous about meeting Jackie.
HUNTER: Well Jackie's nervous about meeting you.
CHLOE: Horse day still on?
HUNTER: Still on. She'll be by around ten.
Arrive at Rover, roller-cart and backpack into back. Chloe front passenger, Hunter at wheel.
CHLOE: Dad.
HUNTER: Daughter.
CHLOE: You seem utterly unfazed.
HUNTER: When in fact I am utterly stupefied. Buckle up, sweetheart.
They buckle up, Hunter starts engine, backs out of frame.
Gil as previously with Foglost. Roberto and Rodrigo in the TV area, headphones on, attention on their respective laptops. FAINT SONG OF GOLDEN-CHEEKED WARBLER. Gil turns a page near the end, marks page, closes book when his PHONE CHIRPS. He picks up, stares at the Organ Mountains selfie we saw Tom take.
GIL: HÃjole.
He opens to the author flap at the back of the book. The medium shot of Hunter in plaid flannel looking back at the camera from where Tom took the selfie, snow on the peaks of the Organ Mountains behind him.
The blurb below reads:
H.C. Hunter is the author of two other novels, Yubaville and Isleton, and The Arroyo: short stories.
Maria in socks arrives in the entry way. Gil compares the two images, shakes his head, unaware of Maria's approach until she is behind him, looking over his shoulder at the images. He looks at her.
MARIA: Dad?
GIL: Maria.
MARIA: It looks like they're in the same spot.
Gil returns his attention to the images.
GIL: I agree.
MARIA: Same stone wall, right?
GIL: Very similar at least.
MARIA: At least.
MARIA: Do you think they are in the same spot?
GIL: It sure looks like it.
MARIA: Do you know if Tom has any connection to H.C. Hardyn?
GIL: I do.
MARIA: Can you tell me more about their connection?
GIL: I cannot.
He looks at her.
GIL (CONT.): Not now.
Maria nods.
MARIA: This is big, isn't it?
Gil nods.
MARIA: Mail run, anything going out?
Gil shakes head. Maria winks, leaves. Gil stares at the images.
FAINT WHIR OF CICADAS.
INT. HUNTER'S GUEST ROOM - DAY
Tom's suitcase on queen bed aimed at TV above dresser, his hat on rack near open door to hallway. Chair with lampstand in corner, sliding-door closet, framed Georgia O'Keeffe print TBD. Tom sits at desk with window to patio and back yard.
On desk: pencil and pen on guest book, etch-a-sketch, lamp, legal pad.
Tom stares out the window, tapping phone on desk, stops, speaks into phone.
TOM: Ruthie.
EXT. ROADSIDE PEACH STAND - DAY
Texas plates on the several vehicles in the makeshift dirt lot somewhat shaded by oaks. SHOPPERS picking out and bagging peaches, CLERK at register, ringing them up. RUTH, 70-something - tennis shoes, knee-length shorts, Austin City Limits t-shirt, visor - sets down her bag, gets PHONE RINGTONING Willie Nelson's instrumental Bandera from pocket.
RUTH: Howdy.
Fredericksburg peach stand, where are you?
(She listens, her face expresses surprise, she sits on a bench.)
I'm here. Disbelief. Wanda knows?
Wish I could have seen her face. Tommy, did you have this planned?
Okay. So now what?
I'm here, processing. So call me tonight and take pictures.
Love you too.
(She pockets phone. She shakes her head, finally rises, walks with peaches to older Volvo wagon, gets in, starts engine, drives away. FAINT WHIR OF CICADAS.)
HUNTER'S GUEST ROOM - DAY
Tom taps phone, stops, gets up, gets hat from rack when he leaves into hall. BOOTS KNOCKING ON HARDWOOD, FADING to silence moments before Tom steps into frame of desk window. He walks to stone wall, positions himself to take a selfie with the Organ Mountains as background, does so, pockets camera, gets pack of cigarettes from shirt pocket, takes one out, puts pack back, gets lighter from pants pocket, lights cigarette, smokes, taking in the scene. He walks out of frame in the direction he came from.
EXT. ELK MOUNTAIN TRADING CO. - ELK MOUNTAIN, WY - DAY
Wyoming plates on the newish Subaru wagon and a late-70s Chevy Blazer parked in front. Boat on trailer hitched to old heavy-duty pickup truck, camouflage-painted ATV in the adjacent parking area.
Wanda and Daisy, 70-something, purses in tow, come out of the store, walk the steps to the lot and Subaru. Wanda in behind the wheel, purse into back seat, Daisy front passenger, purse in lap.
WANDA: Which way home?
DAISY (BEAT): Arlington Rock River?
WANDA: That's what I'm thinking. Coffee at Shawna's?
Daisy nods.
WANDA (CONT.) Are you sure?
DAISY: Yes. It's just that Trudy and Jack might be there. They don't know about Clem.
WANDA: Oh.
DAISY: But they need to. And it's better that I tell them in person. One reason I'd like to stop in.
Wanda's PHONE RINGTONES instrumental version of the Townes Van Zandt song, If I Needed You. She gets it from purse.
WANDA: Hey there.
Just had lunch at Elk Mountain, now off to Shawna's for a coffee stop. Where are you?
She listens, surprise reconfiguring her expression.
WANDA (CONT.) I'm here. My goodness, Tom, did you know you were going to do this when you left?
Alright. So what's the plan?
Alright.
I'll tell her. So call me tonight.
I love you too, you crazy cowpoke.
Oh Tom? Be sure to take a picture. Or two.
I'll be waiting.
(She sets phone in console.)
DAISY: Wanda?
Wanda gets keys from purse, sticks one in ignition.
WANDA: Daisy, would you mind driving?
DAISY (BEAT): Of course not. Is everything alright? Is Tom okay>
WANDA: Yes. Yes. Tom is fine. Daisy, while you drive I'm going to tell you something about Tom you don't know. That Clem didn't know.
DAISY (BEAT): Okay.
They leave frame when they get out of the car.
INT. PORSCHE CAYENNE - DAY
John driving winding, slightly climbing two-lane road through rural-woodsy neighborhood of handsome homes among rolling hills and oak trees. Barbara front passenger, Jan behind John.
JOHN: Do we know if Brian's son made that baseball decision?
BARBARA: David.
JOHN: David.
BARBARA: We do. Cuesta.
JOHN: Really? Well that's a curve ball, ha ha.
BARBARA: Ha ha and perfect segue into the reason for the change up, ha ha, being the new pitching coach they just hired.
JAN: Right out of left field, ha ha.
JOHN: Who's on first?
JAN/BARBARA: Third base!
Pause.
JOHN: Close to dad.
BARBARA: With dad until August when he and a few teammates move into a house near the depot. He's coming up Thursday.
John turns into the driveway that leads to a home in the style of California Ranch, John parks near the BMW Mini Cooper with California vanity plate - CHLOMOM - aimed at garage door, turns off the engine. DOG BARKING FROM INSIDE the house. Barb's phone RINGTONES FOGHORN.
JAN/JOHN (BEAT): Foglost.
BARBARA: Very good.
Barbara picks up.
BARBARA: Hey there.
They're right here, we just pulled into el rancho.
(She listens, her face expresses surprise. She looks at Jan and John.)
I'm here. Speechless.
Well, Hunter, I completely trust you on this.
(John and Jan look at each other.)
The timing is uncanny as F. I wish I could see her face when you tell her. Speaking of which, take and send a picture.
We'll be waiting.
I love you too.
(She pockets phone.)
JAN/JOHN: Drumroll.
BARBARA: Tom Walker from Texas is at Hunter's house. He's spending the night and leaving in the morning.
Long pause, each with their own thoughts.
JOHN: A middle name would help.
BARBARA: Check.
They get out, walk to house, greet DOG at door, enter, Barbara closes door behind them.
INT. FOYER - DAY
Stone flooring. Coat rack and closet on one side of door, curtains closed across window above couch on the other. Art TBD above padded bench seat on one side wall, tribal masks above padded bench seat on the other. Both walls end at entrances to hallways. Mirror above piano against back wall.
Hunter enters from one hall, crosses through to other a beat before DOORBELL RINGS. He re-enters, goes to door, looks through peep-hole, pulls away, perplexed, looks back into peep-hole.
EXT. HUNTER'S FRONT DOOR
Tom waiting with hat on, truck parked at the curb, the door opens enough for Hunter to peer over the latch-lock chain.
HUNTER: Can I help you?
TOM: Howdy. My name is Tom Walker.
HUNTER (TWO BEATS): And?
TOM: I met your mother at an Elvis Presley show in Reno the night before Thanksgiving of seventy-six.
HUNTER: (THREE BEATS): What was her name?
TOM: Olivia. From Marysville, California. High school English teacher. Smoked Virginia Slims. Butterfly tattoo on her left shoulder blade.
Hunter surveys Tom.
HUNTER: Just happen to be in the neighborhood?
TOM: Sorta. Passin' through.
HUNTER: From where to where?
TOM: From where I live in Laramie, Wyomin' to Texas.
HUNTER: I'm out the door to the airport in El Paso.
TOM: Yessir.
HUNTER (TWO BEATS): You'll be driving back to Laramie?
TOM: Yessir. In a week or so.
HUNTER: I won't be here in a week.
TOM: Yessir.
A moment before Hunter unlatches the lock, opens the door, motions Tom in. Tom hesitates, removes hat, enters, leaves view. Hunter looks at the truck, closes door.
INT. TRUCK - DAY
Tom drives slowly along a street lined by widely spaced southwest-style homes, each with a green recycling bin at the curb, except for the one Tom's head is turned toward.
GPS VOICE: You have arrived at your destination.
Tom stops and idles at the driveway of a home with prickly pear cactus featured in the xeriscaping, He stares, finally raises phone to take a picture of the house, just as Hunter comes around the garage, rolling a recycling bin on a path to the driveway.
Hunter is halfway down the driveway when he looks up, sees truck. Tom takes the picture, drives away.
INT. TRUCK
Hunter in the rearview mirror.
WITH HUNTER
Hunter watches the truck make the turn at the next street, then disappear behind a house. He waits but no truck, keeps his eyes aimed as he rolls the bin to the curb. He waits, finally walks back up driveway to path and out of view.
INT. TRUCK
Idling where Tom has stopped. He finally drives ahead to make the U-turn to Hunter's street.
EXT. TRUCK
Tom makes the turn, drives out of view, obscured by the hide-behind house.
INT. KITCHEN - DAY
State of the art appliances, top-shelf cabinetry, high-end stone countertops, view into adjacent dining room and window to grill, table and chairs on shaded patio xeriscape yard bordered by three-foot high stone wall, high-desert flora, neighbors, and the Organ Mountains on the other side. Window over sink to same. Dining room features four chairs at round wooden table under chandelier, handsome hutch, and framed print of the Van Gogh still life, Vase with Red Gladioli.
Calendar on fridge turned to July. The Friday the 13th box is filled with "Chloe" in blue. The accompanying picture features a man and boy playing catch with a baseball in a back yard with a kidney pool. A woman in one-piece swimsuit and book in hand observes from the shallow-end steps, a German shepherd nearby. Palm trees above the bungalow home behind them. Three bananas and two peaches in wooden bowl on center island, with phone, keys, short stack of mail. Door to patio.
Hunter enters, gets plastic water bottle from fridge, takes a drink, notices a roadrunner scurry into view on the stone wall, He drinks and observes from the sink. Roadrunner takes flight. Hunter finishes water, crumples bottle, puts it in full plastic bag he pulls from bin in closet. He ties off bag, leaves with it through door out of view.
INT. TRUCK - DAY
Tom, sporting aviator sunglasses, driving east on Soledad Canyon Road in the Talavera neighborhood east of Las Cruces, New Mexico, per the GPS and Organ Mountains in front of him. He takes in the southwest-flavored homes.
GPS VOICE: In five-hundred feet turn left onto Silver King Road.
EXT. TRUCK
Tom makes the left turn, drives away.
INT. NOVELIST'S HOME OFFICE - DAY
If front of room is the big window to the up-close Organ Mountains east of Las Cruces, New Mexico. the old wooden desk facing it is at back of room, near open door to hallway. Swivel chair between the desk's drawers. Framed map TBD on wall behind desk.
From chair POV, loaded bookshelf against left wall. Model sailboat on top shelf. Old leather couch against right wall, under framed print of Ad Reinhardt Red Painting. Navajo rug on hardwood. Cactus sculpture in left corner near window, stool and telescope in right corner near window.
Printer on stand to right of desk, albums fill the stand's open space. Turntable atop mini-fridge left of desk. Speakers in each of the room's upper corners.
On desk: globe, pens and pencils in holder near short stack of yellow legal pads, white-new baseball, two 8x10 framed photographs - one of a MAN, mid-40s, and a 12-year-old Chloe in the front seat of a roller-coaster in steep descent, their faces expressing their excitement; and another of a WOMAN, 30, with a 7-YEAR-OLD BOY, flying a kite at a beach - and a laptop with a screensaver of Chloe in a wetsuit, smiling at the camera from the wave she is surfing, Pismo Beach pier in the background.
FAINT SONG OF CRISSAL THRASHER before HUNTER, 50 - running shoes, jeans, untucked dress shirt - enters. He is the man in the roller coaster photo. He goes to desk, opens computer to file text he saves, turns off computer, leaves into hall.
INT. PORSCHE CAYENNE - DAY
JOHN, fit mid-70s, at the wheel, driving north on woodsy California Highway 25 near Pinnacles, California, per the GPS display, Khaki slacks, sunglasses hang from collar of polo shirt. If we could see them, argyle socks, loafers that match his belt. Gold watch and wedding band. Silver hair cut casual corporate, freshly shaven.
BARBARA, athletic 50ish - stylish track suit, running shoes, sunglasses propped atop head, hair pulled back in a bun, stylish bag in her lap - in front passenger seat,
JAN, fit mid-70s - Martha Stewart Sunday drive casual featuring capris, deck shoes, cardigan over blouse unbuttoned at top to show silver necklace. behind John. Hands together on the purse in her lap reveal prominent diamond on silver wedding ring. Recently styled silver hair to shoulders, designer sunglasses propped atop head.
CHLOE, athletic 17 - running shoes, knee-length jeans, sweatshirt with GO SLO embroidered on front, long hair in tail - behind Barbara.
JOHN: Do we know the location of horse day?
CHLOE: On land Jackie's family owns northwest of Ruidoso, end quote.
JAN: On horses Jackie's family owns?
CHLOE: Not sure.
JAN: Isn't Ruidoso where Bob and Kelly Buford retired to?
JOHN: Yes.
JAN: We owe them a phone call.
JOHN: We do.
Pause.
CHLOE: In other news.
JAN/JOHN: Cue drumroll.
CHLOE: Dad is selling Las Cruces and heading for the hills.
JAN/JOHN/BARBARA: Really?!
CHLOE: Really.
JOHN: What hills?
CHLOE: The Cloudcroft area, end quote.
BARBARA: When did this take effect?
CHLOE: Recent decision. He emailed me yesterday. We're going to drive out when we get back from the trip and take a look around.
JOHN: At houses?
CHLOE: No. He wants to buy land and build. We're just gonna spend the day in town and drive around.
JAN: Isn't this what he's always wanted?
BARBARA: Yes.
JOHN: That makes Las Cruces a brief chapter.
CHLOE: Yeah. He says that lately he's had people driving by and stopping awhile before moving on.
JOHN: The perils of being a well-known author.
JAN: It is rather exposed in that regard.
JOHN: It is. How much land?
CHLOE: Ten or so acres, depending on what's out there.
JAN: That's roomy.
CHLOE: In other news.
Barbara does a drumroll on the dash.
JOHN/JAN: Well?
CHLOE: He sold the movie rights to Honda Knot.
Pause.
JAN/JOHN: Wow.
Barbara lowers her shades over her eyes.
CHLOE: And will be writing the screenplay. He's put down the baseball story to start it.
Pause. John notices Barbara wipe the tear from a cheek. She aims her gaze out the window.
JAN: We need to call and congratulate him.
JOHN: I was going to wait 'til Foglost hits the bestseller list.
Barbara wipes another tear away.
JAN: Good idea. John, who would you cast as Cade Satterwhite, living or not?
JOHN: Hmm.
John reaches for Barbara's hand, Barbara gives it to him. Barbara sniffles.
CHLOE: Mom?
BARBARA: I'm sorry. I'm just so happy for Hunter. He's worked so hard to make his dream come true and here it is happening.
Chloe looks at Jan, who looks at her, takes her hand.
JAN: So am I, and yes he has.
Jan reaches over Barbara's seat, places hand on her shoulder. Barbara places hand on Jan's. FAINT SOUND OF MOTORCYCLE ENGINES GROWS LOUDER, A MUFFLED ROAR as SEVERAL WOMEN ON HARLEY-DAVIDSON MOTORCYCLES appear in the rearview mirror. Chloe turns to look.
CHLOE: Biker chicks.
When the road opens to a straight the riders pass, each returning the thumbs-up Chloe gives them. The riders surge ahead and round a turn out of view, ENGINE SOUND FADES AWAY.
JAN/JOHN: You are wearing a helmet aren't you?
CHLOE: Getting one Monday.
John pats Barbara's thigh, Barbara nods.
BARBARA: Richard Farnsworth.
JAN/JOHN: Yes!
CHLOE: Who is Richard Farnsworth?
Barbara turns to Chloe, raises shades to her forehead.
BARBARA: Who your dad would have cast as Clyde Satterwhite.
CHLOE: Really?. Living?
Barbara shakes her head.
CHLOE (CONT.) I'll look him up. Love you, mom.
BAR BARA: Love you, Chloe.
John's and Jan's eyes meet in the rearview, they wink at each other. Barbara returns her gaze to the road. Jan and Chloe hold hands.
EXT. CAYENNE
Zoom out to drone view of Rover and landscape, including the Harley riders ahead of them.
EXT. YUCCA SPRINGS MOTEL PARKING LOT - SUNRISE
Wet and puddled.
Tom comes out from his room, hat on, suitcase in hand, walks to truck, gets in, puts suitcase on passenger side, hat atop it, gets in, starts engine, buckles up, drives to street, waits for car to pass, turns into light traffic, drives away, out of view.
INT. MOTEL ROOM - SUNSET
Basic. Yucca-related art print on wall above queen bed aimed at TV on opposite wall. Curtains closed across window at desk with pencil and pen on Yucca Springs Motel stationery near phone and small potted cactus. Hat rack near door. Open door to bathroom.
We HEAR NEARING BOOTFALL before the DOOR UNLOCK CLICK before Tom enters, puts hat on rack, suitcase on bed, room key and phone on desk. He opens curtains to second-floor view to his truck and other vehicles in the parking lot of the Yucca Springs Motel, advertised by the neon sign above the registration office guarded by potted yuccas. Beyond, the Albuquerque skyline and Sandia Mountains under and obscured by monsoon clouds. Light rain taps the window.
He sits at desk, removes boots, speaks into phone.
TOM: Wanda.
(Waits.)
Hey angel, you're outta reception at the lake and I just landed in A-B-Q. Bout to run a bath, have Chinese delivered, settle in with the book. Call me when you can. Love you.
(He looks out the window, rain pelts harder. He speaks into phone.)
Ruth.
Hey sis.
Just now walked in.
Sunrise. I'll call.
K.
Hatch peppers?
Will do. Love you.
Bye bye.
(Sets down phone, stands, unbuttons shirt, lays it on bed, unbuckles belt, rolls it up, sets on desk, enters bathroom.)
SQUEAK OF FAUCET TWIST BEFORE BATHWATER FLOWING. \
INT. GREAT ROOM - DAY
Texas Hill Country Rustic Rancho. Limestone, heavy beams, reclaimed materials.
Fireplace, two whitetail buck mounts on each side of the TBD above fireplace.
Pool table, U-shaped sofa aimed at Big TV. Stools at mini-bar in a corner with neon agave plant, mezcal-related poster art, ancient machete on wall.
Framed Oil and Canvas TBD on wall above couch flanked by two chairs around coffee table.
Similar arrangement aimed at the big window view to oak motte.
Handsome lamps perfectly placed.
Archway entry/exit near hat rack with sombrero, Houston Oilers football helmet, straw and felt cowboy hats.
And GIL, 70-something - socks, old jeans, unbuttoned and untucked short-sleeve over white tee - in rocker in corner near the big window, reading the book in his lap. Phone and bottle of Victoria beer on lampstand.
FAINT SONG OF GOLDEN-CHEECKED WARBLER before Maria, 40-something - huaraches, old jeans, untucked mustard-colored long sleeve tee with BROWNSVILLE GYRL in mud-brown across the front - arrives in doorway, watches Gil awhile. He turns a page.
MARIA: Knock knock.
GIL: Who's there?
MARIA: Ida.
GIL: Ida who?
MARIA: Ida forgotten Tom and Wanda arrive tomorrow had I not seen it on the calendar.
Gil marks page, closes book, turns to Maria.
GIL: Just Tom. Wanda's staying to be with a friend whose husband just passed.
MARIA: Oh.
GIL: And big news.
MARIA: Big good news?
GIL: Big great news. They're buying a house with Ruth in Kerrville.
MARIA: Wow. That's huge wonderful news.
GIL: Tom and Ruth are going to the looky-loo thing at a few open houses.
MARIA: They're coming over, aren't they?
GIL: Monday afternoon. Dinner at Spanish Trail.
MARIA: Yay. Whatcha readin'?
He holds up Foglost.
MARIA: Your guy.
She walks to Gil.
GIL: Picked it at up yesterday.
MARIA: You're moving through it.
GIL: Page turner.
MARIA: What's it about?
GIL: A man whose drinking has ended his marriage and is ruining his law career buys a boat and takes it on Lake Superior. I'm where he's just encountered a fog event called a ghost ship.
MARIA (Scooby-Doo effect): Ruh roh.
A soccer ball rolls into frame of window, drawing Gil's and Maria's attention. TWO BOYS 16, and 14, in tennis shoes, shorts and Mexico national soccer team jerseys, race neck and neck in pursuit of the ball, follow it out of frame.
GIL: Somebody's caught up.
MARIA: He tries harder.
GIL: I've noticed.
MARIA: The younger ones usually do.
GIL: I'm going to let Robby drive the Corvette, if it's okay with you.
MARIA: Of course. I expect pictures.
GIL: There'll be pictures.
MARIA: Have a route in mind?
GIL: A Vanderpool loop we took when Ricky first drove it.
MARIA: (TWO BEATS): News to me. How old was he?
GIL: Fifteen and-a-half.
MARIA: No pictures?
GIL: Lost in the fire.
Gil's PHONE RINGTONES TBD.
MARIA: Hoodat?
GIL: Tom.
He picks up, stares at screen. A selfie Tom has taken at the Vietnam War-era Huey helicopter at the Vietnam Veterans Memorial State Park in Angel Fire, New Mexico.
MARIA: Where is that?
GIL: Vietnam Memorial in Angel Fire.
MARIA: Have you been?
GIL: Nope. Going in April with Tom to do some fishing out of a friend's cabin outside Red River.
MARIA: Fishing while he's here?
GIL: Friday morning, Breaking in Dale's new pond.
MARIA: Oh that's right. Sounds fun. What's in it?
GIL: Perch. Think he'll keep it that way.
MARIA: Taking the boys?
GIL: Taking the boys.
As previously and practically exactly, the soccer ball enters frame from other direction; the boys, neck and neck follow it out of frame. She leans to kiss Gil's cheek.
MARIA: Off to market, back in an hour.
GIL: If we're not here we're at the treehouse.
MARIA: How's it coming?
GIL: Well, Working on the ladder. Drive safe, sweetheart..
MARIA: Always.
She leaves, he resumes Foglost.
GOLDEN-CHEEKED WARBLER SONG.
EXT. FRONT OF HOUSE AND DRIVEWAY - SUNRISE
One of similar middle class homes with modest front yards that line the leafy street across from a leafy park. United States Stars and Stripes on a couple flagpoles. Screen door shows front door open.
Potted plants, hummingbird feeder, two rockers on the porch that leads to the steps to the driveway, occupied by a 1987 GMC R1500 Sierra pickup truck with Wyoming plates in fine condition, backed to the garage door.
Two-tone paint, running boards, grill guard, trailer hitch, lined bed well with tool box.
Tom - cowboy boots, crisp jeans, belt featuring silver buckle with two linked turquoise horseshoes, western-style shirt with pearl snap-buttons, straw Stetson - opens front door, Wanda - slippers, robe over gown - comes through with a thermos. They proceed to the truck.
WANDA: Thought about where you might have lunch?
TOM: Ain't countin' on it bein' there but if it is that taco truck in Cimarron we stopped at comin' back.
WANDA: Tortilla Azul.
TOM: That's it. Knew it was tortilla somethin'.
WANDA: The only better tamales I've had are Maria's.
TOM: She and the boys got there yesterday.
WANDA: I remembered as soon as I said her name.
He opens driver's door, puts hat on suitcase on passenger side of bench seat with saddle blanket cover. Automatic transmission and dash stylishly upgraded to modernity, including satellite radio. He puts key in ignition, folds down middle seat to console function, turns to Wanda, she hands him thermos, he places in container, turns to het. They embrace facing each other.
TOM: What are you and Daisy doing today?
WANDA: Coffee and croissants at the cafe, walk on the river trail, the library for a showing of Cheyenne Autumn -
TOM: Really?
WANDA: Yep. It's their summer film series that I didn't even know about until Trudy told me last week. After that to Centennial for a glass of wine at Bear Bottom and sunset at Mirror.
TOM: Jealous. Any more shows at the library after this?
WANDA: Cat Ballou next week, then a movie I don't know called Heartland, with Rip Torn, wraps up it up the following week.
TOM: I don't know that one either. If you don't have any plans that day, maybe we could see it.
WANDA: I'll check my schedule.
They embrace, kiss. He checks watch.
TOM: Five-fifty. I'll call at seven and every hour on the hour.
WANDA: Thank you.
TOM: Except when you're at the library.
WANDA: Text me at two and three.
TOM: Will do.
WANDA: And maybe a selfie from somewhere along the way.
TOM: I have an idea already.
They kiss. Tom into driver's seat, starts engine, rolls down window. Wanda steps up onto the running board, pokes her head in.
TOM (CONT.): Ready?
Wanda nods. Tom drives to the street, stops.
TOM (CONT.): I don't guess ya know how many days til we land in Honolulu.
WANDA (BEAT): A hundred and two. And elevenish hours, if the plane's on time.
TOM: Elevenish, huh?
She checks his watch.
WANDA: And twenty-two minutes.
TOM: I love you, Wanda.
WANDA: I love you, Tom.
They kiss.
TOM/WANDA: Miss you already.
Another kiss, Wanda steps down off running board, folds arms cross chest.
WANDA: Git before I start crying.
TOM: Before I beat ya to it.
WANDA: Which house first?
TOM: The brick near the river?
Wanda nods, gives thumbs-up that Tom returns.
WANDA: Go. Okay?
Tom nods, flashes peace that Wanda returns. He makes turn onto street, Wanda watches him drive away.
INT. TRUCK
Tom nears stop sign, his eyes on WANDA IN REARVIEW. He puts hand out window, waves. She waves back.
WITH WANDA
She watches the truck stop at light, left turn signal before Tom makes turn, looks at her, blows a kiss she returns before Tom leaves view. A BREEZE RINGS THE CHIMES. She walks to porch, waters plants to WESTERN MEADOWLARK SONG.
About to enter house, her attention turns to the CROW ON A FENCE, seeming to stare back at her. It CAWS THREE TIMES, flies away out of view. Ruth enters house, screen door closes, then front door.
A HUMIINGBIRD finds the feeder.
INT. BEDROOM - NIGHT
TOM and WANDA, 70-somethings in pajamas and reading glasses, sit up in bed under covers to their waists, reading. Wanda turns a page of James Michener's novel, Hawaii, in paperback. Tom has a hardcover titled Foglost, written by H.C. Hardyn, per the dark grey font on the light grey cover and spine. Unlit candles on floating shelf above headboard. Smart phone and lamp on their respective nightstands.
WANDA: Should we do a luau?
TOM: Well, what is it they say about when you're in Rome?
WANDA: Do as the Romans do.
TOM: Heck, I'm halfway thinkin' about takin' a surfin' lesson.
WANDA: Well that's some halfway thinking alright.
TOM: What? You think this dog's too old to learn anew trick?
WANDA: I'd pay to see it.
TOM: Won't have to. Got 'em down the beach from the hotel. You just bring your Mai Tai, stick your toes in the sand and observe.
WANDA: Oh I'll record it and post it on the blog.
TOM: Guess I better start doin' my pushups, squats and crunches and go easier on the ice cream.
WANDA: Maybe I'll take a hula lesson.
TOM: I'll be parked under a palm tree for that.
Wanda sets book in lap to make a hula dance movement with her arms and hands. Tom smiles, turs page.
TOM: Do ya think we'll get lei'd?
Wanda, entirely surprised, looks at him big-eyed. He looks at her.
WANDA: Thomas Travis Walker. My goodness gracious.
TOM: What? Ain't that what they call them flower necklaces they give ya when ya get off the plane? A lei.
Wanda shakes her head.
WANDA: Yes, a lei. But I don't think airlines do that anymore.
TOM: Oh.
Wanda resumes reading.
WANDA: But I have a feeling our chances of getting lei'd will be considerably better when we get to our room.
Tom looks up, stares straight ahead, genuinely surprised, sets books in lap, looks at Wanda, who grins, looks at Tom, winks. They stare at each other, set books on nightstands, TURN OFF LAMPS TO BLACK.
SQUEAK OF BEDSPRINGS.
