scene 19

scene 18

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.

scene 18

scene 17

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. 

scene 17

scene 16

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.

scene 16

scene 15

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.  

scene 15

scene 14

INT. GIL'S GREAT ROOM - DAY 

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: Híjole.

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.

scene 14

scene 13

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.

scene 13

scene 12

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.

scene 12

scene 11

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.

scene 11

scene 10

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.  

scene 10

scene 9

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.

scene 9

scene 8

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. 

scene 8

scene 7

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.

scene 7

scene 6

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.

scene 6

scene 5

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.

scene 5

scene 4

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.

scene 4

scene 3

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.  \

scene 3

scene 2

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. 

scene 2

scene 1

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.