silly interlude re Table Reading dream revisited

Some self-motivation as I (attempt to) finalize beats tomorrow and commence Final Draft blog Thursday. 

related previous

Hilary Barrett:

"The early Chinese character for 'Opening' shows someone with words rising from their mouth: they seem to be dancing and singing. It means joyful and outgoing expression that opens up communication.

Opening brings people together and begins a lively creative process of sharing and exchange. It liberates human energies, motivates people to overcome hardship and encourages perseverance." 

--------

The Image

Legge: Two images of the waters of a marsh, one over the other, form Joy. The superior man, in accordance with this, encourages the conversation of friends and the stimulus of their common practice.

Wilhelm/Baynes: Lakes resting one on the other: the image of The Joyous. Thus the superior man joins with his friends for discussion and practice.

Blofeld: This hexagram symbolizes two bodies of water conjoined. The Superior Man joins his friends in discussions and in practicing the various arts and virtues.

Liu: The beautiful lakes symbolize Joyousness. The superior man joins his fellows for teaching and study.

Cleary (1): Joined lakes are joyful. Thus do superior people explain and practice with companions. [As water provides moisture for myriad beings, joy develops myriad beings; joyful within and without, reaching the outer from within, communicating with the inner from without, inside and outside are conjoined, without separation between them – therefore it is called joy.]

Cleary (2): ... Thus do developed people study and practice with companions.

Wu: One marsh is adjacent to another; this is Joy. Thus the jun zi discusses and exchanges ideas with friends.

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timeout

I don't want to think about this for a few days. Predictable? This hesitancy on the verge of commencing Final? I need to refresh.   

silly interlude re meeting challenge of this screenplay

Had I known how fucking long this would take, would I have? 

Hilary Barrett:

"'Nearing' means drawing closer and gazing down over what you approach. There are two strands of meaning here: the approach of a greater spirit or presence in an ongoing process of growth, and your approach as the one who pays attention and takes responsibility. Like the creative drive of Hexagram 1, this great, growing energy comes from the source, asks for your full participation, and seeks to reach fruition and be realized. But its surging growth can be disastrously interrupted by 'reaching an end in the eighth month'.

The eighth month is the month of harvest. If this comes round too soon for what Nears to reach full growth – if the situation demands that you produce a tangible result prematurely – then this means misfortune. Or if you focus exclusively on results instead of watching patiently over developments – if your expectations are out of touch with the pace of growth – then there is misfortune.

Having something to show for a process of growth doesn't mean you've arrived at its outcome: harvest is not the end. As each harvest is gathered in and stored, the seasonal cycle of growth continues; you need to stay present to its ongoing changes, wherever they might lead."

related Nearing.

silly interlude re late changes

 

still shuffling.

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scene 1 finalish

EXT. MODEST HOME - SUNRISE

One of several similar homes across the leafy street from a park. Wyoming plates on the two-tone late-eighties Ford F-150 XLT Lariat pickup truck in the driveway. SONG OF WESTERN MEADOWLARK before TOM, mid-70s, opens the front and screen doors for WANDA, mid-70s, to walk through to the porch populated by potted plants and chimes. She's in robe and slippers; he's a cowboy from boots to hat, including silver belt buckle featuring a turquoise horseshoe, and carrying a suitcase. 

WANDA: Twenty-five all the way or the scenic route?

TOM: Scenic. 

WANDA: Lunch?

TOM: Thinkin' that Mexican place in Cimarron we stopped in.

WANDA: Tortilla Azul. 

TOM: That's it. Knew it was tortilla somethin'.

WANDA: I've never had a batter tamale other than Maria's. 

Tom opens driver's door, puts suitcase in, hat atop it, key in ignition, turns to Wanda, hugs her.

TOM: Speakin' of Maria, she and the boys arrived yesterday.

WANDA: I remembered that last night. Take pictures.

TOM:  Will do. 

WANDA: He kisses her. gets in behind the wheel, Wanda closes the door, Tom starts engine, rolls down driver's window, Wanda steps onto running board, pokes head in through window.

WANDA: I love you, Tom.

TOM: I love you, Wanda.

A lengthy kiss.

TOM (cont.) How many days 'til Honolulu?

WANDA:  Sixty-one.

TOM: But who's countin'. 

She checks his watch.

WANDA: And eight hours sixteen minutes, if our plane's on time.

TOM: Ready?

Wanda nods and holds on as Tom drives to the street, stops. They share another kiss, Wanda steps down. 

TOM (cont.): I'll call every hour on the hour.

WANDA: I'll be waiting.

Wanda steps up for another kiss, steps down.

WANDA: Buckle up, cowboy.   

Tom buckles up.  Wanda flashes sign language "I love you" gesture, Tom reciprocates, winks, Wanda winks back, blows him a kiss, he blows a kiss back, turns onto street, Wanda watches the truck proceed to stop sign.

INT. TRUCK

Tom keeps his eyes on WANDA IN THE REARVIEW MIRROR, arrives at stop sign, makes turn signal.

EXT. DRIVEWAY

Wanda watches Tom makes the turn, wave through window, she waves back, watches the truck leave view.  A breeze stirs her hair, she crosses arms over chest, walks steps to porch as a stronger gust RINGS THE CHIMES. She opens screen door, enters house, closes front door behind her.  

Silly Interlude re Blocked this morning

 

Coinciding with - created by? - a sudden and significant crack in confidence. 

 

Hilary Barrett:

"You wait for what you need, like a farmer waiting for the weather to change. This is not a passive state; you can dance for rain, influence events by bringing yourself into harmony with the outcome you need. But you cannot force this, you can only attend to it. You will need patience: it may all take much longer than you had imagined. When you are fully present in waiting, your intense attention shines out like a beacon, beginning a creative engagement with the world – not by working on anything, but by waiting on it and holding your faith.

And in crossing the river, committing yourself to go as far as you can towards what you're waiting for, you begin the transition into the world where it is real."

Silly Interlude begin Final tomorrow

This blog has served its purpose re prep for Final, which I will commence tomorrow in a new blog, the link to which I will post here once said blog is built and scene one posted.

Other titles: After Completion, The Symbol of What is Already Past, Already Fording, Already Completed, Settled, Mission Accomplished, Tasks Completed, After the End, A state of Climax

Hilary Barrett:

"You have committed yourself and made a transition. Even if the change so far is internal, a resolve formed or decision made, there is a sense in which everything is in place. Now you create success in small ways and in small things: you attend to details, working with what you've already decided or achieved. In following through, you stay loyal to your original reasons for making the crossing."

Found:

related Completion

Silly Interlude what good to Sarah this screenplay

 

act 3 finalish beats

act 2

1. Hunter dream, reveal, tell Chloe.

2. Wanda with Daisy, Hunter's call.

3. Ruth gets Wanda's call.

4. Gil with Maria gets Ruth's call.

5. Hunter and Chloe, coroner wagon away.

6. Barbara with John, Jan and Brian on golf course gets Hunter's call.

7. Wanda and Daisy, Laramie airport.

7. Hunter and Chloe, re rest of day and the toast.

8. Gil arrive Ruth's.   

8. Doc 3. Hunter. What's next?

9. Sess and Claire, Jackie's call re Tom, Hunter enter Jackie's house.

10. John, Jan, Barbara and Chloe.

11. Gil, Ruth, Wanda.

12. Night. Hunter enter guest room, the guest book, Tom's entry.

13. Next morning. Hunter, truck, glove compartment, aviators, start engine, drive away.

14. Barbara, Jan, John and Chloe, re Ruth's late husband and son on the tree. 

15. Ruth and Wanda, re storm and Gil tomorrow, engine sound, Hunter arrive.

16. Night. Hunter, Ruth, Wanda table talk with wine, re Gil, Maria and the boys. 

17. Chloe in bedroom, Facetime from Hunter in Ruth's guest room. 

18. Next day. Hunter driving Wanda and Ruth, Gil's gate.

19. Maria and the boys watch through window, Rover arrives, Gil intros.

20. Fort Park. Tattoo, Vietnam, thunder.

22. John and Jan re calling Hunter, bestseller. 

23. Night. Hunter, Ruth, Wanda on porch with ice cream. Heavy rain and thunder. Hunter abridged backstory, more when he returns. 

24. Gil, tequila, tattoo, Vietnam pics. Enter the boys.

25. Next morning. Hunter leaves in Tom's Truck. Wanda and Ruth re matinee at Arcadia, calling Daisy.

25. Hunter driving, gas station, truck recognized. My dad's, and his before that.

26. Night. Hunter and Jackie in bed.

27. Next day. Hunter enter guest room, places boots and hat. Call from John with Jan, re bestseller. Hunter re Chloe's birthday car solved.

28. Doc 4. Re Hawaii.

29. Leaving Laramie.

30. Hawaii.

EPILOGUE: Chloe Paso Robles birthday, Hunter arrives in truck. 

act 2 finalish beats

act 1

1. Next morning. Truck, Jackie, away they go.

2. John, Jan, found them, Ruth's tree.

3. Rover, last time on a horse. 

4. Wanda and Daisy, Tom selfie.

5. Sess and Claire, Rover arrive.

6. Ruth places framed Tom selfie.

7. Horses, pines.

8. Gil, Maria, the boys, Tom's Las Cruces layover.

9. Mountain meadow.

10. Barbara and Brian re golf, Ruth's tree forwarded.

11. Uphill horse trail around bend and out of view, Sierra Blanca.

12. Wanda and Daisy, Ruth Facetime.

13. Pinus Ponderosa, Bonanza, Hollywood wranglin'. Triangle bell, chuckwagon. J, S, Cl re Cl's dad and Hunter pic.

14. John and Jan, Ruth's tree.

15. Creek, fishing.

16. Gil finishes Foglost, stares at Hunter's picture, compares it to selfie Tom sent, puts book on shelf next to Hunter's others.

17. Horse barn, Honda knot. 

18. Doc 2. Another Hunter selfie.

19. White Sands sunset.

20. Claire's dad with Foglost, Claire's selfie with Hunter.

21. Night Jackie leaves Hunter's. Movie? Tom tuckered. Hunter re "one little thing."

22. Olivia's selfie, Tom's Tahoe recollection. Chloe "call mom." 

23Tom Facetime Wanda and Ruth. Guest book.

act 1 finalish beats

1. Night, Tom and Wanda in bed, Foglost, Hawaii.

2. Next morning, truck, Tom leaving, Wyoming plates.

3. Tom driving, enters Colorado, radio, Galveston.

4. Wanda with Daisy, re biodegradable urn, Tom's ringtone, call from ABQ motel room, monsoon clouds, Tom calls Ruth.

5. Next morning. Tom leaves ABQ motel.

6. Hunter, home office, Chloe pics, watch alarm, leaves into kitchen, bag, leaves.

7. Tom idling, Hunter's garage, Hunter, Tom drives away, Hunter watches.

8. Tom U-turn.

9. Hunter foyer, doorbell, Tom, Howdy, enter Tom. 

10. John, Jan and Barbara, Hunter's call. Middle name.

11. Wanda and Daisy, Tom's call from Hunter's guest room.

12. Ruth with Gil re Maria and boys, Tom's call, híjole. Tom leaves room, framed in window to back yard.

13. Chloe and Hunter, airport parking lot.

14. Doc gets Hunter's picture of Tom's truck.

15. Tom's truck in Hunter's driveway, Hunter and Chloe arrive.

16. Intros, how Tom found him, etc. Chloe takes picture.

17. Sunset. Barbara and Brian re Tom and Olivia. Chloe's selfie.

18. Sunset. Jan and John, same selfie.

19. Patio post-dinner, re Horse Day. 

Fort Park

EXT. FORT PARK - DAY

Describe.   

The SOUND OF ATV ENGINES before The Boys arrive in theirs and park at the treehouse, followed by Gil and Hunter in theirs. Gil drives to the bench and view to the Texas Hill Country. The boys get to work. Gil pops the top of his Victoria beer, Hunter does the same. They take occasional sips.

HUNTER: How long have you been here

?GIL: My entire life. My dad built the house. 

HUNTER: What did he do for a living?

GIL: He used his G-I Bill to start a construction company in San Antonio. Bought the land a couple years later, started building. 

HUNTER: World War Two.

GIL: Marine in the Pacific.

HUNTER: My grandfather was on the U-S-S Helena.

GIL: Did he come home? 

HUNTER: He did. Survived Kula Gulf. Never swam in the ocean again. Dale?

GIL: First Cavalry. Wounded at the Battle of Manila.

HUNTER: Wounded how?

GIL: Shot in the foot. 

HUNTER: How did that affect him. 

GIL: Ended his football career. Had a limp. 

HUNTER: Tom was First Cav.

GIL: He was. Did he talk about it.

HUNTER: Not a word. I saw the tattoo when I found him that morning. 

GIL: I was with him the night he got it?

HUNTER: When and where?

GIL: R and R in Bangkok. I have pictures.

HUNTER: I'd love to see them.

GIL: Maybe when you're back.

HUNTER: Thank you. You were Army?

GIL: I'm a Marine. Whitetail at your three o'clock.

Hunter turns to his right to see the handsomely antlered buck seeming to stare back from where it stands in the woods fifty yards away. 

HUNTER: Did Tom hunt?

GIL: Got his first here. 

HUNTER: Shooting what? 

GIL: Dale's Mauser Ninety-eight. Me and dad and Dale and Tom on a cold January morning. I have pictures of that, too.

HUNTER: Did you hunt together regularly?

GIL: Yes. Back then. But as far as I know Tom never pulled a trigger after he got back except to put down a horse that a mountain lion had got to. Have you ever hunted, Hunter?

HUNTER: No. Hunter was my grandmother's maiden name.

DISTANT THUNDER sends the buck bounding into the woods out of view.

GIL: Ever fish?

HUNTER: Trout pond when I was a kid. Hooked myself in the ear. I saw Tom's Wyoming and Texas licenses in the glove compartment.

GIL: We were going to take the boat out tomorrow.

HUNTER: Where to?

GIL: Medina Lake, a reservoir southeast of Bandera.

NEARER THUNDER, HARDER RAIN, DISTANT LIGHTNING. Gil turns to the boys just as they leave the treehouse for the ATV. Gil starts the engine. 

GIL (cont.)  We can do that when you're back.

HUNTER: Thank you.

GIL: We're going to put some of Tom's ashes in.

Gil makes the U-turn back to the woods, drives the ATV into them, out of view, engine fading to silence before NEARER THUNDER and HARDER RAIN.

Silly Interlude re Creative Burnout

 

Other titles: Exhaustion, The Symbol of Repression and Confinement, Adversity, Weariness, Confining, Entangled, Hardship, Depression, Tiresome Restriction, Dried Up

Me. Exhaustion and Weariness seem most relevant, though Depression is lately a factor. Time, again, to walk away awhile to refresh.

"AI" says:

I Ching Hexagram 47 - Oppression (Exhaustion)

Adversity can trigger feelings of doubt and overwhelm. Remember to hold on to your quiet strength and faith. Persistence and patience are vital.

Summary

K'un, the Hexagram of Oppression, speaks of enduring burdens and lack of support. Perseverance is your path to success. Overcome adversity with constancy. 

.

Silly Interlude re Location 1: SLO/Robles

 

Re Chloe and Barbara in San Luis Obispo and John and Jan in Paso Robles.  

Other titles: The Symbol of Addition, Gain, Augmenting, Benefit, Advantage, Expansion

Ritsema/Karcher: Augmenting , Harvesting: possessing directed going. Harvesting: wading the Great River. [This hexagram describes your situation in terms of increase and advance. It emphasizes that expanding the quantity and quality of your involvement is the adequate way to handle it. To be in accord with the time, you are told to augment!]

,

John and Jan: Found Them

EXT. RURAL RESIDENTIAL ROAD - DAY

Oak-shaded two-lane lined by widely spaced handsome homes on big lots surrounded by rolling hills. John and Jan in uphill power-walk mode past the driveway to a California Ranch style home, Running shoes, khaki shorts, polo shirts with sweat-stained collars and armpits. Both with five-pound dumbbells in each hand. Jan's ensemble complements her Cal-Berkeley ballcap, John's does the same for his Stanford cap. Their labored breathing reflects their purposeful pace. Finally:

JOHN: I found them. Travis did the trick.

JAN: What trick?

JOHN: Street view to the gated entrance of their mobile home park. 

JAN: Really?

Cottonwood Creek Mobile Estates, a few blocks away from the Laramie River. A feed store down the road in one direction, another park in the other. Grey sky and patches of snow on the ground. 

JAN: When did you find this?

JOHN: When you were on the phone with Karen.

JAN: Oh. 

JOHN: Do we know if Steve found his dog?

JAN: He did. Well, a golfer on the sixteenth fairway at River Oaks did.

JOHN: Maybe that'll move him to reconsider his leash policy.

JAN: Considering Karen says he's having him chipped, perhaps so. 

A lull.

JAN (cont.) Have you ever been to Laramie?

JOHN: Cheyenne U-S-D-C for Big Coal versus E-P-A my second year at Buford Sawyer. Six days in late January, below zero every one of them. You?    

JAN: Closest was Fort Collins for a cousin's wedding when I was seventeen.  

A lull. 

JAN (cont.): Any other Travis tricks.

JOHN: Yes. A link I'll click soon as we get back.

JAN: Do we know what the link links to?

JOHN:  An ancestry site.

Jan stops, stopping John.

JOHN (cont.) Thomas Travis Walker in bold.  Maybe there's more than one. 

Jan's PHONE CHIRPS, she stops, John stops, she gets it from pocket, stares at screen. 

JOHN (cont.) Cue drumroll.

JAN: Barb forwarding a picture Chloe took.

She hands him the phone, John stares at the selfie Chloe has taken that includes Hunter, Jackie, Tom and Chloe at bunched together, smiling back at Chloe's camera-on-stick, the Chihuahuan Desert and rolling hills of The Tularosa Basin behind them. 

JOHN: I've been there.

JAN: Where's there?

JOHN: San Augustin Pass pullover on seventy just before White Sands. That's the Tularosa Basin behind them.

JAN: Why and when were you there?

JOHN: Dad was looking at land in the Cloudcroft area. I turned eleven the week before. We flew to El Paso and rented a jeep. 

JAN: We including mom and sis?

JOHN: Mom and sis were in Palm Springs with aunt Betty.

JAN: So the Cloudcroft land.

JOHN: Beautiful. Six acres of pines on the side of a hill. He had the plans and architect for the four-bedroom A-frame. It was that or Park City. He flipped a silver dollar at dinner one night, heads. Park City. Though mom would have gone along happily with Cloudcroft, as did dad with Park City, her happierness about Park City winning, so to speak, was palpable. As was barely dad's less happier. Which I never again sensed. Park City obviously worked out and, since this has come up, we need to get back later to talking about selling.

JAN: Okay. 

JOHN: But now how about we get to that ancestry link. 

JAN: Double time.

JOHN: Go.

They continue their march around the bend, out of view. 

Patio Talk final form

EXT. HUNTER'S PATIO - NIGHT

Hunter, Chloe and Tom around the table, post-dinner, plates pushed to center. 

CHLOE: How did you and Wanda meet?

TOM: Post office in Boise, Idaho.

HUNTER: What were you doing in Boise?

TOM: Foreman on a ranch in the area.

CHLOE: What kind of ranch.

TOM: Cattle, mostly. 

HUNTER: Retired?

TOM: Yessir. Comin' up on nine years.

CHLOE: What was Wanda doing in Boise?

TOM: Workin' at the post office. Took me three times comin' in to pick up my mail before I found the nerve to ask if she'd be interested in goin' to the rodeo. Turned out she was goin' anyway, with a girlfriend, so we met up there, ended up talkin', got married a year to the day later.

CHLOE: Plans for your twentieth?

TOM: Goin' to Hawaii.

CHLOE: Cool. Which island?

TOM: Oahu. Stayin' the first few nights in Waikiki, the last few in a place called Kailua. 

CHLOE: Have you been before?

TOM: First time for both of us. Y'all probly been.

Chloe nods.

HUNTER: Looking forward to it?

TOM: We are. Not so much about the flyin' part but ain't much of a way around it. 

THUNDER.

CHLOE: Here it is.

HUNTER: Did you get some monsoon season in Albuquerque last night?

TOM: Sure did. Put me right to sleep. Speakin' a which, and I sure hate to be party-pooper, but I hope y'all'll excuse to call my wife and sister as it's a little past our bedtime and I know they're both waitin' on my call.

HUNTER: Of course, Tom. 

Tom pushes chair back, stands.

TOM: Chloe, I sure would appreciate it if ya'd share the recipe for that casserole, 'cause it sure was delicious.

CHLOE: Of course, Tom. Thank you. I'm glad you liked it.

HUNTER: I'm right here with coffee for sunrise, so if you're up, please join me.

TOM: I'm an early riser myself, and I sure will, thank you. Thank you both for your generous hospitality.

CHLOE: Thanks for stopping by.

Tom nods.

TOM: My pleasure, Chloe. Hunter. Goodnight y'all.

HUNTER/CHLOE: Goodnight, Tom.

They watch him walk to, enter the kitchen, leave view into hall. The first DROPS OF RAIN fall. NEARER THUNDER.

HUNTER: If.

CHLOE: If.

HUNTER: If Tom is able and willing -

CHLOE: Uh huh.

HUNTER: And Jackie's cousin is able and willing to wrangle another horse -

CHLOE: Yes.

HUNTER: Yes?

CHLOE: Yes. I think that would be cool.

A moment before Hunter gets phone from pocket, speaks into it.

HUNTER: Jack.

Hey there.

Sitting right next to me on the patio.

We're looking forward to it and in fact that's why I'm calling. 

[CUT TO:

EXT. HUNTER'S DRIVEWAY - DAY]

Meet Sess and Claire

EXT. AIRSTREAM BAMBI TRAILER - DAY

Sess and Claire, 40ish cowgirls from boots to buckles to bandanas and hats, sit on chairs outside the door to the trailer set, like the rudimentary horse barn and corral behind them, in a clearing in the piney woods, their attention aimed at the road that feeds the dirt driveway that leads to a carport covering a Dodge Heavy-Duty dually pickup, a Harley-Davidson cruiser, and Jeep CJ-7 with Oklahoma plates. A four horse trailer and ATV near the barn. A DOZEN YOUNG TEENAGERS of mixed gender tend to six saddled horses tied to a hitching post. TWO AUSSIE SHEPHERD DOGS supervise the activity.

CLAIRE: How long has it been?

SESS: First date was a month ago.

CLAIRE: Where?

SESS: A play at Cruces Community.

CLAIRE: What play?

SESS: When Ya Comin' Back Red Rider.

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: Writer of what?

SESS: Novels.

CLAIRE: Any I might've heard of?

SESS: His latest is called Foglost.

Claire turns to Sess in surprise just before the Rover drives into frame and turns onto the driveway. Sess and Claire stand, Jackie rolls down the window, waves, Sess and Claire wave back, walk to meet the Rover where Hunter parks it....

Greetings, intros, saddle up.

Heeere's Jackie

FROM...

Hunter motions the driver, JACKIE, 50ish, sunglasses and ballcap, toward the garage, walks to meet her. 

TOM: Sporty ride.

CHLOE: Right?

Jackie drives in, parks, props sunglasses on bill of SKI APACHE ballcap, gets out with packpack, meets Hunter's quick kiss. She sports cowgirl boots, jeans, untucked plaid long-sleeve blouse. Hunter takes her hand, walks to Chloe and Tom, who removes his hat.

JACKIE: And I was nervous about meeting Chloe.

HUNTER: I think everyone's a little anxious.

Tom and Chloe walk to meet them.   

HUNTER (cont.) So, without further ado, Jackie, it is my pleasure to introduce mister Tom Walker and Chloe. Chloe and Tom, Jackie.

Jackie extends hand to Chloe, they shake.

JACKIE: Chloe, it's so nice to finally meet you.

CHLOE: Likewise, Jackie.

Jackie extends hand to Tom, they shake.

JACKIE: Mister Walker, I'm glad that you're able to join us today.

TOM: Well, ma'am, so am I. Thanks so much for havin' me along. And Tom's fine, thank you.

JACKIE: As is Jackie, thank you.

TOM: Yes ma'am. Jackie.

JACKIE: Rumor is this isn't your first rodeo.

TOM: I been to a couple.

Hunter takes a step toward the Rover, the others follow. He activates the garage door closing.

JACKIE: Did you tell Tom about the quarter horses and kids?

HUNTER: I dids.

TOM: Sounds like a wonderful thing your cousin's doin'.

JACKIE: It's just getting going but so far so good. And, by the way, we have another late addition in my cousin's girlfriend and partner in the program who'll be joining us.

HUNTER: The more the merrier. 

Hunter opens the front passenger door for Jackie, Chloe opens a back passenger door for Tom. Jackie and Tom get in. Hunter comes around to driver's door, Chloe to passenger door behind, they get in, all buckle up, Hunter starts the engine, drives away. 

Cool Truck

CHLOE: Cool truck.

TOM: Like it?

Chloe nods.

TOM (cont.): This was my dad's last truck.

CHLOE: Really?

TOM: Yes ma'am. Bought it new off the lot in Fort Worth comin' home with friends from a Cowboys game. 

CHLOE: What year was new?

TOM: Eighty-six. 

Tom gets keys from pocket, opens driver's door.

CHLOE: Love the two-tone.

Tom gets keys from pocket, opens driver's door.

TOM: Same colors as his grandad's Suburban. That's what sold him soon as he seen it.

Tom gets sunglasses from sleeve on driver's visor.

CHLOE: And the bench seat.

TOM: Put that in 'bout a year ago. 

CHLOE: Wow. Roll-up windows.

Hunter parks, approaches.

TOM: Bit of a dinosaur.

CHLOE: Does the radio work?

TOM: It does. 

CHLOE: No G-P-S. 

TOM: It's in the glove compartment.

Hunter arrives. 

HUNTER: What's in the glove compartment?

TOM: My G-P-S.

HUNTER: That might've helped with directions back to Dripping Springs Road.

Tom nods.

CHLOE: This was Dale's last truck.  

HUNTER: Really?

TOM: Yessir.  

Tom looks up at the approaching car. Hunter and Chloe turn their attention to it.

HUNTER: Heeere's Jackie.

The car reveals itself to be an early-90s Alfa Romeo Spider convertible, top down. Tom closes the driver's door, sticks sunglasses in shirt pocket.

meet Chloe, Barbara, Jan and John

EXT. CAFE - DOWNTOWN PASO ROBLES - DAY

"Pine Street Parche" per the signage on the small store bookended by a travel agency and wine shop on the quiet street lined by shops and cars with California plates, with a view to Downtown City Park down the block. 

John, Jan, Barbara and Chloe come out with lidded paper cups in hand, walk the sidewalk away from the park.

JOHN: Do we know where horse day is taking place?

CHLOE: On land Jackie's family owns, quote, northeast of Ruidoso, end quote.  

JAN: Land and horses?

CHLOE: She has a cousin who combines a quarter-horse rescue program with one for kids-at-risk in Albuquerque.

JAN: Do we know what Jackie does for a living?

CHLOE: History professor at New Mexico State.

JAN: Oh you told me that.

CHLOE: That's alright.

JOHN: Do we know her last name?

CHLOE: Dosela. D-o-s-e-l-a. You'll find her picture at the department website.

BARBARA: She's very pretty.

JAN: Education?

CHLOE: U-N-M undergrad, Master's from Washington.

JOHN: As in Seattle.

CHLOE: As in Seattle.

JOHN: Speaking of university, will you be meeting the coach.

CHLOE: That was the plan, but her father passed away last week so we're just going to tour the campus and hang around Tucson.

JAN: Where are you staying?

CHLOE: Dad's friend's house in an area called the Catalina Foothills.

JOHN: With dad's friend there?

CHLOE: Just to hand off the keys before he leaves for Nova Scotia.

JOHN: Speaking of which.

He gets key from pocket, CHIRPS the Porsche Cayenne SUV, offers the keys to Chloe.

JOHN (cont.): Would you mind driving to Salinas? I'm thinking lunch at Cielo.

Barbara and Jan smile, Chloe beams as she takes the keys, all, buckle up, start engine, away they go. 

.

White Sands

EXT. WHITE SANDS NATIONAL PARK - IN THE DUNES - SUNSET 

Hunter, Jackie, Tom and Chloe sit aimed at the sun setting on the San Andres Mountains. Their footsteps on the face of the dune behind them lead to their shoes atop it. Chloe wears Tom's hat and holds selfie stick with phone on the end of it.

CHLOE: Are you doing a sunset cruise?

TOM: We are, our last night in Waikiki. Doin' the luau in Kailua and ridin' at a ranch farrher on up the coast. 

CHLOE; Riding what?

TOM: Horses.

CHLOE: Doh. Of courses.

TOM: Wanda don't believe it but I'm takin' a surfin' lesson.

CHLOE: That's cool. 

TOM: Figure I'll do some fallin' before I get the hang of it, but the landin's gotta be softer than comin' off a horse. Y'all prob'ly been.

CHLOE: Maui and Kauai.

HUNTER: Maui and Kauai with Chloe and Oahu twice. 

TOM: Have ya been to a black sand beach?

HUNTER/CHLOE: Yes.

CHLOE: Waimea beach on Kauai.

HUNTER: Hana on Maui. Have you been to Hawaii?

JACKIE: Yes. Hawaii, the big island, and a black sand beach at Punalu'u.

HUNTER: Any particular occasion?

JACKIE (beat) My honeymoon.

HUNTER (beat): Oh.

Chloe preps her phone on her selfie stick.

CHLOE: One more for the road.

They group together, Chloe takes the picture, stands to retract the selfie stick. The others stand. Chloe puts selfie stick in backpack. 

HUNTER: Any objections to ice cream at Cowville?

CHLOE: Yay.

JACKIE: I second that non-objection wholeheartedly.

HUNTER: Tom, do you think you could manage a scoop or two of ice cream?

TOM: I know for a fact I could handle it easily.

They begin the ascent of the dune.

CHLOE: Do you have a favorite flavor?

TOM: Well, unless Ruthie's homemade peach is available I tend toward vanilla.

CHLOE: Like dad.

TOM: How 'bout you?

CHLOE: Chocolate.

TOM: Like Wanda.

HUNTER: Jackie?

JACKIE: Rocky Road, and Cowville's is the best. 

CHLOE: Will you be having Ruth's ice cream when you're there.

TOM: She picked up the peaches in Fredericksburg yesterday.

They reach the top of the dune, grab their shoes, leave view over the other side of the dune, darker as the sun is eclipsed by the mountains.  

[CUT TO:

John and Jan viewing Chloe's White Sands group selfie.]  

Wanda and Daisy 1: Tom's call, finalish form

EXT. DOWNTOWN LARAMIE, WYOMING - DAY

Wanda and DAISY, mid-70s - both in tennis shoes, knee-length shorts, untucked short-sleeve blouses, visors, purses tucked in elbow nooks, walk west on Grand Avenue, across from the Albany County Courthouse, toward S. 5th Street.  

DAISY: So, Wanda, I've found a biodregadable urn in the form of a goose I'm going to put some of Clem's ashes in and set on Lake Marie. 

WANDA: What a wonderful idea. I had no idea such a thing exists.

DAISY: Neither did I until I found it online. You and Tom have to come along.

WANDA: Oh Daisy, we would be honored.

They turn left at the corner of S.5th Street, walk toward the WYO theatre sign above the blank marquee above the boarded-up entrance (decorated with a painted mural tbd). 

DAISY: I'm going to put it in at the spot I caught my first fish on our second time there. Speaking of firsts.

WANDA: Yes?

DAISY: Our first date was at the WYO, if I didn't already tell you.

WANDA: Well if you did I don't remember so tell what you saw?

DAISY: The James Bond movie Diamonds Are Forever. 

WANDA: Well how about that. The first movie Tom and I saw was the Bond movie GoldenEye at the Lincoln in Cheyenne. 

When they reach the shade of the shade of the WYO'S marquee Wanda's PHONE RINGTONES an instrumental version of the Townes Van Zandt song If I Needed You, she gets phone from pants pocket.

WANDA (cont.) Are your ears burning?

With Daisy in front of the WYO on our way to the library. Where are you? 

(Wanda's face expresses the surprise in what she is hearing.)

I'm here. My goodness, Tom, I'm speechless. So what's the plan?

Alright. Well, call me tonight.

Okay. I love you too. Oh Tom, if you can, maybe take a picture.

I'll be waiting.

(Stunned, she pockets phone.)

DAISY: I confess I'm curious as a cat at a birdcage. Take a picture of what, if you'll pardon my nosiness.

WANDA: You know there's no such thing with me. Tom met someone he knows in Las Cruces and is spending the night.

DAISY: Someone you know, too?

WANDA: Know of. I haven't met him. 

Daisy follows Wanda's step toward continuing.

WANDA (cont.): Whaddaya think about driving to Centennial for supper at the Corral?

DAISY: I swear to goodness you read my mind.

WANDA(O.S.): And lingering for sunset?

DAISY(O.S.): To lingering. 

They walk out of frame.

DAISY (cont. O.S.): Wanda, is everything alright? You look concerned.

WANDA (O.S.): Everything is fine. Tom still surprises me. That's all.

DAISY (O.S.)  That's plenty.

WANDA (O.S.) Yes it is.

Act 3

Act 2

Act 3

Day 5

1. Hunter's dream, record into phone, kitchen, coffee, Tom reveal.

2. Tells Chloe.

3. Wanda with Daisy gets Hunter's call.

4. Ruth gets Wanda's call.

5. Gil with boys gets Ruth's call.

6. Barbara on golf course with Brian, Jan and John gets Hunter's call. 

7. Coroner away.

8. Wanda and Daisy, Laramie airport.

9. Gil arrive Ruth's.

10. Hunter, driving, and Chloe.

CH: What will you do today?

H: I put in a call to Doc to see if he has a window. To Jackie's after if he does, straight there if he doesn't. Call Wanda and Ruth tonight, talk about what's next. 

Lull. 

CH: Dad.

H: Yes.

CH: What did you and Tom toast to with the lemonade at the patio?

H (beat): Olivia.

A tear rolls down his cheek from under his sunglasses, Chloe wipes it away, holds his hand, sheds her own.

11. Doc 1

12. Sess and Claire, call from Jackie as Hunter enters Jackie's.

13. Gil, Wanda, Ruth airport.

14. John driving with Jan, Barbara and Chloe.

15. Daisy home alone.

Day 6

16. Hunter leaves in Tom's truck. Sunglasses in visor, items in glove compartment, Bandera on radio.

17. Chloe, Barbara, Jan and John, boat on Lake Nacimiento. "What do we know about Ruth?" 

18. Ruth and Wanda, cicadas, re Gil and Maria, truck engine, Hunter arrive.

19. Ruth, Wanda and Hunter, wine around table. Re Gil and family. Ruth excuse self to bed, Wanda right behind after calling Daisy.

20. Chloe with Barbara watching Horse Day video in her room in SLO gets call - ringtone - from Hunter in Ruth's guest room. Enter Ruth and Wanda "about the truck."

Day 7  

21a. Hunter driving truck with Ruth and Wanda, arrive Gil's gate.

21b. Gil waiting, truck arrival, Maria and boys watch intros through window.

22. Fort Park. Hunter, Gil, the boys and ATV's. Thunder, distant lightning, retreat.

23. John and Jan re Vietnam.

24. Hunter, Ruth, Wanda, drinking in Foglost and Hunter's abridged backstory.

25. Gil in den, tequila, tattoo, Bangkok pics, enter Maria and boys.

26. Barbara and Brian's proposal.

Day 8

27. Hunter leaves Ruth and Wanda. R re Last Picture Show matinee at Arcadia, then call Daisy.

28. Hunter driving, lunar West Texas, flat, the manual. 

29. Hunter's publisher's Big City office, bestseller, re call about screenplay rights.

30. Father and son arrive at flat, just fixed. Re the truck and "my father's and his before." 

31. Hunter's guest room, enter Hunter with Tom's boots and hat. Stetson cologne in bathroom. Tom's entry in guest book. Add Hunter's teardrop next to Tom's.

Day 9

32. Doc 2

September

32. Hunter and Ruth leaving Laramie, snow on ground.

November 

33. Hawaii.

March

Epilogue: Birthday truck for Chloe.

CREDITS OVER

Hunter and Gil bonding. 

Act 2

Act 1

Act 2 

Day 4

1. The truck, heeere's Jackie, away.

2. Wanda and Daisy re the move, selfie from Tom. 

3. Int. Rover. First time on a horse.

4. Barb home at SLO, Tesla, Chloe selfie.

5. Sess and Claire, horses and kids, Rover arrive, intros.

6. Ruthie place pic in parlor, piano.

7. Horses in the pines.

8. John and Jan, "found them," re Cheyenne. Barb's forwarded Chloe selfie.

9. Mountain meadow.

10. Gil, Maria, layover, Hunter's book blurb.

11. Horses single file uphill 'round the bend, Sierra Blanca vista.

12. Doc 1, Doc's secretary, Hunter's email and pic.

13. Pinus ponderosa, Bonanza, Tom's Hollywood wrangling chapter. Trangle bell re chuckwagon. CUT TO: Jackie, Sess, Claire at picnic table. "So who's the cowboy to Hunter?"

14. Brian, Brian's dad and son, Cuesta baseball, re "golf tomorrow." Dad re having finished Foglost, "about" drinking, recovery, reparations. Gonna read it again. Brian re it's going to be a movie and H.C Hardyn is Barbara's ex-husband. You'll meet him at the wedding. What wedding?

15. Horses at creek, Tom and Hunter re fishing.

16. Wanda with Daisy, Ruth Facetime.

17. Back at barn, Tom's Honda knot. Chloe keeps the rope. Coffee before ride down the hill.

18. White Sands sunset.

19. Jackie leaves.

20. Tom's Tahoe tale.  

Act 1

Act 1

Day 1

1. Tom and Wanda, Hawaii.

Day 2

2. Tom leaving. 

3. Tom driving, credits, Galveston.

4. Gil, Maria, boys, peaches with Ruth, Tom's Huey selfie.

5. Tom arrive ABQ motel, call Wanda and Ruth.

Day 3

6. Tom leave ABQ motel, Rancho Grande.

7. Tom Talavera.

8. Hunter home office, kitchen.

9. Hunter, Tom contact.

10. Tom U-turn, Howdy.

11. Barbara, John and Jan, Hunter's call. 

12. Wanda with Daisy gets Tom's call from Hunter's guest room. Tom call Ruth with Gil.

13. Hunter, Chloe, airport.

14. Hunter, Chloe arrive Hunter's, truck in driveway. 

15. Tom, patio, intros, how Tom found out. Chloe records toast.

16. Barbara and Brian re Tom and Olivia, sunset.

17. John and Jan, middle name.

18. Patio post-dinner, about another horse. 

The End of this blog

Nothing more for me to do now but walk away from this for a few days before commencing Final Draft blog Sunday.. Final post here will be the link to that. Will likely be titled Untitled until the right title comes to me.  Symptoms of Burnout that a mindful timeout will remedy. Need to have this off my mind for awhile.   

.

We learn

We learn about Tom and Olivia when Barbara tells Brian. 

We learn about Ruth when Chloe tells Barbara, John and Jan.

We learn about Gil when Ruth and Wanda tell Hunter. 

We learn about Tom and Wanda when Tom tells Hunter and Chloe.

We learn about Jan and John, and more about Barbara and Brian, when Hunter tells Tom.

We learn about Hunter and Jackie when Barbara tells Jan and John, and when when Sess tells Claire.

We learn Hunter's backstory when he tells Ruth and Wanda.

Silly Interlude re Timeout today

 

It's a Sandbox Day.

Line-4

Legge: The fourth line, magnetic, shows the army in retreat. There is no error.

Wilhelm/Baynes: The army retreats. No blame.

Blofeld: The army retreats and halts -- no error!

Liu: The army retreats at the proper time. No blame.

Ritsema/Karcher: Legions: the left resting. Without fault.

Shaughnessy: The troops camp on the left; there is no trouble.

Cleary (1): The army retreats and camps, there is no error.

Wu: The army halts its advance and chooses to camp. It will be blameless.

 

COMMENTARY

Confucius/Legge: There has been no failure in the regular course. Wilhelm/ Baynes: It does not deviate from the usual way. Blofeld: No error is involved because retreating and halting are a normal part of military activity. Ritsema/ Karcher: Not-yet letting-go the rules indeed. Cleary (2): One has not lost the constant. Wu: It does not violate the normal course of action.

Legge: Line four is magnetic and not central. Therefore to retreat is natural to her. Since the place is proper for a yielding line, the retreat is correct under the circumstances. Retreat is no evidence of failure in a campaign. When advance would lead to defeat, retreat is the regular course to pursue.

 6 at 4: The legion encamps to the left. Without fault.

An (or your) army needs relaxation too. Discipline cannot endure without pause, make a balance.

meet Chloe

EXT. EL PASO INTERNATIONAL SHORT-TERM PARKING LOT - DAY

CHLOE, 16, the girl in the photographs on Hunter's desk and screensaver - running shoes, jean shorts to knees, long-sleeve tee with GO SLO across the front, ballcap with shape of wave above the bill, camouflage backpack - and Hunter, sunglasses, toting a pink roller-bag, walk through the lot, away from the terminal.

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 about ten.

CHLOE: What's he driving?

HUNTER: Guess.

CHLOE (beat): Pickup truck.

HUNTER: Bingo. Late eighties 

CHLOE: Cowboy boots.

HUNTER: Check. 

CHLOE: Hat.

HUNTER: Check.

CHLOE: Buckle.

HUNTER: Silver with turquoise horseshoe. 

CHLOE: Jeans and western-style shirt.

HUNTER: Wrangler and pearl snap buttons.

He aims key to CHIRP the Rover. They arrive, he opens the back, puts in the roller-bag, Chloe adds backpack. Back closes, they get in.

HUNTER (cont.): I understand if you're upset that I let him stay without asking you. 

CHLOE: I'm not upset, dad. I totally trust you. Besides which, it says something that you'll leave a complete stranger with a pickup truck alone at your house.

HUNTER: I have his plates. 

He starts the car.

HUNTER (cont.) Buckle up, sweetheart.

They buckle up, Hunter backs out of frame.

.

Howdy

Tom has made the U-turn back to Hunters.

Hunter, crossing through foyer, hears the DOORBELL, etc.,. opens.

EXT. HUNTER'S FRONT DOOR

HUNTER: Can I help you?

TOM: Howdy. My name is Tom Walker.

Hunter surveys Tom, looks past him to the truck.

HUNTER: Tom Walker from Texas who was in Reno about this time fifty years ago passing through on your way to Oregon?

TOM: Yessir. 

HUNTER: What's my mother's name?

TOM: She went by her middle name Olivia, first name was Evelyn. If I have the right Hunter Hardyn.

HUNTER: How did you find my address?

TOM: Paid a few dollars for an online search.

HUNTER: Just happen to be in the neighborhood?

TOM: Sorta. On my way to Texas.

HUNTER: From?

TOM: Laramie, Wyomin', where I live. 

HUNTER: What if I didn't know who you are?

TOM: I'da been turned around and askin' for directions back to Drippin' Springs Road.

HUNTER: I'm on my way to the airport in El Paso to pick up my daughter.

TOM: Yessir.

HUNTER: Any idea when you'll back through on your way home?

TOM: I reckon about a week. 

HUNTER: We won't be here in a week.

TOM: Yessir. 

HUNTER(beat): Come in.

He opens the door wider, steps back for Tom to enter. Hunter takes a look at the truck, closes door behind him.

How Did You Find Out in progress

EXT. PATIO - DAY

Hunter and Tom stand near the table. We see Chloe through the window over the sink, watching from behind the center island.   

HUNTER: How did you find out?

TOM: Well, wen t online and did a search for your mother.

HUNTER: When was this?

TOM: Bout ten years ago. Come across her obituary. Seen you and Chloe as her survivors. Did a search for you and found the only one that spells Hardyn with a Y. There were a couple addresses in California. Then I did a search for her parents and found the ancestry site her mother kept. Your grandmother. Got to your limb on the family tree and seen your date a birth. Did the math.

HUNTER: The math.

TOM: Carson City?

Hunter nods.

TOM (cont.) I thought about lookin' for ya but I didn't know what Olivia mighta told ya. And I thought about the fact she wasn't survived by a husband mighta meant there'd been who'd passed. 

HUNTER: There was not.

Tom nods.

HUNTER (cont.): She told me about the two days. A little about the night. There are a lot of Tom Walkers in Texas.

TOM: Yessir.

HUNTER: A middle name might have helped.

TOM: Travis. Anyway, wasn't long after that I was in a bookstore with my wife doin' some Christmas shoppin'. Seen Trabuco on a table a books just out in paperback. Cover caught my eye, and then H-C Hardyn. Found your Wiki page. And the paragraph about your short story Ranch Hands. Wrote a letter, care of your publisher.

HUNTER: Never got it.

TOM: Never sent it. More I thought about it, seemed the right call to leave ya alone. You were just comin' into success and the timin' seemed like not the best. 

HUNTER: Why now?

TOM: Well, plan was to just drive by and take a picture. Then when ya seen me, well, I thought it might seem like I was stalkin' ya, back to me askin' for directions.

HUNTER: Passing through on your way to Texas for what, if you don't mind me asking.

TOM: You can ask me anything you want. My sister Ruth's in a little town called Comfort, in the hill country. 

HUNTER: Other siblings?

TOM: No sir.

HUNTER: Do I have any?

TOM: Not the I know of.

HUNTER: Is that a wedding band?

TOM: Yessir. My wife Wanda stayed back in Laramie to be with a friend, otherwise she'd be along. Us and Ruthie are buyin' a house in Kerrville. We're just gonna drive around a few days lookin' at neighborhoods. 

HUNTER: They know you're here.

TOM: Yessir. Both mighty surprised.

HUNTER: How long have you been married?

TOM: Twenty years this November.

HUNTER: Previous marriage or marriages.

TOM: No sir. Wanda was married before.

HUNTER: Does she have kids?

TOM: No sir. Wasn't able to. 

HUNTER: Lemonade or water?

TOM: A lemonade'd be great. Thank you.

HUNTER: Be right back.

TOM: Be right here.

Hunter walks to the kitchen door.  Tom sits at the table.  Hunter stops, turns back to Tom.

HUNTER: Tom, if it's okay with you, Hunter rather than sir?

TOM: Yessir. Hunter.

Hunter continues to kitchen.

INT. KITCHEN 

Chloe at center island, casserole prep. Hunter enters, goes to fridge.

CHLOE: Well?

HUNTER: Gramma's obituary ten years ago. Subsequent searching and bookstore moment. No siblings. Married to Wanda, they're buying a house with sister Ruth in Texas hill country. 

Hunter fills two glases with ice, pours lemonade, puts pitcher back in fridge, stands next to Chloe, both looking at Tom.

HUNTER: Well?

CHLOE: Minute sample size but I get a good vibe. Kind eyes, a sadness twinkle. We'll need to take a picture or two.

HUNTER: Roger that.

CHLOE: And you'll have to bust out the Tahoe pic.

HUNTER: And a picture of his face when he sees it. Door, please.

Chloe opens the door, Hunter walks to Tom, Chloe closes door, returns to center island, watches Hunter sit across from Tom. She gets phone from pocket just in time to record Hunter and Tom joining glasses in a toast, pockets phone, resumes casserole with eyes never leaving Tom and Hunter. 

meet barbara, jan and john

INT. DINING ROOM - DAY

A collector would covet the China plateware\in the elegant cabinet of the same wood as the table a master woodworker would admire. Framed painting of Edna Valley hills and vineyard on the opposite wall. View into adjacent kitchen that could be on the cover of a home decor magazine. Big window hilltop view to deck and handsome homes in rolling hills populated by oak trees.  

BARBARA, 50-ish, fit, in fashionable track suit; JAN, mid-70s, in Martha Stewart casual; and JOHN, mid-70s, khaki slacks and polo shirt, sit at the table playing scrabble. A jeweler would appreciate Jan's wedding ring and John's gold band and watch. John observes the board, Jan rearranges her tiles, Barbara uses the S of a word to play LARIATS for a double-word score. 

BARBARA: Twenty-six.

Jan writes down tbe score on a yellow legal pad.

JAN: And Barbara takes the lead.

JOHN: Speaking of lariats, sort of, do we know where horse day is taking place?

BARBARA: On land Jackie's family has northwest of Ruidoso, end quote.

JAN: Land and horses?

BARBARA: She has a cousin who manages one of the stables in the area. And something about involving teens at risk, the details of which I don't know. I'll get more when Chloe calls tonight.

Barbara's PHONE RINGTONES TYPEWRITER CLATTERING.) 

BARBARA (cont.): Or ask Hunter right now.

(She picks up on the ZING OF RETURN.) 

BARBARA (cont.): Hey there.

(John and Jan watch her face express the surprise of what she is hearing.)

BARBARA (cont.): Well, Hunter, I trust your instinct.

They're right here.

Alright. Oh, Hunter, if you're able, maybe take a picture?

Okay.

(She sets down phone.)

JOHN: Cue drumroll.

JAN: Take a picture of what?

BARBARA: Whom. Tom Walker. He's at Hunter's house and spending the night. 

(John and Jan shoot each other a look. Barbara looks at them. John finally uses the R in lariats to play ROUNDUPS, thus emptying his tile tray.)

JOHN (cont.) Seventy-seven.

(Jan marks the score. A long silence.)

JOHN (cont.): A middle name would be nice. 

BARBARA: Check.

Meet Hunter, intro to Chloe, Tom arrives

AKA scene 7

INT. NOVELIST'S HOME OFFICE - DAY

Requisite loaded bookshelf, desk and window. 

The shelf takes up most of the wall that faces an old leather sofa against the opposite wall, under a framed Ad Reinhardt abstract painting.

Wood desk aimed at big window view to up-close Organ Mountains. Blank whiteboard on wall behind desk, near open door to hallway, near hatrack with old-school California Angels baseball cap. Globe on printer on stand next to desk.  

Navajo rug on hardwood floor.

A clipper ship in a bottle, new-white baseball in a clear case near a Nolan Ryan California Angels bobblehead, antique typewriter, and G.I. Joe action figure next to a same-era Barbie adorn the bookshelf. 

A chair and lampstand at one corner of the window, stool and telescope in the other. 

The desk is held down by a short stack of yellow legal pads near pens and pencils in a cream coffee mug identified by NMSU in crimson; a worn-brown baseball; a framed 8x11 photograph of a sunshine-smiling 15-year-old girl in a wetsuit standing on the beach next to the pink surfboard she holds, the Pismo Beach pier in the background; and the computer attended by HUNTER, early-50s, in a swivel chair, typing at the keyboard. We can discern text reflected in his glasses but not the words.

He is fit, in jeans, running shoes, untucked and unbuttoned Hawiian-style short-sleeve over colored tee. Phone peeks from shirt pocket. His WATCH BEEPS THREE TIMES, he types briefly before closing the file to reveal his screensaver: 

the girl in the photograph, long hair in a tail, in soccer uniform on field with other girls in one or the other of two jerseys, her kicking leg at 10 o'clock, having struck the ball past the diving goalie, the ball nearing the net, the photo taken from right behind it. Hunter smiles at the picture, powers down the computer, pockets his glasses, leaves into the hall.  

INT. KITCHEN - MOMENT LATER

State of the art appliances, handsome cabinets and cupboards, stone counters and center island, view into adjacent dining room and, through the window above the sink to the covered patio - grill, table and chairs - and smallish xeriscaped yard fenced by a low stone wall, beyond which stretches open land to the mountains. Door with window from kitchen to patio. Bananas in a bowl on center island near keys and stack of mail. 

Calendar magnetized to refrigerator turned to July, the picture for which features the girl in the screensaver and framed photograph, in a selfie she has taken that includes Hunter from where they sit in the front of a roller-coaster descending a steep section of track, both smiling ear to ear, Hunter flashing a peace sign. The box for the 7th of July is populated by CHLOE written in blue marker.

Hunter enters from hall, gets bottled water from fridge, sets it on center island near keys, retrieves a full plastic bag from a bin in a closet, ties it off, leaves into hall.

EXT. HUNTER'S HOUSE - MOMENT LATER

Southwest meets modern minimalism. Neighbors' homes widely spaced along the road. 

Garage door open to feature newish Range Rover with New Mexico plates. A brown trash bin near where the driveway meets the mailbox and road along which homes are widely spaced. And Tom's truck slowly nearing, then finally stopping in front of the house.

INT. TRUCK  

Tom, aviators on, idles and stares at the house, finally raises phone to take a picture. The moment he has it framed Hunter enters the garage through door to house, bag in hand. He notices the truck, Tom takes the picture, drives away. Hunter in the rearview mirror as he walks the bag to the bin, gaze aimed at the truck.

EXT. DRIVEWAY

Hunter arrives at the bin, watches the truck turn onto another street and not emerge into view from behind the house near that corner. He drops the bag into bin, walks back to the garage, eyes aimed up the road, waiting to see the truck that does not drive into view. He enters garage and house.

INT. TRUCK

Tom, idling and pondering in front of the house he has used to conceal himself from Hunter's view, finally makes the U-turn, turns the corner back toward Hunter/s house.

Tom Nearing 1

AKA scene 6 

INT. TRUCK - DAY

Tom driving a two-lane road nearing what it's signage makes clear is The Talavera Fire Department east of Las Cruces, New Mexico, where the high desert meets a community of handsome homes heavy on southwest style near the base of the Organ Mountains under a brilliant sun in a cloudless blue sky.

The portable GPS on the seat tells him in a WOMAN'S VOICE to turn left onto Soledad Canyon Road. He does so and drives straight at the mountains under a brilliant sun in a blue sky. He gets aviator sunglasses from sleeve on driver's visor, puts them on, looks around.

Yucca Springs Motel

 AKA scenes 5a and 5b 

INT. MOTEL ROOM - SUNSET

Basic room lit through the crack where the curtains meet. We hear a CAR DOOR SHUT before the KNOCK OF BOOTS ON CONCRETE before the form of a man in a cowboy hat passes the curtains before Tom enters, closes the door, puts hat on rack, bed on suitcase, parts the curtains to the view of monsoon clouds gathering above the Albuquerque skyline, obscuring the Sandia Mountains. A neon sign shows Tom is staying at the Yucca Springs Motel; a third of its parking spaces are taken, Tom's truck in the one nearest his door. He gets phone from pocket, sits at desk, speaks into phone.

TOM: Wanda.

Hey baby, just remembered you and Daisy are at Bingo. Just now in my room, 'bout to run a bath, have Chinse delivered, maybe finish the book. Gimme a call. Love ya.

(He walks to the window, frames the view in his phone's camera, takes the picture, back to call function, speaks.)

Ruthie.

Hey sis.

Just now landed.

Alright, well tell her I said hi and I'll call when I'm leavin' about six.

Love you too.

(He sets phone on desk, unbuttons shirt, sits, removes boots, walks to and enters the bathroom. We HEAR THE SQUEAK-TURN OF FAUCET a beat before a BATH BEGUN before a FAINT RUMBLE OF THUNDER.)

EXT.  MOTEL - SUNRISE

The wet and puddled lot under a clear sky and the Sandias painted pretty. Tom comes out of his room, hat on, suitcase in one hand, keys in the other, phone in a pocket of a new shirt.

EXT. INT. TRUCK 

He opens the driver's door, slides suitcase to passenger side of seat, gets in, closes door, puts key in ignition, sets suitcase in well below seat, sets hat on seat, starts the engine, lets it idle, turns on RADIO, finds STATIC, tunes to find the BEGINNING OF FREDDY FENDER'S SONG, I Love My Rancho Grande. He raises the volume, drives away out of lot onto street and out of view. 

meet Gil, Maria and The Boys

AKA Scene 4.

INT. GIL'S GREAT ROOM - DAY

Describe. (Ranch limestone, whitetail deer mounts, longhorns over fireplace, leather furniture, wall-mounted BIG-screen, rifle case, Mexican brown eagle shield, etc.)   

GIL, mid-70s reading a book, aimed at the big window view to the Roberto (AKA Bobby) 15, and RAMON 13, playing catch with a football in the oak-heavy woods. 

Enter MARIA, mid-30s, Brownsville Gyrl t-shirt.

MARIA: Had I not seen it on the calendar I've forgotten Tom and Wanda arrive tomorrow. 

GIL: Just Tom. Wanda's staying back to tend to a friend whose husband just passed. 

He marks the page, closes the book, we see it is Foglost.

MARIA: Oh darn. How long will he be here?

GIL: About a week. Big news, by the way. They're moving down.

MARIA: Moving down here?

GIL: Yep. They and Ruth are going in on a place in Kerrville. Just starting the looking around.

MARIA: Wow. That's great.

GIL: Yep.

His PHONE RINGTONES the Willie Nelson instrumental, Bandera, he looks at the screen. 

GIL (cont.): Tom selfie.

Maria walks over, looks over his shoulder at the Huey selfie Tom has sent.

MARIA: Where is that?

GIL: Memorial in Angel Fire.

He pockets phone.

MARIA: What's Foglost about? 

GIL: Alcoholism. Loss. Despair.

MARIA: Cheery.

GIL: And getting another chance.

MARIA: So, hope, too?

GIL: We'll see. I'll finish it tomorrow.

MARIA: Speaking of which, is fishing still on?

GIL: We'll leave about six.

MARIA: Breakfast?

GIL: Jacalito's.

MARIA: Yum. 

GIL: Also, if it's alright with you, I'm thinking I'll take Bobby out in the vet before you leave.

MARIA: As in Bobby driving the Corvette? 

GIL: Yes.

MARIA: Where?

GIL: Backroad loop halfway to Vanderpol. 

MARIA: Does he know?

GIL: No. Wanted to run it by you first.

MARIA: Oh my goodness, he'll be so excited.

GIL: We have your okay?

MARIA: Of course, dad. But you have to let me be there when you tell him.

GIL: I'll call a meeting.

MARIA: Ramon will be jealous.

GIL: His turn next year.

MARIA: He knows how it works. Oh, and just a heads-up, Bobby has let it be known he is trending toward a preference for Bob.

Gil nods, smiles.

GIL: I remember the day Ricky told us he preferred Rick. Did he ever tell you that story.

MARIA: No. But I'd love to hear it.

GIL: I'll save it for when Bobby tells me it's Bob from now on.

MARIA: If he does. 

She bends to kiss his cheek.

MARIA (cont.) Lunch in fifteen.

GIL: Thank you, sweetheart.

She leaves, he watches the boys, resumes reading. 

[SOUND CUE CUT TO:

Tom entering ABQ motel room.]

Silly Interlude re Rene re this blog

Silly Interludes trending as I near the end of this blog and prepare to begin Final.

Other titles: The Symbol of Steady Observation, Observation, Viewing, Observing, Admiration, To Examine, Perception, Contemplation of the Work

Silly Interlude re Table Reading dream and invited to Sarah's party dream

Someone's grassy back yard, and I think I know whose, daytime.

The number of people it takes to populate both benches attending a picnic table. I am at the opposite end of the table from whomever is at its head, My guess is it's the person whose back yard we are in.  

The person seated next to me, on my left, has an actressy-vibe, her hair stylishly disheveled. She wears sunglasses and has her attention fixed on me.

End dream.

Reminds me of the dream of arriving (late) to Sarah's house, for the party I've been invited to. That dream ends with me, having arrived, looking in a window and thinking that all in the house - at the party - fir my notion of the demographic re Sarah's business associates. 

related.

more.

Fort Park dialogue

EXT.  - DESCRIBE - DAY 

Hunter and Gil with beers, the view to Hill Country.  Lean-to with fire-pit, horseshoe area, rope-and-tire swing from tree branch. The boys at the archery range. The ATV's. 

HUNTER: Where does the trail go?

GIL: To the creek.

HUNTER: Where does the creek go?

GIL: West prong of the Medina River, when there's water in it. This storm  will get it wet enough. 

HUNTER: How long have you been here?

GIL: All my life. My dad and two of his cousins used their G-I Bills to start a construction company in San Antonio. About five years in he bought the first parcel and started on the house, little bit at a time. He and mom spent their first night a year to the day after dad broke ground. I was born nine months later. Victoria a year-and-half after that.

HUNTER: Where was your father in the war?

GIL: Pacific. U-S-M-C. 

HUNTER: My uncle was there in the Navy.

GIL: On a boat I might have heard of?

HUNTER: If you've heard of the U-S-S Helena.

GIL (beat): I have. Dad remembered it helping out at Gaudalcanal. 

HUNTER: So did my grandfather. 

GIL (beat): Did he continue on to Kula Gulf. 

HUNTER: He did. And survived. 

GIL (beat): Ever talk about it?

HUNTER:  A little. Not much detail. I didn't press. My mom told me about the nightmares.  

Gil nods.

HUNTER (cont.): Was Dale in the war?

GIL: First Cav, wounded at Luzon.  Ruthie can tell you more about that.

HUNTER: Tom had a First Cavalry tattoo on his left shoulder. 

GIL: (beat) Did he talk about it? 

HUNTER: No. And nothing about Vietnam. I saw it when I found him in bed.

GIL: I was with him in Bangkok when he got that.

HUNTER: R and R.

Gil nods.

HUNTER (cont.) Would you mind talking more about that sometime?

GIL: We can do that. Maybe when you're back.

HUNTER: I'd like that very much.

GIL: I have pictures.

HUNTER: I'd love to see them.

GIL: I'd love to share them. 

HUNTER: Did you enlist?

GIL: We both did.

HUNTER: How were your parents with that?

GIL: Mama was not pleased. Dad was conflicted. I'd never seen him shed a tear until the day I went off to boot camp. I think Ruth will confirm that it was about the same with Dale and Opal. I can tell you that Tom and I came to serious second thoughts about that early in country. But more about that next time you're here.

HUNTER: Thanks. Will the boys join?

GIL: Good question. 

HUNTER: Thoughts on that?

GIL: Still forming. Bobby's starting to ask about it. Maria is dead set against it. You ever in the military?

HUNTER: No, unless the Peace Corps counts.

GIL: How long and where?

HUNTER: Two years in Africa. Ghana. 

GIL: Maybe more on that when you're back.

HUNTER: Sure.  

DISTANT THUNDER

GIL: Here she comes. I guess you're in the middle of Monsoon season in Cruces.

HUNTER: Yep. Have you spent any time there? 

GIL: Passing through several times and once for a wedding in Mesilla. Tom and I used to visit a Vietnam buddy in El Paso at least once a year. Garrison Weaver. He passed a few years ago. White-tail at your nine o'clock. 

Hunter slowly turns to his head to the left to see the white-tail buck in the woods, seeming to stare back at them. The boys have the deer in sight.

HUNTER: How often do you hunt?

GIL: I'll take folks out once each season to feed the homeless for Thanksgiving at the shelter the church runs. Family or friends. This year will be Ramon's first time. Bobby got his a couple years ago. Have you ever hunted, Hunter?

The deer bounds away into the woods out of view.

HUNTER: No. Did Tom?

GIL: He did. We got our first the same day with dad and Dale. 

HUNTER: How old were you?

GIL: Both thirteen. Last time I was in Laramie that mount was in their home office. 

NEARER THUNDER and the first DROPS OF RAIN.

HUNTER: Did he do the Thanksgiving hunts?

GIL: He came along a few times. But as far as I know Tom never pulled a trigger since the last time he did in Vietnam.

NEARER THUNDER, HARDER RAIN, FAR-OFF LIGHTNING. Gil turns to the boys, lets loose a LOUD WHISTLE. The boys are quick to their ATV. Gil starts the engine. Gil gestures to the boys to head on. They do, into the woods and out of view. Gil finishes his beer, sets the empty in the console. 

GIL (cont.): Vámonos.

Hunter finishes his beer, does the same.

HUNTER (cont.): Let's.

Gil drives the ATV into the woods out of view.

Act 3

Act 2

Next day. Hunter leaves in the truck.

Chloe, Barbara, Jan and John, boat on Lake Nacimiento, re Ruth's husband and son.

Wanda amd Ruth re Daisy and storm. Truck engine sound, Hunter arrive.

Brian, his dad and son. R meeting the author of the books dad reads, re planned proposal to Barbara,.

Gil and Maria re "tomorrow."

Night. Hunter, Wanda and Ruth, table-talk re Gil.

Jackie at home gets call from Hunter in Ruth's guest room. Guest book. Hunter's laptop Tom screensaver.

Next day, sunrise, Barbara and Chloe, surfing.

Hunter, driving truck, with Wanda and Ruth on two-lane backroad. Arrive Gil's gate. M for Mendoza. Gil on deck, sound of truck engine, truck arrive. Maria and the boys watch through window.

Jan and John, re college deferment re Vietnam.

Fort Park, Hunter, Gil, the boys and ATV's. Maria's call.

Maria, Wanda and Ruth in kitchen, tamales, sound of ATV's, their arrival.

Doc 1 re Hunter's email and pics.

Night. Wanda, Ruth and Hunter on back porch with ice cream. Hunter's abridged back-story. 

Gil with Bangkok pics, enter the boys. Sit down, let's talk.

Next morning. Hunter leaving. Ruth and Wanda re matinee at the Arcadia and calling Daisy.

Hunter driving, the flat, glove compartment, the manual, TX and WY fishing licenses. Hood of truck, the jack and spare.

John and Jan re Foglost bestseller. Re movie rights and Hunter moving. 

Sess and Claire re Honda knot video.

Hunter, flat fixed, the impala and a man who could be Dale Walker inquiring re truck. Hunter, not for sale, was his father's and his before that. 

Daisy at home, call from Wanda and Ruth.

Hunter arrive home, boots and hat, guestbook, teardrop.

Doc 2. 

Leaving Laramie.

Hawaii.

Epilogue. Chloe birthday truck. Drives away with grams and gramps.