final beats 41 - 55

Previous.

41. Hunter's dream. Coffee. Tom reveal. 

42. Wakes Chloe.

43. Wanda with Daisy gets Hunter's call. 

44. Ruth gets Wanda's call.

45. Gil gets Ruth's call.

46. Hunter and Chloe watch paramedic truck drive away.

47. Barbara with Brian, Jan and John on golf course get Hunter's call. Chloe's coming home.

48. Wanda and Daisy, Laramie airport. 

49. Hunter and Chloe.

50. Doc 2. Hunter's call.

51. Hunter and Jackie in bed. More Reno/Tahoe and diaphragm as contraceptive.

52. Ruth, Gil, Wanda.

53. Choe with Barbara, Jan and John.

54. That night. Hunter arrive home, guest book.

55. Next morning. Hunter leaves in Tom's truck. Glove compartment. 

final beats 20 - 40

Previous

20. Re the truck, heere's Jackie, away they go.

21. John and Jan. Eureka.

22. Int. Rover. White Sands. Re horses.

23. Barb and Brian, Tom re ranch foreman, Chloe's Sierra Blanca selfie.

24. Sess and Claire, horses and teens. Rover arrival, intros, saddle up.

25. Wanda with Daisy gets Tom's Ruidoso selfie.

26. Ruth places same selfie, framed.

27. Horses and riders fan the pines.

28. Gil and Maria re Tom's Las Cruces layover.

29. Mountain meadow. Into the woods.

30. Horse train uphill with view.  

31. Doc 1. Hunter's selfie.

32. Pinus ponderosa, Chloe and Tom Spanish, rodeo to Vietnam. Chuckwagon.

33. Claire's dad, reading Foglost, gets selfie.

34. Creek and horses. Fishing.

35. Brian, Brain's son and dad, Cuesta baseball.

36. Horse barn and Honda knot.

37. White Sands sunset.

38. Goodnight's at Hunter's, Jackie away, shooting star.

39. The Tahoe tale.

40. Tom facetime Wanda and Ruth. Chloe taught him how. 

final beats 18 and 19

Previous.

18. INT. TOM/WANDA'S HOME OFFICE -  SUNSET

Wanda PRINTS the selfie that Tom has taken that includes Hunter and Chloe. Ream of glossy paper and frame. She frames the picture, leaves room into hall.

INT. PARLOR - SUNSET

Piano. Ruth enters from hall, places the same picture, framed, on the bookshelf next to Hunter's three books, smiles as she stares at the picture before leaving into hall.

19. EXT.  PATIO - N

patio

EXT. PATIO TABLE - NIGHT

Hunter, Chloe and Tom around the table post-meal, silverware on cleaned plates, glasses of water and the pitcher.  MONSOON CLOUDS obscure the moon. DISTANT THUNDER.

HUNTER: So Tom, do you and Wanda have any plans for your twenty-fifth?

TOM: Goin' to Hawaii.

CHLOE: Cool. Which island?

TOM: Oahu. Stayin' the first few nights in Honolulu, doin' the Waikiki thing, and the last few on what's called the North Shore.

CHLOE: Sweet. 

HUNTER: Have you been before?

TOM: No sir. First time for both of us. Y'all prob'ly been.

Chloe nods.

HUNTER: We have. 

CHLOE: Are you excited?

TOM: We are. Not so much about the flyin' part but that's part a the package.

CHLOE: Doing a luau?

TOM: Luau, sunset cruise, ridin' horses on the beach. She don't believe it but I'm takin' a surfin' lesson.

CHLOE: Yay.

TOM: I'm sure I'll be fallin' off before I get the hang of it, but I'm guess' it's a softer landin' than comin' off a horse. Far as I can tell Waikiki's a good place to learn.

CHLOE: It is.

TOM: Do you surf?

Chloe nods.

CHLOE: I learned on Maui.

TOM: How old were ya?

CHLOE: My eleventh birthday.

TOM: Take a lesson?

CHLOE: My mom.

TOM:  Do you surf, Hunter?

HUNTER: I have but it's been awhile. 

TOM: Where do ya surf outta San Luis Obispo?

CHLOE: Pismo mostly. If you know where that is.

TOM:  I do. Was there for a few days about a million years ago.

CHLOE: What were you doing, if you don't mind me asking.

TOM: Y'all can ask me anything ya want, anytime. I was out there doin' a little wranglin' for one a the Hollywood studios.

CHLOE/TOM: Really?

TOM: Not long, couple months. Had a friend who knew a fella and a matter a good timin'. Anyway, me and this friend had some free time, drove up the coast to Pismo Beach, did some fishin', spent a couple nights. 

CHLOE: How old were you?

TOM: Twenty-four. 

NEARER THUNDER.and SUDDEN HARD RAIN   

HUNTER: Here it is.

TOM: Got plenty in Albuquerque last night. Put me right to sleep. Speakin' a which, if y'all'll excuse me, I reckon I'll give my wife and sister the call they're waitin' for and get on to bed.

He stands.

TOM (cont.) Chloe, I sure hope you'll share that casserole recipe 'cause that was delicious. Thank you.

CHLOE: I'll share. After you tell us a little more about your wrangling over breakfast. 

TOM: Deal.  

They shake on it.

CHLOE: Cool.

TOM: Goodnight, y'all.

CHLOE/HUNTER: Goodnight, Tom.

TOM: Can I take them plates in?

CHLOE: No. You're our guest.

TOM: Thank y'all so much for your kindness and generosity.   

HUNTER: Don't forget to sign the guest book.

TOM: I won't.

Hunter and Chloe watch him walk to house, enter kitchen, leave view.

CHLOE: I'm gonna call mom. 

HUNTER: If there's a horse for him and he can and wants to come along -

CHLOE: Yes.

Hunter smiles, gets phone, speaks into it.

HUNTER: Jackie.

Hey.

She's right here with me. 

Can't wait. In fact that's why I called. We have a surprise visitor and are wondering if there's any chance your cousin can find another horse.

[CUT TO:

19 : EXT. HUNTER'S DRIVEWAY - DAY]

.

how Tom found Hunter

EXT. HUNTER'S PATIO - D

Tom at table, smoking. Hunter and Chloe, having returned from the airport, watch through window over kitchen sink, grocery bags on center island. They come out, intros, re dinner, Chloe excuses herself. Tom inquires; we learn Chloe lives in San Luis Obispo with her mother, that she will be seventeen in March and soon starting her junior year in high school.

Hunter asks Tom how he found out about him.

Tom looked up Olivia, found her obituary, and "survived by her son Hunter  and grandaughter Chloe," fueling curiosity that led him to see what he could find about Hunter Hardyn, which led Tom to Hunter's Wiki page, which included his date of birth. Tom "did the math."

Etc.

what good re Story how Tom found Hunter

 

Looks up Olivia online, finds her obituary, including "survived by.".

Coming Soon.

final beats 13 - 17

Previous

13. Wanda with Daisy downtown Laramie gets Tom's call from Hunter's guest room. Tom calls Ruth, with Gil. Hijole. Tom leaves room, BOOTS KNOCKING on hardwood. He appares in thw window at the desk when he arrives at the low stone wall that encloses the yard, lights a cigarette he pulls from a pack in shirt pocket.

14. Hunter and Chloe, driving. "Do we know what's in Texas?"

15. John with Jan.

16. Barbara with Brian. She answers his question re Tom and Olivia.

17. Hunter and Chloe arrive Hunter's, Chloe's eyes on the truck in the driveway. 

18. Tom at patio, Hunter and Chloe in kitchen window over sink. Tom sees them, introductions, Chloe excuses herself. Hunter asks Tom how he found out. Re Olivia's obituary and family tree. Chloe in kitchen takes picture.  

final beats 12

Previous.

INT. FOYER - D

Describe. Hunter passing through, stopped by DOORBELL. The peephole and his double take. 

EXT.  HUNTER'S FRONT DOOR - NEXT MOMENT

Tom in hat at the door. Hunter opens enough to peer out. Tom's truck on the street near the bins.

TOM: Howdy. My name is Tom Walker.

Hunter surveys him. 

HUNTER: Tom Walker from Texas who was in Reno fifty-one years ago last month?

TOM: One of 'em anyway. June second through the fifth.

HUNTER:  What's my mother's name.

TOM: Olivia. If I have the right Hunter Hardyn.       

HUNTER: How did you find my address?

TOM: Paid a few bucks for a search.

HUNTER: Just happen to be in the neighborhood?

TOM: Well, sorta. Passin' through on my to Texas.

HUNTER: Passing through from where?

TOM: Where I live with my wife in Laramie, Wyoming.

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

TOM: Yessir. I could maybe stop back by on my way home.

HUNTER: When will that be?

TOM: Oh I reckon maybe a week. 

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

TOM: Yessir.  

Hunter opens the door, steps back, motions Tom in. Tom takes off his hat, enters. Hunter gives the truck a look, closes the door.

Barbara call from Hunter 1

CAFE. - LUNCH WITH WINE.

JAN: So what dlo we know about Jackie.

BARBARA: History professor at New Mexico State. No kids. They met on a flight from Denver to Albuquerque a month ago. 

JOHN: Where are they going horseback riding?

BARBARA: North of Ruidoso, end quote. 

Her PHONE RINGTONES THE CLATTERING OF A TYPEWRITER. 

BARBARA (cont.): Hunter.

She picks up.

BARBARA (cont.) Hey there.

I'm here. 

Well, Hunter, I trust your judgment. Absolutely.

They're right here. 

I will.

Love you too.

K.

She sets phone down.

JAN/JOHN: Drumroll.

BARBARA: Tom Walker from Texas is at Hunter's house. He's spending the night and leaving in the morning. Chloe will call me tonight.

They all turn to their thoughts.

JOHN: A middle name and where he lives would be nice.

BARBARA: I'll ask.

Enter WAITER.  

final beats 1 - 11

Sort, shuffle, repeat. 

1. INT. BDRM - N

Tom and Wanda in pajamas in bed. Tom reading Foglost, Wanda perusing Hawaiian travel brochure. Wanda re luau, Tom "when in Rome" and surfing lesson. Wanda's pay to see it. Won't have to and umbrella, toes in sand and mai tai. Wanda re hula lesson. Tom re getting lei'd. Lamps off, bed springs squeak.

2. EXT. HOUSE/DRIVEWAY - D

The truck, WY plates. Tom leaving, scenic route, call every hour. A neighbor. Wind chimes.

3. INT. TRUCK - D

Tom driving, music on radio, enter Colorado.  

4. EXT. LARAMIE RIVER TRAIL - D

Wanda with Daisy gets selfie from Tom

5. INT. MOTEL ROOM - SUNSET

Tom's KNOCKING before he enters. Monsoon clouds, ABQ skyline and Sandia Mountains. Calls Wanda and Ruth, STARTS BATH.

6. EXT. YUCCA SOMETHING MOTEL - SUNRISE

Cars and trucks in the puddled lot. Tom out from room to truck and away.

7. INT/EXT TRUCK - D

Tom driving, Hunter's neighborhood, Organ Mountains. GPS directions, Tom makes the turn.

8. INT. HOME OFFICE - D

Hunter writing, window to Organ Mountains. Chloe photos. 

9. INT. KITCHEN - MOMENT LATER

Enter Hunter, the routine, he leaves. 

10. EXT. HUNTER'S HOUSE - MOMENT LATER

Garage open. Tom approaches, stops, stares, aims phone to take picture as Hunter comes out from garage door to house. Tom drives away. Hunter watches him disappear behind neighbor's house, puts bag in bin, back to house. 

11. INT TRUCK - MOMENTS LATER

Tom idling and pondering. The U-turn.  

Final final beats

Day. Hunter and Chloe watch the paramedic truck drive away. They return to house through garage.

Doc 1. What's next and Tom's Stetson cologne.

Wanda, Ruth and Gil, airport.

Chloe, with Barbara, Jan and John, driving. Re Hunter's Kerrville itinerary.

Sess with Claire gets Jackie's call. 

Hunter and Jackie in bed. More re Olivia, Tom, Reno and Carson City, diaphragm as birth control.

That night. Hunter in guest room, Tom's entry in the guest book.

Daisy at home. Call from Wanda at Ruth's.

Next day. Hunter leaves in Tom's truck. The glove compartment.

Gil with Maria and the boys, re "tomorrow."

Chloe with Barbara, Jan and John on boat at Lake Nacimiento. "What do we know about Ruth?" Chloe tells them. And ties a Honda knot.

Wanda with Ruth on porch. Re the storm. Sound of engine, Hunter's arrival.

That night. Ruth, Wanda, Hunter at dining room table, bottle of wine. Re Gil. Long way re Bandera Cemetery.

Jackie gets Hunter's call from Ruth's guest room. An entry in the guest book, marked by a photo, from Clem and Daisy.

Chloe in her SLO bedroom, watching a video from Horse Day, Hunter's facetime call, Barbara enters. "Take pictures" re Gil Day.

Next morning. Jan and John sunrise power-walk.

Hunter, Ruth and Wanda at Bandera Cemetery. Re Tom's ashes and Daisy's bidegradeable urn re Clem and lake.  

Barbara and Brian.

Gil on deck, ranch in limestone, driveway emerges from oaks. Sound of engine before the truck into view. Intros and into the house.

Chloe and a cowboy encounter. 

Fort Park at Rancho Mendoza. The sound of the two ATV's before their arrival, the boys in one, Hunter and Gil in the other. On the land, the family to Vietnam and Gil's Bangkok selfies with Tom. When Hunter's back next week. Maria's ringtone. Away they go.

Maria, Ruth and Wanda in the kitchen. Sound of ATV's before they pass through frame of big window view to oaks and open land.

That night, Ruth's deck, rain and thunder. Ice cream and Hunter's backstory.

Gil in den with tequila and Bangkok selfies with Tom.

Next morning. Hunter leaves in Tom's truck, with his boots and hat. Wanda and Ruth re Daisy. 

Hunter driving through salt flat, distant mountains, the flat. The manual.

John and Jan call Hunter, having fixed flat. Re calling Wanda and Ruth. Congrats re bestseller. Harley Tom's arrival, strong resemblance to the cowboy in Hunter's dream. Re the truck and "it was my father's"

Guest room, sound of Hunter entering house and nearing. He enters, places Tom's hat on rack, boots near the desk. He enters bathroom, Tom's cologne.

Two weeks later.  Doc 2.

November. Hawaii. 

March. At Jan and John's Chloe birthday truck surprise when Hunter arrives. Keys to Chloe. John and Jan in for a ride into the sunset. Hunter and Barbara, watch, enter house, arms around each other. 

CREDITS 

how have i best utilized this blog to get to Finally Final

 

What remains is to to get act three's beats set and then commence Finally Final blog next week. 

.

Timeout and change for the better

Realizing the being-stuck and burnout had something to do with being too-wed to previous notions that further understanding allows for reshaping if not jettisoning. And burnout and stuckness giving way to refreshed and near-ready to resume, with final beats in fixed position, io be posted here, and beginning of Finally Final blog.

Posted here For The Record re stations re progress re finishing, finally.

(more) burnout timeout

 

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.

Other titles: Calculated Inaction, Biding One's Time, Nourishment Through Inaction

finding the right title

"Boots" and "Honda Knot" fine as working titles, but neither is the one that sticks. 

Hilary Barrett:

"This is about natural beauty, like the beauty of a plant, whose form is the perfect, simple expression of its nature. It's also about the way people create images to communicate something of a person's or thing's inner nature."

end of this blog other than notepad

Just as semifinal informed this blog, so will this blog end today, other than as notepad, to inform the Finally Final blog I will begin next week.

scene 40

Previous.

EXT. PATIO - DAWN

Hunter in pajamas with mug of coffee, watching a roadrunner seeming to be looking back at him from the rock wall. It finally scurries away. Hunter swallows the last sip, heads to the door to the kitchen.

INT. KITCHEN

Hunter enters, sets mug on counter, gets tomatoes, mushrooms, onion, spinach, cheese and eggs from refrigerator, puts them on center island, stops, surprised when he hears a CAT'S MEOW. He steps into hallway.

INT. HALLWAY

Hunter stares down the hall at the open door to the guest room from which another MEOW comes. He walks slowly to the open door, is startled when a CAT runs out and past him down the hall and disappears through the cat door in the door to the garage. He turns back to the guest room, looks in from the doorway.

INT GUEST ROOM

Hunter in the doorway stares at Tom under the covers in bed, still, eyes closed, his arms crossed at wrists, hands on his chest.

HUNTER: Tom. Tom.

He enters, moves desk chair to bedside, sits.

HUNTER (CONT.) Tom. Tom.

FAINT MEOW.

He holds a finger to Tom's nostrils, searches for pulse at wrist, then at carotid artery. He stares at Tom, finally stands, leaves into hall.

[41. CHLOE'S BEDROOM

Describe. Chloe sleeping. Hunter arrives in doorway, stares, finally enters, sits on edge of bed Chloe faces. FAINT MEOW.] 

scene 39

Previous.

EXT. CAMPFIRE - NIGHT

POV at modest CRACKLING FIRE ringed by rocks. TILT UP  to reveal across the fire a WORKING COWBOY whose face is obscured by the brim of his hat as he feeds twigs to the flame. His silver hair rests on his shoulders.An AUSTRALIAN SHEPHERD at repose next to him.  

WHISPER OF RIVER, LOWING OF CATTLE and SNORT OF HORSES we can’t see in the dark sparkled by approximately sextillion stars and a quarter moon. We finally notice what seems the blinking eyes of an owl looking back at us from behind the cowboy, over a shoulder. 

A WOLF’S DISTANT HOWL alerts the dog and lifts the cowboy’s gaze from the fire. He’s Tom, silver beard and mustache, twinkle is his eyes and smile on his face. He looks to the sky and quickly gathering clouds that soon enough eclipse the moon ad stars then drop snowflakes that cover the fire and finally Tom as the last ember of the fire is extinguished.

BLACK for a moment before SUNRISE on the distant mountains we could not see behind where Tom had been. The sun ascends quickly on the snow-covered Big West High Country. Horse and dog tracks in the snow lead from the bare tree with the branch the great horned owl flies from without a sound, toward the cowboy, his black horse and the last few of a dozen head of cattle completing the crossing of the steaming river shallow over and around gravel bars.

After the last cow has completed the crossing, the cowboy turns his black horse to us, takes off his hat and waves it over his head before finally turning and continuing out of view.

ROOSTER CROW.

INT. HUNTER’S BEDROOM - DAWN

Describe. Time on clock.

Hunter wakes. ROOSTER CROW.  Sits up, silk pajamas. He speaks elements of dream into phone-record, slips into slippers, leaves into hall.  

40. INT. KITCHEN - MOMENT LATER

Hunter enters, starts coffee.

Begin Timeout

 

related.

Hilary Barrett:

"To still yourself is to come to rest in your own right place. It's not the opposite of motion, but of being pushed into motion by outside influences. Whether you move or stop is determined inwardly, by your sense of the nature of the time."

Final Beats 37 - Epilogue

19 - 36

37. Next morning. Hunter's dream.

38. Tom reveal, Hunter tells Chloe.

39. Wanda (with Daisy) gets Hunter's call.

40. Ruth gets Wanda's call.

41. Gil gets Ruth's call.

42. Hunter and Chloe watch paramedics leave.

43. Barb with Brian, Jan and John gets Hunter's call. Chloe coming home. 

44. Wanda and Daisy, Laramie airport. 

45. Sess and Claire, the news.

46. Hunter with Jackie. 

47. Chloe with Barb, Jan and John re Hunter's itinerary and Ruth.

48. Next morning. Hunter leaves in Tom's truck. 

48. Hunter crossing Pecos River with music on radio.

49. Wanda and Ruth, Hunter arrive.

50. That night. Hunter, Wanda and Ruth, table, wine, re Gil.

51. Hunter in Ruth's guest room, calls Chloe in her room. Tomorrow's plans. Hunter's laptop screensaver. "Journal" notes.

52. Hunter driving Hill Country road, Ruth in middle, Wanda window, arrive gate, enter.  

53. Gil on deck with boys. Truck engine before emerge from oak grove. Arrive and intros.

54. John, Jan, Barbara, Chloe on boat on Lake Nacimiento. Chloe to Kerrville when Hunter returns. 

55. Fort Park, ATVs, Hunter, Gil and the boys. The land, family, Vietnam. Re Bangkok photos. A deer, re hunting. Distant thunder.

56. Hunter, Ruth, Wanda porch, ice cream, rain, Hunter backstory.

57. Gil in den, the boys and Bangkok photos.

58. Next morning, Hunter leaves.

59. Hunter's guest room, sunset. Hunter enters, sets boot, racks hat, opens guest book to Tom's entry. Teardrop lands near the mark of same, closes guestbook, leaves.

60. Two weeks later. Doc 1.

Epilogue. Hawaii.

Burnout Timeout

 

Time to walk away awhile. Stake out remaining beats tomorrow, then put this down for a minute.   

found re 33:

.

Final Beats 19 - 36

1 - 18

19. Next day. Tom's truck, Heeere's Jackie, away they go.

20. Hunter driving, White Sands, last time on a horse.

21. Barb and Brian, Sierra Blanca Chloe selfie.

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

23. Horses and riders in woods.

24. John and Jan power-walk talk. Middle name Travis.

25. Mountain meadow, three pairs.

26. Wanda and Daisy.

27. Uphill horse train.

28. Ruth finishes Foglost, Hunter's photo and blurb, puts book on shelf near framed Tom selfie.

29. Tom, Hunter and Chloe, rodeo to Vietnam. Lunch bell.

30. John and Jan, Tom/Wanda online footprint.

31. Creek and horses.

32. Brian, his father and son, Cuesta baseball.

33. Horsebarn and Honda knot.

34. White Sands sunset selfie.

35. Jackie leaves, shooting star.

35. Tom and Tahoe pic. Re sign guest book and Hunter sign Foglost.

36. Tom facetime Wanda (with Daisy) and Ruth. Guest book.

Final Beats 1 - 18

1. Tom and Wanda.

2. Next morning. Tom leaving.

3. Tom enter Colorado.

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

5. Next morning. Tom leave ABQ motel.

6. Tom driving Hunter's 'hood. Organ Mountains, GPS.   

7. Hunter home office, kitchen.

8. Tom idling, Hunter's house. Hunter out, Tom drive away. U-turn.

10. Howdy. Foyer.

11. Wanda with Daisy, Tom's call from guest room. Tom calls:

12. Ruth in Fredericksburg with peaches. 

13. Hunter and Chloe airport.

14. Barbara with Jan and John re Tom and Olivia.

15. Hunter, Tom, Chloe intros, how Tom found out. Chloe takes picture.

16. Gil at home reading Foglost, Maria and boys. Ruth's call re Tom's layover in Las Cruces.

17. Wanda prints Tom's selfie that Ruth places, framed.

18. Hunter, Chloe, Tom, patio post-dinner. Tom re Hawaii. H call Jackie re horses.

Hilary Barrett:

"You penetrate subtly by feeling your way into things, yielding gently to their nature. You shift your own ideas and expectations, and come to understand the situation from inside, on its own terms. And so, as you allow things to shape you, you also reach a place where you can shape them."

scene 38

Previous.

INT. HUNTER'S FOYER - MOMENTS LATER

Tom and Chloe, Tom's hat on the rack.

CHLOE: Do you have an idea what he's going to bring back?

TOM: Well, when he said photograph I remember your grandmother takin' a picture with an instamatic camera she picked up when we stopped for lunch in South Lake Tahoe. An old school selfie of us in the lake with our pants rolled up.

Hunter enters, envelope in hand.

CHLOE: He remembers.

HUNTER: I heard. Any details would of course be greatly appreciated.

TOM: Well, the part a the lake we were at is called Zephyr Cove. I reckon ya know that already. I'll prob'ly repeat a lotta what your mother told ya.

HUNTER: That's alright. 

TOM: We parked, walked down to the beach, she took off her moccasin style boots that was popular at the time, rolled up her light blue corduroys to her knees, I did the same with my boots and jeans, we walked out, she took the picture. Didn't know she was left-handed til she held the camera away from us. 

HUNTER: Parked what before you walked to the beach?

TOM: I was drivin' a Chevy C ten. A pickup.

CHLOE: What else was she wearing, if you remember.

TOM: She had a suede floppy hat that matched the moccasins. She wore them mirror-type reflective sunglasses. A forest green light sweater over a white shirt with collars. A silver bracelet she said her grandmother had given her. 

CHLOE: What were you wearing?

TOM: Not so different than what I'm wearin' now. Pretty sure I was sportin' a bolo tie that day.

CHLOE: The envelope please.

Hunter hands her the envelope, she opens it, retrieves the 3" x 5" photograph she gives a good going-over before she hands it to Tom, who stares at the picture that matches his description exactly. The lake and mountains on the other side behind them under a cloudless blue sky. Her sunglasses hang from her sweater collar, his peek out from a shirt pocket. The bolo tie silver and turquoise. His hat is tipped back to show more face. Both with big smiles.  

TOM: Funny.

HUNTER/CHLOE:  What's funny?   

TOM: Well, I think I read or heard somethin' about smell - scent - bein' yer strongest sense memory. Or memory sense. One ot the other or maybe neither.

CHLOE: It's the hippocampus part of your brain. 

TOM: Is that it.

CHLOE: If it decides, for lack of a better word, that something about the smell is important - maybe it triggers something - it will store it. But back to what's funny.

TOM: Soon as I seen her face I smelled her lilac perfume. Like on a breeze. That's what's funny. Do you mind if I take a picture a this?

HUNTER: Of course not.

TOM: Wanda and Ruth'll wanna see this. Chloe, would ya mind holdin' it

Chloe takes the picture, holds it up against her shirt. Tom gets phone from pocket, takes the picture.

TOM (cont'd): Thank you.

CHLOE: My pleasure.

Tom pockets phone.  

TOM: And thank you both more than I can properly express for this time together. Today was one a the best I've ever had and I won't ever forget a minute of it.

HUNTER: I think I can speak for both of us in assuring us we feel the same.

TOM: I'm happy for that. Goodnight, y'all.

Chloe hugs Tom, who betrays surprise, then warms into the embrace.

CHLOE: Goodnight, Tom.

Hunter approaches, opens arm to Tom. They embrace.

HUNTER: Goodnight, Tom.

They pat each other's backs.

HUNTER (CONT.) I'll be on the patio with coffee for sunrise if you're up early.

TOM: It's a date. I'll set my alarm.

Tom flashes a peace sign. Chloe and Hunter reciprocate.

TOM (CONT.) Olivia gave me the peace sign when we parted. Little trivia you may or may not have known.

HUNTER: We did not. Thank you.

TOM: Thank y'all.

HUNTER: Don't forget to sign the guest book if you haven't already. 

TOM: I haven't, but I'm gonna.

HUNTER: Cool.

Tom leaves into hall, takes the KNOCKING OF HIS BOOTS with him. 

CHLOE: I'm gonna call mom.

HUNTER: I'll start popcorn.

She looks at the photograph.

CHLOE: Pretty good memory, huh?

HUNTER: Noted.

She winks, hands him the photo, leaves into hall. He stares at the photo, puts it in envelope, leaves into hall.

scene 37

Previous.

EXT. HUNTER'S DRIVEWAY - NIGHT

Hunter, Chloe and Tom at Jackie's car on the street, where she idles, top down, headlights on. Starry sky. Rover in the garage, Tom's truck where it was.

JACKIE: So Tom, safe travels and good luck with your house-hunting.

TOM: Thank you, Jackie. And thanks again for havin' me along today.

JACKIE: Thank you for coming, Tom. Til we meet again.

TOM: Til then.  

JACKIE: I'll call when I'm home.

HUNTER: Thanks.

Hunter and Jackie exchange a quick kiss. She drives away waving. They wave back, walk to the garage. When Tom stops to look to the sky, Hunter and Jackie do the same.

TOM: Any idea how many stars there are in whatever it is that makes the universe?

CHLOE: Approximately two-hundred billion trillion. Or, to put it another way, two-hundred sextillion. Emphasis of course on approximately.

TOM: Approximately how many zeros in one sextillion.

CHLOE: Exactly twenty-one.

A shooting star burns itself out in its brief arc.

CHLOE: Whoa!

TOM: Well how bout that.

HUNTER: Right on cue. 

CHLOE: You probably have starry skies over Laramie.

TOM: We do. More so outside a town a course. Me and Wanda have a spot we'll drive to, look at the stars over the Snowy Range.

Lull.

HUNTER: Popcorn and a movie?

CHLOE: Yay.

HUNTER: Tom?

TOM: I'd sure like to but to be honest I'm feelin' a little tuckered. I know I'd just fall asleep on y'all. Thinkin' I'll call Wanda and Ruth, take a shower and get on to bed. Sorry to be such a party pooper.

HUNTER; Hardly, Tom. You made today's party pop.

CHLOE: Word.

Hunter leads them into the garage.

HUNTER: Tom, before you retire, could I show you a picture?

TOM (beat) Sure.

HUNTER: It was taken at Lake Tahoe fifty-one years ago.

Hunter opens the door to the house. Chloe enters, Tom removes his hat as he passes Hunter. Hunter enters, closes door behind him. Garage door closes.

scene 36

Previous.

EXT. JAN AND JOHN'S PATIO - DAY

Grill, wall-mounted big-screen TV, lawn and lap pool, sun above homes in the rolling hills on the other side of the foliage fence. And John and Jan in two of the four chairs at the table, a bottle of white wine and their half-full glasses at hand. They stare at Chloe's White Sands sunset selfie that fills the screen of Jan's laptop. Foglost near John, closed and marked near the end.

JOHN/JAN: Have you ever been?

JOHN/JAN: No.

JAN: She looks so happy.

JOHN: They all do.

JAN: They all do.

JOHN: I'm going to call Hunter.

JAN: I'd like to say hello.

scene 35

Previous.

EXT. SUBURBAN CUL DE SAC - DAY

Leafy neighborhood overlooked by the small mountain Cerro San Luis Obispo and the sun above it. California plates on the Tesla Barbara drives into frame and parks in the driveway of the two-story home at the end of the street.

INT. TESLA

Phone in console and celery sticking out the the top of the grocery bag in the front seat with purse. As soon as she turns off the engine HER PHONE CHIRPS. She picks it up and stares at the selfie Chloe has taken that includes Hunter, Tom and Jackie in the dunes of White Sands National Park, the sun setting on the San Andres Mountains behind them. Chloe wears Tom's oversized hat. Barbara pockets her phone, puts keys in purse, opens door,

EXT. TESLA

She gets purse and grocery bag, closes door, walks to the house. A GERMAN SHEPHERED BARKS and greets her happily when she opens the door. She enters house, closes door behind her. 

scene 34

Previous.

INT. MODEST LIVING ROOM - DAY

A MAN and WOMAN, 60-somethings in glasses, reading in recliners aimed at a television, their backs to the couch and window above it that frames the leafy street, the two homes across it, and the water tower above and behind them. ARDMORE big across the tower's tank. Oklahoma plates on the Honda Odyssey van in one driveway and the Toyota Tundra pickup truck in the other. 

She's in sandals, old jeans, Leon Russell t-shirt, perusing a Galveston travel brochure. Red t-shirt under his overalls. Socks, work boots to one side of recliner. He turns to the last page of Foglost. A BLOODHOUND DOG at repose on the pad near the lampstand between the recliners. 

Framed reproduction of Barbara Vaupel's painting, Elk Herd in the Wichita Mountains, above a loaded bookshelf that includes a framed photograph of Claire and Sess cheek to cheek and smiling at the camera, Grand Canyon behind them, in a selfie Claire has taken. View into hallway and framed photographs on wall. John Deere ballcap, cowboy hat and University of Oklahoma football helmet on rack near front door.  

A few moments before he closes the book, sets glasses on the lampstand, ponders. She looks at him over her glasses. 

WOMAN: Done?

MAN: For now. I'll need to read it again.

WOMAN: Like it?

MAN (two beats): Yes.

WOMAN: Did the fog lift?

MAN: Lifting. There's no way it won't be a movie.

WOMAN: Who plays Bob?

MAN: My preference would be someone we've never seen or heard of. But no way that'll happen. It needs to be black and white. Montgomery Clift.

WOMAN: I'd watch that. Happy ending?

MAN (two beats): Bittersweet. 

She stares at his deep consideration of whatever is on his mind.

WOMAN: Honey.

He seems snapped out of a reverie.

MAN: I'm sorry, sweetheart. 

WOMAN: Unusually contemplative.

MAN: I thought I saw the ending coming. Again. How does he do it?

His PHONE CHIRPS. He gets it from pocket, stares at the screen, shakes his head.

WOMAN: What is it, babe?

MAN: A selfie Claire took.

He hands her the phone. She stares at the picture of Claire and Hunter, arms around each other, smiling at the camera, Sierra Blanca prominent in the background. She extends a hand to take the book he hands her. She opens to Hunter's picture and blurb, holds the phone close to it to compare. She looks at him.

WOMAN: That's him.

MAN: Or his doppelganger. 

She stares, he ponders. She hands back the phone. He stares, she ponders.

scene 33

Previous.

INT. ROVER - DAY

Hunter at the wheel, Jackie front passenger seat, Tom behind Hunter, Chloe behind Jackie. Driving southwest on Highway 70, White Sands and sun above the San Andres range dead ahead down the hill. 

TOM: Who taught you to drive, Hunter? 

Hunter and Tom make eye contact in the rearview mirror. Chloe readies her phone, records Tom.

HUNTER: My grandfather. Is my driving okay, Tom?

TOM: Drivin's great. Just curious. In what and where were ya, if ya don't mind me askin'.

HUNTER: My grandfather's eighty-seven Volvo G-L sedan. We started in the parking lot of Anaheim Stadium, then went out to Katella and east to Santiago Canyon and Irvine Park. A Sunday afternoon in late July.

TOM: How old were ya?

HUNTER: Fifteen. Then I had drivers ed in high school. Education.

TOM: Right. 

HUNTER: How bout you.

TOM: My dad, in his sixty-two Impala S-S convertible.

CHLOE: What color?

TOM: It was called twilight blue. White top.

CHLOE: I'll have to look that up.

HUNTER: No truck? 

TOM: Sixty-one G-M-C.

HUNTER: K. Where were you in the Impala?

TOM: West Texas. Dad had a friend who had a cabin and horses on some land off one-eighteen about halfway between Alpine and Terlingua. Ed Figueroa. He and his wife and son and daughter lived in El Paso most a the time but by a couple years later he'd retired and they was out there full time. We'd go out once or twice a year.

HUNTER: We being?

TOM: Me and dad and mom and Ruthie. 

HUNTER; So Ruth and your mom were out on this occasion.

TOM: They were. This was over a week in June.

CHLOE: How old were you?

TOM: Couple months shy a fourteen. Ruthie'd just turned twelve. Ed and Gloria's kids were older. His name was Javier, he was sixteen or seventeen and the daughter Soly, for Soledad, had just graduated high school. Sorry if I'm ramblin'.

CHLOE/HUNTER: You're not.  

TOM: Well, stop me if I start to. Anyway, to cut to the chase, dad got me outta bed early, maybe five or so, askin' if I wanted to go for a drive. Sure, let's go. We did that a lot, just get in the car and go. I never got tired of it. Anyway, ten minutes later we got to the gate at the highway, turned left, drove to south a Terlingua, found a spot and watched the sun come up over the Chisos Mountains. After awhile he asked if I was ready. I nodded, thinkin' he was talkin' about headin' back to the cabin. Which he was. He gave me the key, we switched places. I drove back.

CHLOE: Top down of course. 

TOM: Comin' and goin'. Keep in mind, it wasn't exactly my first time behind the wheel. I'd taken the truck for a lap or two around the block a time or two. But the Impala on open highway was a change.

CHLOE: Were you surprised?

TOM: A little. I was hopin'.  

HUNTER: Engine?

TOM: Two eighty-three V-eight. 

CHLOE: How fast did you go?

TOM: Well, a little faster than the sixty dad suggested I tell mom if she asked.

CHLOE: Did she?

TOM: No. 

CHLOE: She knew not to.

TOM: That thought occured to me. 

HUNTER: How fast did you go?

TOM: Dad let me know eighty was plenty.  

HUNTER: What became of the Impala.

TOM: Totaled when dad hit a whitetail that November.

CHLOE: What's a whitetail.

TOM; White-tailed deer. 

CHLOE: Oh.

TOM: Big ol' buck come outta the woods just north a Lost Maples. Dad thinks he mighta been tryin' to get away from a mountain lion. Anyway, end a the chassis.

CHLOE: And the deer, I reckon.

TOM: You reckon correctly. He put it down.

CHLOE: Put it down?

TOM: Shot it. 

CHLOE: Oh.

TOM: It was sufferin'.

Chloe nods.

TOM (CONT). I'm sorry, Chloe. I coulda - I shoulda - left that out.

CHLOE: No. No leaving things out, Tom. Okay?

Tom nods.

CHLOE (CONT.): Did your dad get hurt?

TOM: Broke his right foot and ankle, left wrist, concussion, bruised sternum, got some windshield glass in both arms. Took awhile to get all that out. But eventual full recovery. 

A lull.

CHLOE: Tom.

TOM: Yes ma'am.

CHLOE: What did he shoot the whitetail with?

TOM: The Colt forty-five he kept in the glove compartment.

CHLOE: Why did he keep one there?

TOM: For exactly the reason he used it.

CHLOE: Deers are why you have that guard on your grill, isn't it?

TOM: Yes ma'am. That's one reason. And it comes in handy movin' through brush and such. 

A lull.  

CHLOE: Do you have a gun in your glove compartment?

TOM:  No. It's in a case under the driver's seat. 

Lull. 

CHLOE: Same gun?

TOM: No. Dad's Colt is at Ruth's.

CHLOE: Do you carry it for the same reason?

TOM: Yes.

Lull.

CHLOE: Is that the only reason?

TOM (beat). No.

CHLOE: Self-protection?

TOM: Should push come to shove.

CHLOE: So to speak.

TOM: Yes ma'am.

Tom looks out the window. Chloe stops recording, pockets phone.

scene 32

Previous.

INT. HORSE BARN - DAY

Sess, Claire, Jackie, Chloe, Tom and Hunter watch the teenagers team up to unsaddle the horses, place saddles in tack area and lead the horses to the hay in their respective feeders. A mechanical bull in a corner. 

SESS: Straight back to Cruces?

JACKIE: Nope. Ice cream in Rui and a White Sands sunset.

SESS: Nice. Send a picture.

JACKIE: Will do.

ANGELO, one of the teens, walks to Claire and, keeping his eyes on Tom, whispers something to her.

CLAIRE: Tom, Angelo is wondering if you can make a reata and if you can would you mind showing him.

TOM: Well it's been awhile but I reckon it'd come back to me if I had enough rope in my hands.

Claire nods to Angelo, who hurries to the tack area and returns with a coil of rope he takes off a hook on a wall and hands to Tom. 

TOM: Gracias, Angelo.

Angelo nods. All the other teens stop to watch and move in closer. Tom runs the rope through his hands as if habit.

TOM (CONT): Chloe, ya know what a reata is?

CHLOE: A lariat, or lasso, although I recall reading that lasso is closer to verb than noun but I'll defer to you on that.

Tom smiles. Chloe gets phone, aims at Tom, records. The teens do the same.

TOM: I've heard the same. I tend to call it a rope and ropin'. Ya know what the knot is called to make a lariat?

CHLOE: I do not know that knot.

TOM: It's called a Honda knot. 

CHLOE: Why?

TOM:  Thought you might ask. I couldn't tell ya with any certainty.

Quickly, almost suddenly, Tom makes the knot and lariat he widens to the loop he swings over his head as he approaches the mechanical bull.  All follow as he gets to within fifteen feet of the bull, lets the rope fly. The loop lands perfectly around the bull's horns. Applause and a chorus of appreciation and approval. Tom removes the lariat from the horns, walks the rope to Angelo.

ANGELO: Muchas gracias, vaquero. 

TOM: Por nada, amigo.

Tom drapes the loop over Angelo's head onto his shoulders. Claire comes in close for a picture of them. Tom drapes an arm over Angelo's shoulder. Angelo puts and arm around Tom's waist. Claire takes the picture.

scene 31

Previous.

EXT.  CUESTA COLLEGE BASEBALL FIELD - SAN LUIS OBISPO - DAY

Brian and BRIAN'S DAD, 70-something, sit in the stands behind the backstop, their attention on the PITCHER, 19, on the mound throwing to CATCHER, 19, behind the plate. A COACH, 60ish, stands behind the pitcher to observe. Green rolling hills beyond the outfield fence. In a batting cage away from this action a HITTER takes his swings against the pitching machine fed baseballs by ANOTHER COACH. The BAT PING indicates aluminum. In the bullpen area PITCHER 2 throws to CATCHER 2.

All on the field wear shirts and ballcaps making clear they play for CUESTA COLLEGE. The pitcher's fastballs POP THE CATCHER'S MITT with 90-mile-an-hour velocity.

DAD: You get along with Clodagh?

BRIAN: Chloe. So far so good. 

DAD: You said she plays softball?

BRIAN: She's a stud. All-league last year and already getting letters. She surfs. 

DAD: Does she know you do?

BRIAN: Yes. We're gonna hit the pier when she's back from her dad's.

The pitcher indicates to the catcher with his glove motion that he will be throwing curve balls. The pitches bend late and drop straight down to low in the strike zone a batter would present.

DAD: He's throwing it harder. 

BRIAN: And changed the grip. Been playing with a splitter, too. Wanna come?

DAD: Surfing?

BRIAN: Yeah.

DAD: Where?

BRIAN: Pismo.

DAD: She'd be cool with that?

BRIAN: I think so but I'll ask.

DAD: Will Barbara be there?

BRIAN: In the water taking pictures.

DAD: Sure. I'll dust off the longboard.

BRIAN: Cool.

The pitcher gives the catcher a thumb's up. The catcher jogs to the pitching mound where he and the pitcher and the coach convene in conversation that lasts a few moments before the pitcher walks to Brian and Brian's dad, who both stand and meet pitcher at the backstop. The coach and catcher take their conversation to a dugout. 

DAD: Lookin' good.

PITCHER: Yeah?

DAD: More pop and movement.

PITCHER: Two-seamer.

DAD: It works.

PITCHER: Thanks, gramps. So I'm gonna ice up.

BRIAN: Meet at the car?

PITCHER: Fifteen minutes.

BRIAN: See ya there.

Pitcher jogs away.

DAD: How's he doing with the breakup?

BRIAN: Better. It will help being up here. 

DAD: Right.

BRIAN: Speaking of breakups.

DAD: Okay.

BRIAN: The divorce is final tomorrow.

DAD: I remembered it's getting close.

BRIAN: We had a good talk last week.

DAD: I'm glad to hear that, Brian.

BRIAN: She says hello.

DAD: I'll email her. 

BRIAN: K. 

DAD: Wish her the best.  

Bran puts arm around Dad, who puts arm around Brian. 

BRIAN: Love you, dad.

DAD: Love you, son.

They walk out of frame.

scene 30

Previous.

EXT. CREEK IN WOODS - DAY

Mixed conifer forest. A modest CREEK GURGLES IN A WHISPER interrupted by the CUH-LIP COH-LOP of approaching horses. Tom is the first rider to emerge from the woods to lead the others along the narrow trail that parallels the creek. He is followed in a line and in order by Chloe, Hunter, Jackie, Claire and Sess, the last to ride out of frame. 

scene 29

Previous.

EXT. PINE FOREST - DAY

Hunter, Tom and Chloe stroll through the woods some distance away from where Sess, Jackie and Claire are setting up lunch at a picnic table in a clearing near where the horses are tied. 

TOM: Anyone know why they're called ponderosa pines?

CHLOE: Pinus ponderosa, from the Latin ponderosus, large and heavy.

TOM: Oh. Thus ponderous.

CHLOE: Thus ponderous. But you knew that.

She looks at Tom. Tom winks.

TOM: Just checkin' my recollection, which ain't what it used to be. What else ya speak besides Latin? 

CHLOE: I wouldn't say I speak Latin. I going into my third year of Spanish. How about you?

TOM: Poquito español. Suficiente para meterse en problemas.

CHLOE: Bastante suficiente, I reckon.

Tom smiles and winks.

TOM: Hunter?

HUNTER: Two years of French in high school.

TOM: Ever come in handy?

HUNTER: As a source of humor courting Barbara, who is fluent, and the summer after college I traveled in Europe. I took it because of a girl.

TOM: Remember her name?

HUNTER: Charlotte Barbier. What was your first girlfriend's name.

TOM (TWO BEATS): Ana Baca.

CHLOE: How old were you?

TOM: Fifteen. Met in history class.

CHLOE: Bandera high?

TOM: Bandera high. How'd you know there's a Bandera high

CHLOE: Didn't.  Still there?

TOM: Still there. San Luis Obispo high?

CHLOE: Yep.

TOM: Mascot?

CHLOE: Tiger. Bandera's?

TOM: The bulldogs.

CHLOE: Did you play sports?

TOM: Me and your dad was talkin' about that. I did rodeo through my high school years. Ruth ran track and field.

CHLOE: My grandmother ran track and field at Berkeley.

TOM: What event or events?

CHLOE: Eight-eighty. Yards. Ruth?

TOM: Four-forty. High school, not college.

CHLOE: Did she go to college?

TOM: She did. It's Texas State now, Southwest Texas State when she was there.

CHLOE: San Marcos.

TOM: Yep. How'dya know that?

CHLOE: They sent me a letter about softball.

TOM: Sounds like maybe you got a few a those letters comin' in.

CHLOE: A couple. 

We see past them to Jackie raise something that RINGS LIKE A TRIANGLE DINNER BELL. 

CHLOE (CONT.) Chuckwagon ringeth.

TOM: Whaddaya know about a chuckwagon.

CHLOE: Everything you're about to tell me.

They walk toward lunch.

EXT. PICNIC TABLE

Jackie, Sess and Claire with the sandwich and potato salad lunch laid out on the gingham table cover. The triangle bell hangs from the table near Jackie. They watch Hunter, Tom and Chloe approach.

SESS: So Jack, Claire says Hunter could be the doppelganger of her dad's favorite author, H C Hardyn, with a Y.

JACKIE: Not doppelganger.

SESS: As in one and same.

JACKIE: One and same.

CLAIRE: I knew it. Do you think he would mind if I took a picture? 

JACKIE: I think he would not mind, but I'll ask.

CLAIRE: Thanks. My dad would shit his pants.

SESS: Speaking of dads.

CLAIRE: Yes?

SESS: Could you say anything one way or the other about this sense I have that Tom might be Hunter's.

JACKIE(BEATS): I could. 

SESS: Gottit.

JACKIE: And will, later.

SESS: Roger that, cuz.

They watch Tom stop at the horses to point out to Hunter and Chloe different parts of the saddle. He holds a stirrup briefly and gestures as he talks about it. He lets it go, strokes the horse's neck, then Chloe does. They resume their approach to the table.  

scene 28

Previous.

INT.  DEN - DAY

Handsomely appointed. Old wood, loaded bookshelf, reading nook, window view to lap pool in grass yard fenced by foliage. Antique GRANDFATHER CLOCK KEEPS TIME.

John and Jan at laptops across from each other at table. John types, checks screen. Jan reads, scrolls. 

JAN: So what did we learn about Brian's golf game?

JOHN: That he played a few rounds when he was a teen on his uncle's hillbilly country club course in Tennessee. He's borrowing a friend's clubs. 

JAN: He looks athletic.

JOHN: He does. She's nervous about meeting his father and son in Pismo next week.

JAN: The son and ex are in Long Beach?

JOHN: The ex is, the son was. He's moving up to play baseball at Cuesta. Reminds me. Tee time change, now ten-thirty. 

JAN: What does or did his father do?

JOHN: Bob. Retired carpenter. Bingo..

JAN: Bingo?

JOHN: Got it. Street view of the entry to their mobile home park.

JAN: Tom and Wanda's.

JOHN: Yes. 

He turns laptop to Jan, who stares at the street view image of the entry to the Meadowlark Park Mobile Estates. Patches of snow on the ground. 

JOHN (CONT.) Travis did the trick. Theirs is one-twelve Centennial. Three bed, two bath. 

She uses the 360-degree feature to navigate a full-circle surveillance of the unremarkable surroundings along a remote area offering a view of distant mountains. A field half-covered in snow.  

JAN: Have you ever been to Laramie? 

JOHN:  Two days in Cheyenne for a depo when I was at Flynn. Middle of February.

JAN: Balmy?

JOHN: Snow and a tropical twenty-below both mornings. You?

JAN: Closest was Fort Collins for a track meet at Colorado State. Mid-fifties, early April.

JOHN: How'd that go?

JAN: Third place and a hamstring strain that ended my season.

JOHN: When were you last in a manufactured home?

She returns his laptop. John stares at the screen.

JAN: An asbestos case my first year at Ryan Kelly. Several in the same park over a few days. You?

JOHN: I had a great aunt and uncle who had one with a pond in the woods outside ____ It was nice. He built a double-level deck around it, a brick grill, and a boardwalk to the pond. I was there a few times over two junior high summers. James and Edith.

JAN: Is this something you've told me and I've forgotten?

JOHN: If it is then I've forgotten too.

JAN: Were there fish in the pond?

JOHN: Yes, Perch and catfish. And as there was neither creek nor stream to get them there, I asked my uncle how they arrived and he told me how waterfowl could get fish eggs stuck to them, and then deposit said eggs into a pond, et cetera. I think if I remember that I would remember if I had told you.  

JAN: Did you go fishing?

JOHN: Yes. With can poles from the pier he built. We'd dig up worms and catch crickets for bait. He cleaned, she cooked.

JAN: Pan fry.

JOHN: Cornmeal batter. Edith was from east Texas. James was granny's cousin. They died in a car crash when I was in high school. Have you ever fished? And if I have, is it something you've told me.

JAN: You'd think something like that would have come up, don't you? Whether we'd ever fished or not. Right?

JOHN: A good possibility but the possibility otherwise. 

JAN: To the best of my recollection, I have never fished.

JOHN: Would you like to?

She smiles.

JAN: You're funny.

JOHN: I'm serious. 

JAN: I know you are.

She kisses his cheek.

JAN (CONT.): Where would we go? 

JOHN (TWO BEATS): Nacimiento. Rent a boat.

JAN: What will we do with the fish we catch? To use Chloe's vernacular, I'm not sure I'm down with the clean and cook thing.

JOHN: Catch and release, assuming catching.

Jan stares at him, shaking her head and smiling.

JAN: What if I hook myself?

JOHN: I hooked myself at the pond. James showed me how to unhook. But you won't hook yourself because I won't let you. You'll catch a fish and never forget the feeling of the sudden tug and pull. And if not, sweetheart, it's a day on the lake in a boat with the man who loves you.

She closes laptop, stands, extends her hand, John closes laptop, takes her hand, stands and follows her out of the room into hall. 

scene 27

Previous.

EXT. HILLSIDE HORSE TRAIL - DAY

The rough path at an angle bends around the side of a hill offering a postcard-picture vista to the surrounding hills and distant Sierra Blanca Peak. FAINT BIRDSONG silenced by the CUH-CLIP COH-LOP OF APPROACHING HORSES. Sess is the first rider to lead the horse train uphill, followed in line by Claire, Jackie, Hunter, Chloe and Tom, the last of the riders to leave view around the bend. BIRDSONG resumes after the last FAINT CUH-CLOP. 

scene 26

Previous.

INT. GREAT ROOM - DAY

Limestone, fireplace, whitetail deer mounts, pool table, mini-bar, loaded rifle case, Zapotec rugs, leather furniture. Gil sits in a chair near a small table with a lamp and copy of Foglost on it. He looks through the big window to oak trees forever and TWO BOYS, 16 and 14, in shorts, t-shirts and tennis shoes, kicking a soccer ball back and forth, moving farther into the woods. 

MARIA, 40ish - sandals, faded jeans, mustard tee with BROWNSVILLE GRL in brown across the front - arrives in the doorway near the hat rack that includes a sombrero. She watches Gil awhile before speaking.

MARIA: Knock knock.

Gil smiles.

GIL: Who's there?

MARIA: Ida.

GIL: Ida who?

MARIA: Ida forgotten Tom and Wanda arrive today if not for the calendar.

He turns to her.

GIL: Tomorrow. And just Tom. Wanda stayed back with a friend whose husband recently passed.

MARIA: Oh. How's the book?

GIL: Page turner. I'll finish it tonight. Do I have your permission to let Ricky drive the Vette.

MARIA: Oh boy. Does he know about it?

GIL: No. Wanted to run it by you.

MARIA: Of course, dad. But I want to be there when you hand him the key.

GIL: Of course.

MARIA: When and where?

GIL: Out to Vanderpool for lunch. I'll record a little from the passenger seat.

MARIA: Thank you. I'd like that. Fishing still on?

GIL: Still on. You coming?

MARIA: I'm meeting Victoria in Wimberley for lunch and salon.

GIL: How is she? 

MARIA: Pregnant. Very happily.

GIL: Glad to hear it. Pass along my congratulations.

MARIA: I will. Okay with tamales tonight?

GIL: You know the answer to that. Way okay.

She winks, leaves into hall. Gil watches the boys disappear, opens Foglost to the marked page, reads.

SOUND OF WOODPECKER KNOCKING.

scene 25

Previous.

INT. DINING ROOM/KITCHEN - DAY

Quaint and cozy. The calendar on the fridge turned to July with accompanying photo of fireworks lighting sky above baseball field and families on blankets. Windows to backyard. Wanda at the table reading James Michener's novel Hawaii and chasing cornbread with milk. Antique hutch appointed accordingly. Phone at hand near a few ripe bananas in a wooden bowl. She is startled when her PHONE RINGTONES the piano beginning of the Marcia Ball song, That's Enough of that Stuff. She smiles shakes her head, marks page and closes book, picks up to RUTH FACETIMING.

WANDA: I was about to finish my chapter and Facetime you.

RUTH: Michener?

WANDA: Yep.

RUTH: What chapter?

WANDA: Two, the unswept lagoon.

RUTH: Bye bye Bora Bora. 

WANDA: Yep. So aren't you just loving the pictures he's sent.

INT. BEDROOM - DAY

Describe. Ruth at desk, Facetime with Wanda, looking at framed photo of Tom, Chloe, Hunter and Jackie with a larger-than-them bear cut from wood.  

RUTH: I called because I had to talk about it.

WANDA: That's why I was going to call you. Is the bear picture just the cutest?

RUTH: I framed it and just now put it on the desk in y'all's room.

She aims the phone at the picture.

WANDA: I love it.

RUTH: And more on the way.

She returns phone to face.

WANDA: Can't wait.

RUTH: So how's miss Daisy? 

WANDA: We had a good day. She's here taking a nap and I'm about to. 

DINING ROOM/KITCHEN

Wanda standing at the window, Facetime with Ruth.

RUTH: Well pass along my hug to Daisy.

WANDA: I will. 

RUTH: Love ya, dubya.

WANDA: Love you too..

RUTH: Drive safe.

WANDA: Yes ma'am.

End call, she finds the bear picture on phone, smiles, pockets phone, leaves into hall, FLOOR CREAK.

scene 24

Previous.

EXT. MOUNTAIN MEADOW - DAY

Sess and Claire are the first pair of riders to emerge from the woods into the meadow, followed by Jackie and Chloe, followed at a similar distance by Tom and Hunter in a procession aimed at more woods on the far side of the meadow. 

WITH SESS AND CLAIRE

CLAIRE: Got it.

SESS: Who he looks like?

CLAIRE: Yes. My dad's favorite writer. H C Hardyn, with a y. I mean just like him.

SESS: What does your dad's favorite writer write?

CLAIRE: Novels. His third and latest is just out. 

SESS: What's it called?

CLAIRE: Foglost, one word. Thick book. Five-hundred something pages. 

SESS: Do you know what it's about?

CLAIRE: Quote, an alcoholic unraveling, so far, end quote. He was about two-thirds through it yesterday.

SESS: I'll ask Jack.

 CLAIRE: Any idea who the cowboy is to him?

SESS: Quote, surprise visitor, end quote.

CLAIRE: Any particular reason you put him on Butter. 

SESS: Besides the way she swished her tail as soon as she saw him?

CLAIRE: That was interesting.

Claire turns to look back at the riders behind them. Jackie and Chloe wave, Claire waves back.  

CLAIRE (CONT.): Almost like she'd go if he wanted to.

SESS: Right. 

Claire turns back to the woods they ride into.

WITH JACKIE AND CHLOE

JACKIE: So is it too early to be thinking about college?

CHLOE: Starting to. 

JACKIE: Plenty of time. 

CHLOE: Yeah.

JACKIE: So I'm guessing soccer might be a factor.

CHLOE: For sure.

JACKIE: How about surfing and proximity to waves.

CHLOE: Not so much. That would probably mean staying home or close to home and I'm not sure I'll want to do that. But things change. 

JACKIE: Nice to have options.

CHLOE: Right? Where did you go to school?

JACKIE: Stayed home for undergrad at New Mexico.

CHLOE: Albuquerque.

JACKIE: Yes.

CHLOE: Is that where you grew up?

JACKIE: No. I grew up on the Mescalero Apache reservation we drove through.

CHLOE: Oh.

JACKIE: So did Sess. I went to the University of Washington in Seattle for my master's. 

CHLOE: Any particular reason you went there?

JACKIE: The wrong reason. My ex-husband. But it worked out alright. 

CHLOE: Cool.

They ride into the woods.

WITH TOM AND HUNTER

TOM: How often do you see Chloe?

HUNTER: Every other Christmas, birthday and spring break, and the last few weeks of her summer. 

TOM: You and Barbara on good terms?

HUNTER: We are. 

TOM: What does she do?

HUNTER: She's a photographer.

TOM: How did you meet?

HUNTER: At the newspaper we both worked for.

TOM: Are her parents living?

HUNTER: Yes, John and Jan are retired attorneys in Paso Robles.

TOM: Well that ain't too far from San Luis Obispo.

HUNTER: Half hour drive, and there's a train.

TOM: In good health?

HUNTER: Yes. They swim and walk nine holes of golf three days a week. How about you and Wanda?

TOM: We walk around the block in the mornin' and evenin' and square dance Thursdays. Didja play sports growin' up?

HUNTER: High school baseball and basketball. 

TOM: What positions?

HUNTER: Pitcher and point guard. How 'bout you?

TOM: I did rodeo when I was a kid.

HUNTER: Win any buckles?

TOM: I gotta couple at home.

HUNTER: What event or events.

TOM: Ropin'.

HUNTER: Did you go pro?

TOM: Well that was the plan. But Uncle Sam's was different.

HUNTER: Vietnam?

TOM: Yessir.

HUNTER: Can we talk about that sometime?

TOM: We can do that.  

They ride into the woods.

scene 23

Previous.

EXT. PINE FOREST - DAY

Shafts of high-noon sunlight and a WOODPECKER KNOCKING, then SILENCE, then the CUH-LIP CUH-LOP OF HORSES before Sess rides into frame first, then  Claire, Jackie, Hunter, Chloe and Tom fanned out in search party formation as they ride through and out of frame. WOODPECKER KNOCKING resumes after the last CUH-LIP CUH-LOP. 

scene 22

Previous.

EXT. RURAL RESIDENTIAL ROAD - DAY

John and Jan with five-pound dumbbells in each hand stride purposefully uphill on the side of the road lined by widely spaced handsome homes on big tree-shaded lots. 

Both in running shoes, khaki shorts and polo shirts that match their ballcaps.  John's advertises Stanford, Jan's Cal Berkeley. Their labored breathing and sweat-stained shirts reflect their effort and pace. 

JAN: When's the last time you were on a horse? 

JOHN: Mind reader. I was just remembering. At Dunlap I came down to go to the equestrian center in Griffith Park. We rode along the river. Before that the pony ride at the county fair wearing those Roy Rogers boots. You?

JAN: The summer before my junior year in high school. A friend's cousin's family had horses and land in Santa Rosa.

JOHN: Good time?

JAN: I fell off.

JOHN: Doh. Injury?

JAN: Sprained ankle and bruised ego. I got back on and yes, the day ended up being a good one. I was thinking that as far as I know the only time Chloe's been in a saddle is the Grand Canyon mule ride.  

JOHN: To the best of my recollection. I know Hunter and Barb did a ride on their honeymoon.

JAN: Right.

A lull as they near a home with a late-80s Mercedez-Benz 560SL in the driveway that slopes up to the house from the road. They finally arrive at that house, put dumbbells on a ledge connected to the mailbox post.

Jan puts her hands on her hips, John checks his watch.

JOHN: Guess.

JAN: It felt quick. 

JOHN: Twenty-nine and a half.

JAN: Yay. 

They exchange a high-five, Barbara's PHONE CHIRPS. She gets it from pocket, stares at the screen.

JAN (CONT.): From Barb.

She hands the phone to John, who stares at the Sierra Blanca selfie Chloe sent Barbara. 

JOHN: That smile.

JAN: That smile. Hunter's girlfriend is pretty.

JOHN: She is.

JAN: Your gut feeling, John.

He hands her back the phone, puts arm around her. They walk the driveway to the door.

JOHN: Positive. A good thing. For Chloe and Hunter. Your intuitive radar?

JAN: Same. 

JOHN: I'm going to plug Travis, Wanda and Laramie into the search.

JAN: Betcha catcha fish.

JOHN: I'll letcha know.

He opens the door, Jan enters, John follows, closes door behind him.

scene 21

Previous.

EXT. HORSE PROPERTY - DAY

Manufactured home, horse barn, corral, shed surrounded by woods.

SESS and CLAIRE, 40-something cowgirls ready for a day on the trail, sit on a bench on the front porch of the manufactured home facing the dirt road that emerges from the woods and arrives at the large port adjacent to the home. Their hats on hooks on a post.

An old Jeep with New Mexico plates and newish Dodge Ram 3500 dually pickup truck with Oklahoma plates share the port with a Harley-Davidson motorcycle. Horse trailer near the shed near the barn near the corral. A DOZEN TEENAGERS saddle SIX HORSES tied to a hitching post. 

CLAIRE: How long's it been?

SESS: First date was a month ago.

CLAIRE: How did they meet?

SESS: Sat next to each other on a flight from Denver to Albuquerque.

CLAIRE: What does he do?

SESS: Didn't ask. 

CLAIRE: Where does his daughter live?

SESS: San Luis Obispo.  

We HEAR THE ROVER'S ENGINE before it comes into view out of the woods. Sess and Claire rise, put on their hats, walk to meet the Rover. Jackie waves out the window, Sess and Claire wave back. Hunter parks behind the truck, all out of the Rover to Sess and Claire.  

SESS: Cousin.

JACKIE: Cousin.

They embrace.

JACKIE (CONT.): Miss Claire.

CLAIRE: Jacqueline.

They embrace.

JACKIE: Glad you could make it.

CLIARE: Glad to be able to.

JACKIE: So. Hunter, Chloe and Tom, it's my pleasure to introduce you to my cousin Cecilia and her partner Claire. 

They shake hands and exchange variations of nice to meet you.

SESS: And Sess is just fine, thank you. So I'm sure Jack told you at least a little about what we're doing with the horses.

TOM: It's a wonderful thing.

SESS: Thank you, Tom. Today we have some at-risk kids down from Albuquerque for a few days of horse play, as we call it. So Tom, I'm guessing this isn't your first rodeo.

TOM: Been to a couple.

JACKIE: Tom's a retired ranch foreman.

SESS: So maybe more like a few.

TOM: That's prob'ly closer to it.  

SESS: Ready for this one?

TOM: Yes ma'am. I am.

SESS: Hyah.

She and Claire lead the way to the horses and teens.

scene 20

Previous.

EXT. BEACH PARK BENCH - DAY

Barbara and BRIAN, 50ish - sandals, jeans, Hawaiian shirt - on a bench in a park on a bluff above a beach. They gaze at the ocean, his arm over her shoulders, her hand on his thigh.  

We HEAR THE WAVES BREAK and CALL OF GULLS. 

BARBARA: Oh.

BRIAN: Oh?  

BARBARA: Seven-thirty tee time.

BRIAN: Oh.  

BARBARA: Nervous?

BRIAN: No. Are you?

BARBARA: A little. 

BRIAN: Why?

BARBARA: Brian, my dad can be a little competitive.

BRIAN: That's cool. I'm not.

BARBARA: I know.

He kisses her.

BRIAN: So tell me about Tom Walker from Texas. 

BARB: Retired ranch foreman. Tom is driving from where he and his wife Wanda live in Laramie to his sister Ruth's house in Kerrville, Texas, where Tom and Wanda will be moving. Hunter has no siblings. Hunter's girlfriend's cousin runs a horse rescue program and they're going for a ride today in the Ruidoso area. 

BRIAN: Hunter's girlfriend for how long?

BARBARA: Not long. New like us. 

BRIAN: New like us.

They kiss. Her PHONE CHIRPS. 

A selfie Chloe that includes Tom, Hunter and Jackie at the Sierra Blanca Viewpoint on Highway 70 through the Mescalero Apache Reservation.

BRIAN: Cowboy alright.

BARBARA: She's pretty, isn't she?

BRIAN: She is. Chloe's got your smile.

BARBARA: Nice picture.

He pulls her close, gets phone from shirt pocket, takes their smiling selfie, pockets phone. They kiss.

BRIAN: Lunch/

She nods. They get up hand in hand, walk out of frame.

scene 19

Previous.

EXT. HUNTER'S HOUSE/DRIVEWAY - DAY

Blue sky. The garage door opens. Tom follows Chloe, with backpack, to the truck, Hunter gets in the Rover and backs it to the street. Tom with hat as usual, Hunter and Chloe sport ballcaps.    

CHLOE: Cool truck.

TOM: Like it?

CHLOE: Love the two tone.

TOM: Ain't the original paint but it's the same colors.

CHLOE: Did you buy it new?

TOM: This was my dad's last truck.

CHLOE: Really?

TOM: Yep. 

Tom unlocks and opens driver's door, Chloe takes a good look at the interior. Hunter parks on the street, approaches Tom and Chloe.

CHLOE: Bitchen bench seat.

TOM: Prob'ly obvious that ain't original either.

CHLOE: Does the radio work?  

TOM: It does. Gonna upgrade to satellite one a these days. Ya gotcher license?

CHLOE: Yeah.

TOM: Car?

CHLOE: Not yet. I don't really need one.

Hunter arrives. 

CHLOE: This was Tom's dad's.

HUNTER: Really? 

TOM: Yessir. Paid cash for it the day after the Cowboys won the Super Bowl.

CHLOE: Yonder comes a convertible.

Tom and Hunter turn their attention to the approaching early-90s Alfa Romeo spider down the road. 

HUNTER: Heeeere's Jackie.

He walks to the street, Tom gets his aviator sunglasses from a sleeve on the driver's visor, closes the door, puts sunglasses in shirt pocket. He and Chloe watch Hunter guide JACKIE, 40-something - ballcap and sunglasses - to the driveway and garage as if a plan to port.

TOM: Sporty ride.

CHLOE: A spider.

Jackie parks IN THE GARAGE, turns off the engine, unbuckles, props sunglasses on ballcap, grabs backpack from passenger seat, gets out, meets Hunter's quick kiss. She's in boots, jeans, raglan-style long-sleeve tee. Hunter takes her hand. 

JACKIE: And I was nervous about meeting Chloe.

HUNTER: Well Chloe's nervous about meeting you.

They walk to Chloe and Tom walking to them as the garage door closes. Tom takes off his hat.

HUNTER (CONT.): So. Jackie, it's my pleasure to introduce you to my daughter Chloe and mister Tom Walker.

Jackie extends hand to Chloe, they shake.

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

CHLOE: Likewise, Jackie. 

Jackie extends hand to Tom, they shake.

JACKIE: Mister Walker, I'm so glad you're able to come along today.

TOM: Ma'am, I am too, and thank ya so much for havin' me along. And Tom instead a mister Walker if ya don't mind.

JACKIE: And Jackie rather than ma'am.

TOM: Yes ma'am. 

Tom winks.  

TOM (CONT.):  Jackie it'll be.

HUNTER: Shall we?

JACKIE: Let's.

They walk to the Rover. Tom puts his hat on.

JACKIE (CONT.): So we have another late addition to the posse. My cousin's girlfriend is coming in from Oklahoma.

HUNTER: The more the merrier.

Hunter opens the front passenger door for Jackie, who gets in. Hunter comes around to the driver's side, gets in. At the same time Tom opens a rear passenger door for Chloe, who gets in. Tom comes around to the other side, gets in. All buckle up, Hunter drives away out of frame.

scene 18

Previous.

EXT. HUNTER'S PATIO - NIGHT

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

HUNTER: So do you and Wanda have any plans for your twenty-fifth?

TOM: We do. Goin' to Hawaii.

CHLOE: Cool. Been before?

TOM: First time for both of us.

CHLOE: Excited?

TOM: We are. Not so much the flyin' part but ain't much of a way around it. I bet y'all been.

Hunter nods.

CHLOE: I learned to surf there.

TOM: Funny ya say that. Wanda thinks I'm just woofin' but I'm thinkin' about takin' a lesson. 

CHLOE: You should.

TOM: Can't speak from experience but I figure the worst that can happen is I fall off and I'm bettin' it's a softer landin' than comin' off a horse, which I done plenty a times. And it's just down the beach from our hotel.

HUNTER: Where are you staying? 

TOM: First two nights at Waikiki then three more at a place up the coast called Kailua. 

CHLOE: How did you meet, if you don't mind me asking. 

TOM:  Like I said, y'all can ask me anything ya want. Me and Wanda met at an alcoholics anonymous meeting in Boise, Idaho. Married a year to the day later. 

CHLOE (two beats): Did you go on a honeymoon? 

TOM: A week in Galveston, Texas.

CHLOE: I know where Galveston is.

TOM: Betcha knew where Boise is, too.

He winks, she smiles.

TOM (CONT.): Casserole was delicious, Chloe.

CHLOE: Thank you.

TOM: Think I could get that recipe from ya before I head out in the mornin'?

Chloe nods. Tom pushes himself away from the table.

TOM (CONT.): Sure hate to be the party-pooper but it's a little past my bedtime and I know my wife and sister are waitin' to hear how the day went.  

CHLOE: What will you tell them?

Tom stands. 

TOM: I'm gonna tell 'em the family tree's growin' a new branch. If y'all don't mind.

Chloe and Hunter shake their heads.

HUNTER: I'm up early, Tom. If you are too, I'll be right here with coffee.

TOM: I am too and I'll be right there with ya. 

HUNTER: Quick question.

TOM: Yessir.

HUNTER: Have you read my books?

TOM: Sure have. Close to finishin' Foglost but I left it home on the nightstand. I've read the others twice. Would you mind if I asked ya a couple questions about yer writin' sometime?

HUNTER: Of course I wouldn't mind. 

TOM: Thank you.

HUNTER: Where are you in Foglost? 

TOM: Bob just settin' out in the rowboat.

Hunter nods.

TOM (CONT.): Night y'all.

HUNTER/CHLOE: Goodnight, Tom.

Hunter and Chloe watch Tom walk to the kitchen door, enter kitchen, out of view.

HUNTER: Well.

CHLOE: A new branch. 

HUNTER: Hypothetical question.

CHLOE: K.

HUNTER: If Jackie's cousin can wrangle another horse, and assuming Tom is willing and able to come along, would you be cool if he -

CHLOE: Yes. Way cool.

Hunter nods, gets phone from pocket, speaks into it.

HUNTER: Jackie.

THUNDER.

[CUT TO: 

19. EXT. HUNTER'S HOUSE/DRIVEWAY - DAY

Wet but blue sky. The garage door opens. Tom follows Chloe to the truck, Hunter gets in the Rover and backs it to the street.

CHLOE: Cool truck...]

scene 17 in progress

Previous.

EXT HOUSE/DRIVEWAY - DAY

Barb arrive home, driving Volvo wagon. Cerro shows SLO.

PHONE CHIRP. A selfie Chloe has sent, including Tom and Hunter. 

She stares before finally SENDING it to MOMDAD.

INT. JAN AND JOHN'S HOUSE - SUNSET

Upscale rural Paso Robles. Red wine with the selfie Barb has forwarded.

JOHN: It's probably coincidental that he arrives two days after Foglost comes out.

JAN: That crossed my mind.

JOHN: He's handsome. Isn't he.

JAN: He is. Kind eyes.

JOHN: Yes. A little sad, too?

JAN: A little. Have you ever owned a pair of cowboy boots.

JOHN: Roy Rogers with trigger embroidered on the side, for Christmas.

JAN: Well had I not asked. How old were you?

JOHN: Shit, what, five or six? Santa Claus put them under the tree next to the empty plate on which Gwen and I left him cookies and a cup of milk.

JAN: Aw. Do you remember what Gwen got?

JOHN: Tricycle. Pink, with a basket on the handlebars. Have you ever set foot in a pair of cowgirl boots?

JAN: With Gloria and Madeleine when we were in Denver for the reunion.

JOHN: Obviously you didn't buy them.

JAN: I did not. I felt a little wobbly. Then again we walked in wobbly after an extended brunch. To the degree that I temporarily forgot the promise I had made to Chloe about not buying leather.

JOHN: I have a feeling Tom might know a thing or two about the cattle industry. 

JAN: I reckon we'll know a thing or two more about Tom Walker from Texas when Barb calls.

JOHN: And right after Brian's sudden and surprising arrival.

JAN: When it rains.

JOHN: We're going to need a bigger umbrella.

[CUT TO: 

18. EXT. HUNTER'S PATIO - NIGHT

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

scenes 16

Previous.

INT. PARLOR - DAY

Piano, bookshelf, sofa, chairs, table, lamps, window to Texas Ash tree in grassy backyard.

Ruth enters from hall, dressed as she was with Gil, with a framed 3x5-inch photo we see when she sets it next to Hunter's books on a shelf is the selfie-with-Hunter Tom sent Wanda. She gives it a look, resets it, leaves into hall. 

scene 15

Previous.

INT. WANDA'S/TOM'S BEDROOM - DAY

Curtains open, window to modest back yard with an umbrella shading two chairs at a small table. Cedar fence. FAINT SONG OF WESTERN MEADOWLARK before WE HEAR A DOOR OPENED AND CLOSED moments before Wanda enters from hall, dressed as she was with Daisy. She goes to the book on Tom's nightstand, a grey hardcover with the title, Foglost, in silver on the cover. A ribbon marks a page nearer the end than beginning. She opens the book and finds the author page featuring a small black and white photograph of Hunter above the text:

"H.C Hardyn is the author two other novels, ________, and _________, and a collection of short stories, ____________."

She stares until her PHONE CHIRPS, gets it from pocket, stares at what we see OVER HER SHOULDER is a selfie Tom has taken that includes Hunter where they sit at the patio table looking at the camera clearly held away from Tom in his right hand. Hunter wears Tom's hat. She shakes her head, pockets phone, closes book, leaves into hall.

scene 14

Previous.

INT. HUNTER'S KITCHEN - MOMENTS LATER

Tom sits at the patio table, hat on table, gaze aimed at the land and mountains.

We HEAR A DOOR OPENED AND CLOSED.a moment before:  

HUNTER (O.S.): Tom? 

He enters from hall, followed by Chloe. They stand at the center island and stare at Tom.  

CHLOE: Well I reckon cowboy alright. Buckle?

HUNTER: Turquoise horseshoe on silver. 

CHLOE: All that's missing are the spurs I bet he's got a pair of.

HUNTER: If not a horse. Let's do this.

He heads to the door, Chloe follows.

EXT. PATIO

Hunter and Chloe come out and approach, Tom stands. 

HUNTER: Sorry we took so long, there was an accident at the ten twenty-five split.

TOM: Seemed like no time at all, and I'm the one oughta be apologizin'.

HUNTER: No need. Tom, I'd like you to meet my daughter Chloe. Chloe, mister Tom Walker.

TOM: Hello, Chloe.

CHLOE: Hi.

HUNTER: So Tom, Chloe's a vegetarian and is making dinner tonight, so we're hoping you're okay with tofu casserole, which I have had and can attest to its deliciousness.

TOM: Well I sure appreciate y'all's hospitality. Me and my wife have been cuttin' back on the meat for awhile now and noticin' change for the better.

CHLOE: I'll get started on it, if you'll excuse me, mister Walker.

TOM: Yes ma'am, of course.

Chloe leaves toward kitchen door.

HUNTER: She's a little shy.

TOM: And here I am a martian from outer space intrudin' on her time with her dad.

HUNTER: Shy but she'll have a question or two.

TOM: Well like I said, I'll answer any y'all got. Do ya mind me askin' how old Chloe is.

Chloe enters kitchen, leaves view.

HUNTER: She'll be seventeen in March. She's here the last few weeks of summer before she starts her junior year in high school. She lives with her mother in San Luis Obispo. How did you find out about me? 

TOM: Looked for your mother online and found her obituary. Seen your name, looked ya up, found your Wikipedia page. Seen your date a birth.

HUNTER: When was this?

TOM: It'll be eight years November second. I thought about makin' contact. But I didn't know what your mother mighta toldya. And your first book had come out and was doin' well, and I knew you had a daughter, and I thought I might just be gettin' in the way. 

 HUNTER: And occasionally thought otherwise?

TOM: Yessir. On occasion.

HUNTER: Why today? 

TOM: Well, plan was to just take a picture of your house. But when ya seen me...I thought maybe it'd seem like I was some sorta stalker or somethin'. 

HUNTER: That a wedding ring?

TOM: Yessir. My wife's name is Wanda. Normally she'd be along but she stayed home to be with a friend whose husband recently passed. 

HUNTER: Kids?

TOM: Wanda had a daughter from a previous marriage.

HUNTER: You?

TOM: Not that I know of.

HUNTER: Previous marriage?

TOM: No sir.

HUNTER: Are your parents living?

TOM: No sir.

Chloe appears in window at center island, unbeknownst to Tom and Hunter.

HUNTER: What's your middle name, Tom?

TOM: Travis. For my grandad. My mother's father.

HUNTER: Are your parents living?

TOM: No sir. Mom passed twelve years ago last month, dad a year and day later.

HUNTER: From?

TOM: Cancer took mom, dad had a heart attack.

HUNTER: What's your sister's name?

TOM: Ruth.

HUNTER: Other siblings?

TOM: No sir. 

HUNTER: Is Ruth in good health.

TOM: She is. 

HUNTER: Can I get you a water?

TOM: Yessir. A water'd be great.

HUNTER: B R B.

TOM: Pardon

HUNTER: Be right back.

TOM: Ah, B R H.

Hunter leaves to kitchen door. 

INT. KITCHEN

Chloe at center island with casserole ingredients, watches Hunter approach and past him to Tom when Hunter enters, goes to fridge.  He gets two water bottles, stands next to Chloe. 

CHLOE: Well?

HUNTER: Not that he's aware of. Parents deceased. Wife's name is Wanda, sister Ruth. Middle name Travis for his mom's dad. First impression?  

CHLOE: I don't think he'll bite.

HUNTER: No? 

CHLOE: Kind eyes.

HUNTER: Yeah?

CHLOE: Like his son's.

They look at each other.

HUNTER: And his granddaughter's. 

 Hunter leaves with waters, Chloe gets phone from pocket, raises it to frame Tom and Hunter in camera, takes their picture just as Tom meets Hunter's water bottle toast, pockets phone. Tom and Hunter sit.