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.

scene 13

Previous.

EXT. HUNTER'S HOUSE/DRIVEWAY - DAY

Tom's truck in the driveway. Down the road the Rover approaches from the direction Tom had come. The garage door opens, Rover arrives.

INT. ROVER

Hunter drives into garage, parks, turns off engine. Chloe keeps her eyes on the truck until the closing garage door obscures it from view. She looks to Hunter, who looks back. 

HUNTER: You know that he would not be here if I had the slightest sliver of a doubt.

CHLOE: Dad, you let a complete stranger with a pickup truck drop from the sky and occupy your house for three hours. 

Hunter smiles, nods.

CHLOE (CONT.): And I know mom wouldn't allow it unless she had absolute faith and trust in your judgment.

He kisses her forehead.

HUNTER: Ready?

CHLOE: Or not.

They unbuckle, exit Rover, enter house. 

scene 12

Previous.

EXT. EL PASO INT'L AIRPORT TEMPORARY PARKING LOT - DAY

Hunter pulls along a pink roller-bag. CHLOE, 16, the surfer and softball player in the photos, in running shoes and sporty-fashionable tracksuit, her hair in a tail out the back of her ballcap with an embroidered C above the bill. Her jungle-camouflage backpack hangs from a broad shoulder.  

C: And I was nervous about meeting Jackie.

H: Well Jackie's nervous about meeting you. 

C: Horse day still on?

H: She'll be by around ten. 

C: What's he driving.

H: An old pickup.

C: Beat up?

H: Great condition externally. Engine sounds healthy.     

Hunter CHIRPS the Rover. Roller-bag and backpack in, then them, Hunter at the wheel.

INT. ROVER

C: Dad?

H: Chloe?

C: You seem utterly unfazed.

H: I'm stupefied, sweetheart. Buckle up.

They buckle, he starts the engine, backs out of frame. 

scene 11

Previous.

EXT. ROADSIDE CAFE - DAY

BARBARA, mid-40s and JOHN and JAN, 70-somethings, at one of three outside tables. Glass doors show OTHER PATRONS inside the rustic establishment off the two-lane road lined on both sides by oak trees. Five cars, two motorcycles in the dirt lot fenced by split-rail.   

Barbara in running shoes, jeans, long-sleeve tee with SWIM SLO on the front. Jan in casual Martha Stewart would give a thumbs-up. John's loafers the color of the belt around the waist of his khaki slacks. Forest-green polo shirt. His wedding band is wide gold. Jan's diamond on silver ring would catch and keep a high-end jeweler's eye. Two similar-in-style name-brand bags hang from the back of the unoccupied chair. Remnants of their lunch on plates and in bowls, each with a bottled mineral water. 

RUMBLE OF MOTORYCLES NEARING before they arrive, a pack of several that pass and disappear around a bend down the road.

JAN: So...tell me again about you know of the specifics of Olivia and Tom Walker. My recollection is that it was, well, a fling? A fleeting encounter and she could not find him to tell him about Hunter.

BARB: Mom, that's pretty much an accurate description of what I know.

JAN: Olivia was in Reno for theatre, Tom was in town for the rodeo.

BARB: Olivia was there to audition for a play at what was then called the Pioneer Theatre. Tom had finished a job at a ranch and was in town for the rodeo on his way to Mexico for his next job. They met in at the slot machines in a casino, hit it off, went for a drive around Lake Tahoe the next day. A fire changed their route back to Reno through Carson City, where they had dinner and continued hitting it off to the degree that they spent the night at what was called the Pony Express Hotel.  

JOHN: I wonder how he found out about Hunter.

BARBARA: He said that's his first question. 

JAN: It would be good to get a picture.

BARBARA: I strongly made the same suggestion. 

JOHN: I wonder if Chloe knows.

BARBARA: He told her when she called from Phoenix. I'll give you a full report when she calls tonight.

MURMUR OF PATRONS when the WAITRESS, 20-something, comes out.

WAITRESS: Looks like those plates want to be taken away.

JOHN: Thank you very much. Lunch was delicious and we appreciate your help.

WAITRESS: Thank you, my pleasure. Coffee before you go?

Jan, John and Barbara look at each other. Barbara and Jan nod.

JOHN: Yes, please. And make mine a doppio.

WAITRESS: Coming up. And plates away in a jiffy.

MURMUR OF PATRONS when she goes back in.

JOHN: A middle name would be helpful, if possible.

BARBARA: Check.

MURMUR OF PATRONS when BUSBOY, 20-something, comes out.

scene 10

Previous.

INT. HUNTER'S GUEST ROOM - DAY

Bed aimed at wall-mounted big-screen TV. Lamp and remote on nightstand. PAINTING tbd above the bed's headboard. Tom's hat on rack near open door to closed door across the hall. Tom's suitcase on the bed and Tom at the desk, gazing out the window to the back yard and mountains, phone in hand. A globe, etch-a-sketch, pencil and pen on legal pad share the desk with a lamp and guest book. FAINT TIK-TOK of the grandfather clock (just now added to the foyer).

EXT. BRICK HOUSE FRONT PORCH - DAY

RUTH and GIL, 70-somethings, in rocking chairs on the shaded porch aimed at the modest front yard and street lined by similar single-level homes along both sides of the quiet leafy street. Texas plates on the 1972 Porsche 911 in the driveway and the Chevrolet pickup truck in the across-the-street neighbor's.

A pitcher of iced lemonade on the barrel between them, full glasses in their hands. Ruth in tennis shoes, knee-length khaki, short-sleeve tee, WIMBERLEY across the front. A visor hangs from the back of her rocker. Gil in cowboy boots, jeans, bold bronze longhorn buckle, western shirt with pearl snap-buttons. Cowboy hat on a knee.

RUTH: I just remembered Maria and the boys are coming up soon.

GIL: Tomorrow. Disappointed to miss Wanda.

RUTH: Me too.

She fishes phone from pocket when it RINGTONES the Willie Nelson instrumental, Bandera.

RUTH: Howdy.

Just back from Fredericksburg with peaches, now on the front porch with lemonade. Where are you?

(Her face expresses her surprise. She looks to Gil, who looks back.)

I'm here, Tom. You can imagine I'm more than a little surprised. 

I'm sure she was. So what's the plan?

Alright. 

I'll be here. And Tom, take a picture, okay?

Love you too. 

I'll tell him.

(She sets phone down.)

GIL: Bated breath.

RUTH: Tom's at Hunter's. Hunter is on the way to the airport to pick up his daughter. Tom will spend the night and leave in the morning.

GIL: Híjole.

RUTH: Si.

INT. HUNTER'S GUEST ROOM

Tom at desk stares at guestbook, phone in hand. The roadrunner leaves. Tom stands, puts phone in pants pocket, finds lighter and pack of cigarettes in suitcase, puts them in shirt pocket, walks to door, gets hat, enters hallway, the KNOCKING OF BOOTS ON HARDWOOD FADE at last to silence moments before Tom steps into frame of desk above window, stands at the stone wall, lights a cigarette from pack he pulls from pocket, takes a puff and after while another, staring toward the mountains.

scene 9

Previous.

EXT. BENCH ALONG THE LARAMIE RIVER GREENBELT TRAIL - DAY

Wanda and DAISY, 70-something, sit on a bench along the path that parallels the river spanned by the Historic Laramie River Bridge.   

DAISY: Did I tell you Mabel Armstrong passed?

WANDA: Opal Meredith told Tom and I at square dance last week. Tom went over to see Bill the next day. They're going to camp at Bear Lake for a night when Tom gets back.

On the path behind them, a MAN, 30, on a bicycle, rides behind a BOY, 3, on a tricycle. Both wear helmets.

DAISY: The day after the sixtieth anniversary of their first date.

WANDA: That's what Tom said. Hud at the WYO in Sheridan. 

DAISY: I want to say Hud was based on a Larry McMurtry novel.

WANDA: Horseman, Pass By.

DAISY: That's it. 

WANDA: Cast a cold eye. On life, on death. Horseman, pass by.

DAISY: Yeats?

WANDA: Very good.

DAISY: Wild guess. Some fragment from college literature that stuck for some inexplicable reason.

Wanda's PHONE RINGTONES an instrumental rendition of the Townes Van Zandt song, If I Needed You.  

WANDA (CONT.): Speaking of a horseman.  

She gets phone from pocket.

WANDA (CONT.).  Hey, hon'.

Sitting with Daisy on the bench down from the bridge. Where are you?

(Her face expresses her surprise at the news. Daisy notices.

I'm here. Tom, did you know you were going to do this when you left?

Alright. So what's the plan?

Okay. Well, call me tonight, okay?

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

Okay. Bye.

(She pockets her phone.)

DAISY: Do I need to ask?

WANDA: Tom met someone he knows in Las Cruces. He's staying the night.

DAISY: Someone you know?

WANDA: Know of. So. Are we ready for that ice cream yet?

DAISY: We are.

They get up, walk to the trail, let a DOZEN RUNNERS in shorts and University of Wyoming Cross Country singlets run past, follow them hand in hand away from the bridge.

scene 8

Previous.

INT. FOYER - DAY

Navajo rug on hardwood. Sofa under window to street. Another against a wall under a PAINTING REPRODUCTION tbd. Arrangement of a dozen wooden tribal masks on the opposite well. Hallways from each side of the back wall, against which a piano and bench are under a mirror. Hat rack near the door. TIK-TOK of grandfather clock against the wall near the painting. 

Hunter, sunglasses propped on forehead, enters from one hall, crosses to the other, leaves view when he enters it a beat before the DOORBELL CHIMES. A beat before Hunters enters, approaches the door, looks through the peephole, ponders, looks again.

EXT. HUNTER'S FRONT PORCH 

Tom stands at the door, hat in hand, truck parked on the street near the bins. Hunter opens the door enough to frame his face.   

HUNTER: Can I help you?

TOM: Howdy. My name is Tom Walker.

Hunter surveys Tom, looks past him to the truck.

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

TOM: One of 'em anyway.,

HUNTER: What's my mother's name?

TOM: She went by her middle name Olivia. Her first name was Edith. If I got the right Hunter Hardyn. 

HUNTER: You know she's dead.

TOM: I do.  

HUNTER: Just happen to be in the neighborhood?

TOM: Sorta. On my way Texas.

HUNTER: From?

TOM: Laramie, Wyomin', where I live.

HUNTER: What's in Texas, if you don't me asking?

TOM: You can ask me anything ya want. My sister's in Texas. Town called Kerrville. 

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 considers, finally opens the door.

HUNTER: Come in.

Tom steps in, Hunter gives the truck another look.

INT. FOYER

Hunter closes the door.   

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

TOM: Yessir.

HUNTER: When will you be back through on your way home to Laramie?

TOM: I reckon four or five days.

HUNTER: We won't be here.

TOM: Yessir.

CUT TO 9

scene 7

Previous.

EXT. HUNTER'S HOUSE - MOMENTS LATER 

One of several handsome homes widely spaced along a street in the high desert community of Talavera east of Las Cruces near the base of the Organ Mountains. Open garage shows the newish Range Rover SUV and oldish Honda Goldwing motorcycle. A green bin is next to a blue bin near the mailbox.  Tom's truck approaches from down the road.

INT. TOM'S TRUCK   

Tom in aviator sunglasses nears Hunter's house, slows and stops at the driveway. He gets phone from cup holder, raises it to to take a picture of the house just as Hunter enters garage through door to house, bag in hand. He looks up, sees Tom, Tom takes picture, puts phone in cup holder, holds Hunter's stare for a moment, then drives on up the road.

INT. GARAGE/EXT. DRIVEWAY

Hunter walks to the bin, eyes all the while on Tom's truck. 

INT. TOM'S TRUCK

He keeps his eyes on HUNTER IN THE REARVIEW MIRROR as he nears a street and house around its corner.

EXT. DRIVEWAY

Hunter watches the truck make the turn, obscured by the house. He drops the bag into the blue bin, waits for the truck to reappear, walks back to the garage when it does not, enters house, closes door behind him. 

INT. TOM'S TRUCK

Tom parked and idling on the street ouitside the house that obscured him from Hunter's view. After a moment of contemplation, he makes the U-turn back onto Hunter's street and drives toward his house. 

scene 6

Previous.

INT. NOVELIST'S HOME OFFICE - DAY

Adobe. 

HUNTER, 50ish - running shoes, faded jeans, untucked dress shirt, glasses - types at the laptop on the old wooden desk aimed at the big window view to the up-close Organ Mountains. Blank whiteboard with markers in tray on wall behind him, near a hat rack loaded with baseball caps near open door to hall.

Navajo rug on hardwood. One wall is bookshelves, across the room from an old leather sofa under a framed reproduction of an Ad Reinhardt Red Painting. Telescope and stool in one corner by the window, saguaro cactus sculpture in the other. Books share shelves with model sailing ship, wood owl, antique typewriter, and bronze Smiling Buddha.

Printer on stand next to desk. Laptop shares desk with NMSU coffee mug holding pens and pencils near a stack of yellow legal pads, a white-new baseball, a hardcover of the Evan S. Connell book Son of the Morning Star, and a framed photograph of a 16-year-old girl smiling and flashing a peace sign at the up-close camera that has captured her "tubed" in the wave she is surfing, sandy beach and tropical foliage in the background. 

We can see but not clearly discern the text reflected in Hunter's glasses. He stops typing, stares at screen, taps keyboard. The text in his lenses gives way to color.  

OVER HIS SHOULDER the screensaver shows the same surfer girl in softball uniform, on the mound, ready to pitch, staring in at the catcher, the umpire and camera. Hunter smiles at the picture, powers down computer, leaves into hall, SHOES SQUEAKING. 

INT. KITCHEN - MOMENT LATER

State of the art appliances and stone countertops. Bananas in a wooden bowl that shares the center island with a set of keys, stack of mail, Sunday New York Times. View into adjacent dining room. View through window over sink to grill, four chairs around table under shade on the patio that gives way to xeriscaping bordered by a low stone wall, open space beyond. Door from kitchen to walkway to patio. 

SHOE QUEAK before Hunter enters, gets a plastic water bottle from the refrigerator, finishes it, crushes the bottle, puts it in the plastic bag he pulls from a bin the bin in a closet, ties it off at the top, sets it down, lines the bin with a new bag, closes closet, leaves into hall with full bag. 

scenes 3, 4 and 5

Previous.

CREDITS OVER:

3. INT. TOM'S TRUCK - DAY

Tom driving through wooded hills on a two-lane highway signage shows as 287 southbound. Northbound traffic on the other side of median. Colorado plate on the car ahead of him. He turns on the RADIO. STATIC. He punch-tunes to Rodney Hayden's Down on the Pecos, at the two-minute mark, just before "Once I used to roam," let's it play to the end. A pause before Glen Campbell's Galveston starts, plays to "...sea waves blowing."

4. INT. MOTEL ROOM - SUNSET

Basic room lit through crack in the curtains across the window above the desk. KLICKING OF BOOTS ON CONCRETE, nearing. His form visible through the curtains before the CLICK OF KEY before Tom enters. He puts his hat on the rack near the door, sets suitcase on bed, opens the curtains to second-floor view of Albuquerque skyline under monsoon clouds that obscure the Sandia Mountains. He gets phone from pocket, sets it on desk, sits on chair, takes off boots, picks up phone, speaks into it.

TOM: Wanda.

Just now. What'd you and Daisy end up doin'?

Alright. 

Well, I'd planned to read but as you prob'ly know I left the book behind, so I think I'll run a bath, have Chinese delivered and find a movie or a ballgame.

I love you, too. Call ya in the mornin' when I'm leavin'.

Sweet dreams, sweetheart.

He sets down phone, watches the first rain drops tap the window, picks up phone, speaks into it.

TOM: Ruthie.

Hey sis, just now in my room.  Bout to run a bath, call me when ya can. Love ya.

He sets phone down, leaves into bathroom. We HEAR A BATH STARTED.

5. EXT. YUCCA BLOSSOM MOTEL/PARKING LOT - SUNRISE

Two floors, a couple dozen rooms. Tom's truck and other vehicles in the wet puddled lot under clear sky. Tom comes out of his room, suitcase in hand, gets in the truck, starts engine, buckles up, drives out of lot to street and away out of view.

scene 2

Previous.

EXT. HOUSE/DRIVEWAY- SUNRISE

Modest house and front yard like the neighbors up and down the quiet street. A few United States flags fly from front porches. Wyoming plates on the two-tone 1986 Ford F-150 XLT Lariat model pickup truck backed to the garage. 

Tom in western wear including cowboy boots, two turquoise horseshoes on silver belt buckle, pearl snap-buttons on shirt, and hat, Wanda in robe and slippers, come out front door to porch and toward truck. Tom with suitcase, Wanda a steaming mug of coffee. Keys on ring hang from Tom’s belt loop.  

WANDA: Lunch plans?

TOM: Thinkin’ that Mexican place in Cimarron we stopped at last year.

WANDA: Tortilla Azul. That was delicious.

TOM: Azul, right. Knew it was tortilla somethin’. If it’s still there. 

Tom sets down the suitcase, uses key to open driver’s door, puts suitcase in well under passenger side of the bench seat, key in ignition, takes coffee from Wanda, sets it in cup holder, turns to Wanda, they embrace.

TOM/WANDA: I love you.

They kiss.

TOM: I’ll call every hour.

WANDA: Thank you. I’d like that.

Tom gets in behind the wheel, Wanda pushes the door shut, steps onto the running board. Tom starts engine, lowers window.

TOM: Ready?

Wanda nods. Tom drives forward to the street.

TOM (CONT.) How many more days?

WANDA: Until?

TOM: We land in Honolulu.

Wanda smiles.

WANDA: Ninety-three.

She checks his watch.

WANDA (CONT.): And thirteen hours twenty-two minutes. If we’re on schedule.

TOM: But who's countin’.

WANDA: I love you, Tom.

TOM: I love you, Wanda.

A long kiss, she steps down from the running board.

Wanda winks, Tom winks back. He turns onto the street and drives away toward where it bisects another at a stop sign.

INT. TRUCK

Tom signals a left turn, stops at the sign, his eyes on WANDA IN THE REARVIEW MIRROR. She waves, he sticks his arm out the window, waves.

EXT. DRIVEWAY/STREET

Wanda watches a car pass before Tom makes the turn, blows a kiss out the window. Wanda blows a kiss back, watches the truck leave view.  She lingers, staring down the road, finally walks to porch, waters flowers, looks to the sky as she enters the house. Closes door behind her.   

scene 1

INT. BEDROOM - NIGHT

Tom and Wanda in bed in pajamas, reading, both with glasses. Tom's book is in his lap, Wanda peruses a Hawaiian Islands travel brochure. Curtains closed across window above bed headboard. Lamps, phones, eyeglass cases on their respective nightstands. Clock on Wanda’s, TV remote on Tom’s. 

WANDA: Should we do a luau?

TOM: Well hon’, what is it they say about when in Rome?

WANDA: Do as the Romans do.

TOM: Heck, I’m halfway thinkin’ about takin’ a surfin’ lesson. 

WANDA: That's some halfway thinking alright.

TOM: You think this ol' dog ain't got another trick left?

WANDA: I’d pay to see it.

TOM: Won’t have to. Got ‘em down the beach from our hotel. You just pull up under an umbrella with your Mai Tai, stick your toes in the sand, and watch me hang ten.

Wanda shakes her head, turns page. 

WANDA: Maybe I’ll learn the hula dance.

TOM:  You’ll find me front and center for that.

Lull.

TOM: So whaddya suppose the chances are we’ll get lei’d while we’re there?

Wide-eyed Wanda looks at Tom.

WANDA: Thomas Travis Walker. My goodness gracious.

Tom looks at her, deadpan.

TOM: What? Ain’t that what they call them flower necklaces they give ya when ya get off the plane? A lei? 

Wanda shakes her head. Tom smiles.

WANDA: Yes. A lei. Although I think it’s technically a wreath or garland, and I don't think our airline does that.

TOM; Oh. 

WANDA: But I have a very strong feeling we’ll get lei’d when we get to our hotel.

He looks at her, she looks at him. Smiles. They put their books on their nightstands glasses in their cases, turn off their lamps at the same time. 

BLACK. BED SPRINGS SQUEAK.