Nothing more for me to do now but walk away from this for a few days before commencing Final Draft blog Sunday.. Final post here will be the link to that. Will likely be titled Untitled until the right title comes to me. Symptoms of Burnout that a mindful timeout will remedy. Need to have this off my mind for awhile.
We learn about Tom and Olivia when Barbara tells Brian.
We learn about Ruth when Chloe tells Barbara, John and Jan.
We learn about Gil when Ruth and Wanda tell Hunter.
We learn about Tom and Wanda when Tom tells Hunter and Chloe.
We learn about Jan and John, and more about Barbara and Brian, when Hunter tells Tom.
We learn about Hunter and Jackie when Barbara tells Jan and John, and when when Sess tells Claire.
We learn Hunter's backstory when he tells Ruth and Wanda.
EXT. EL PASO INTERNATIONAL SHORT-TERM PARKING LOT - DAY
CHLOE, 16, the girl in the photographs on Hunter's desk and screensaver - running shoes, jean shorts to knees, long-sleeve tee with GO SLO across the front, ballcap with shape of wave above the bill, camouflage backpack - and Hunter, sunglasses, toting a pink roller-bag, walk through the lot, away from the terminal.
CHLOE: And I was nervous about meeting Jackie.
HUNTER: Well Jackie's nervous about meeting you.
CHLOE: Horse day still on/
HUNTER: Still on. She'll be by about ten.
CHLOE: What's he driving?
HUNTER: Guess.
CHLOE (beat): Pickup truck.
HUNTER: Bingo. Late eighties
CHLOE: Cowboy boots.
HUNTER: Check.
CHLOE: Hat.
HUNTER: Check.
CHLOE: Buckle.
HUNTER: Silver with turquoise horseshoe.
CHLOE: Jeans and western-style shirt.
HUNTER: Wrangler and pearl snap buttons.
He aims key to CHIRP the Rover. They arrive, he opens the back, puts in the roller-bag, Chloe adds backpack. Back closes, they get in.
HUNTER (cont.): I understand if you're upset that I let him stay without asking you.
CHLOE: I'm not upset, dad. I totally trust you. Besides which, it says something that you'll leave a complete stranger with a pickup truck alone at your house.
HUNTER: I have his plates.
He starts the car.
HUNTER (cont.) Buckle up, sweetheart.
They buckle up, Hunter backs out of frame.
Tom has made the U-turn back to Hunters.
Hunter, crossing through foyer, hears the DOORBELL, etc.,. opens.
EXT. HUNTER'S FRONT DOOR
HUNTER: Can I help you?
TOM: Howdy. My name is Tom Walker.
Hunter surveys Tom, looks past him to the truck.
HUNTER: Tom Walker from Texas who was in Reno about this time fifty years ago passing through on your way to Oregon?
TOM: Yessir.
HUNTER: What's my mother's name?
TOM: She went by her middle name Olivia, first name was Evelyn. If I have the right Hunter Hardyn.
HUNTER: How did you find my address?
TOM: Paid a few dollars for an online search.
HUNTER: Just happen to be in the neighborhood?
TOM: Sorta. On my way to Texas.
HUNTER: From?
TOM: Laramie, Wyomin', where I live.
HUNTER: What if I didn't know who you are?
TOM: I'da been turned around and askin' for directions back to Drippin' Springs Road.
HUNTER: I'm on my way to the airport in El Paso to pick up my daughter.
TOM: Yessir.
HUNTER: Any idea when you'll back through on your way home?
TOM: I reckon about a week.
HUNTER: We won't be here in a week.
TOM: Yessir.
HUNTER(beat): Come in.
He opens the door wider, steps back for Tom to enter. Hunter takes a look at the truck, closes door behind him.
EXT. PATIO - DAY
Hunter and Tom stand near the table. We see Chloe through the window over the sink, watching from behind the center island.
HUNTER: How did you find out?
TOM: Well, wen t online and did a search for your mother.
HUNTER: When was this?
TOM: Bout ten years ago. Come across her obituary. Seen you and Chloe as her survivors. Did a search for you and found the only one that spells Hardyn with a Y. There were a couple addresses in California. Then I did a search for her parents and found the ancestry site her mother kept. Your grandmother. Got to your limb on the family tree and seen your date a birth. Did the math.
HUNTER: The math.
TOM: Carson City?
Hunter nods.
TOM (cont.) I thought about lookin' for ya but I didn't know what Olivia mighta told ya. And I thought about the fact she wasn't survived by a husband mighta meant there'd been who'd passed.
HUNTER: There was not.
Tom nods.
HUNTER (cont.): She told me about the two days. A little about the night. There are a lot of Tom Walkers in Texas.
TOM: Yessir.
HUNTER: A middle name might have helped.
TOM: Travis. Anyway, wasn't long after that I was in a bookstore with my wife doin' some Christmas shoppin'. Seen Trabuco on a table a books just out in paperback. Cover caught my eye, and then H-C Hardyn. Found your Wiki page. And the paragraph about your short story Ranch Hands. Wrote a letter, care of your publisher.
HUNTER: Never got it.
TOM: Never sent it. More I thought about it, seemed the right call to leave ya alone. You were just comin' into success and the timin' seemed like not the best.
HUNTER: Why now?
TOM: Well, plan was to just drive by and take a picture. Then when ya seen me, well, I thought it might seem like I was stalkin' ya, back to me askin' for directions.
HUNTER: Passing through on your way to Texas for what, if you don't mind me asking.
TOM: You can ask me anything you want. My sister Ruth's in a little town called Comfort, in the hill country.
HUNTER: Other siblings?
TOM: No sir.
HUNTER: Do I have any?
TOM: Not the I know of.
HUNTER: Is that a wedding band?
TOM: Yessir. My wife Wanda stayed back in Laramie to be with a friend, otherwise she'd be along. Us and Ruthie are buyin' a house in Kerrville. We're just gonna drive around a few days lookin' at neighborhoods.
HUNTER: They know you're here.
TOM: Yessir. Both mighty surprised.
HUNTER: How long have you been married?
TOM: Twenty years this November.
HUNTER: Previous marriage or marriages.
TOM: No sir. Wanda was married before.
HUNTER: Does she have kids?
TOM: No sir. Wasn't able to.
HUNTER: Lemonade or water?
TOM: A lemonade'd be great. Thank you.
HUNTER: Be right back.
TOM: Be right here.
Hunter walks to the kitchen door. Tom sits at the table. Hunter stops, turns back to Tom.
HUNTER: Tom, if it's okay with you, Hunter rather than sir?
TOM: Yessir. Hunter.
Hunter continues to kitchen.
INT. KITCHEN
Chloe at center island, casserole prep. Hunter enters, goes to fridge.
CHLOE: Well?
HUNTER: Gramma's obituary ten years ago. Subsequent searching and bookstore moment. No siblings. Married to Wanda, they're buying a house with sister Ruth in Texas hill country.
Hunter fills two glases with ice, pours lemonade, puts pitcher back in fridge, stands next to Chloe, both looking at Tom.
HUNTER: Well?
CHLOE: Minute sample size but I get a good vibe. Kind eyes, a sadness twinkle. We'll need to take a picture or two.
HUNTER: Roger that.
CHLOE: And you'll have to bust out the Tahoe pic.
HUNTER: And a picture of his face when he sees it. Door, please.
Chloe opens the door, Hunter walks to Tom, Chloe closes door, returns to center island, watches Hunter sit across from Tom. She gets phone from pocket just in time to record Hunter and Tom joining glasses in a toast, pockets phone, resumes casserole with eyes never leaving Tom and Hunter.
INT. DINING ROOM - DAY
A collector would covet the China plateware\in the elegant cabinet of the same wood as the table a master woodworker would admire. Framed painting of Edna Valley hills and vineyard on the opposite wall. View into adjacent kitchen that could be on the cover of a home decor magazine. Big window hilltop view to deck and handsome homes in rolling hills populated by oak trees.
BARBARA, 50-ish, fit, in fashionable track suit; JAN, mid-70s, in Martha Stewart casual; and JOHN, mid-70s, khaki slacks and polo shirt, sit at the table playing scrabble. A jeweler would appreciate Jan's wedding ring and John's gold band and watch. John observes the board, Jan rearranges her tiles, Barbara uses the S of a word to play LARIATS for a double-word score.
BARBARA: Twenty-six.
Jan writes down tbe score on a yellow legal pad.
JAN: And Barbara takes the lead.
JOHN: Speaking of lariats, sort of, do we know where horse day is taking place?
BARBARA: On land Jackie's family has northwest of Ruidoso, end quote.
JAN: Land and horses?
BARBARA: She has a cousin who manages one of the stables in the area. And something about involving teens at risk, the details of which I don't know. I'll get more when Chloe calls tonight.
Barbara's PHONE RINGTONES TYPEWRITER CLATTERING.)
BARBARA (cont.): Or ask Hunter right now.
(She picks up on the ZING OF RETURN.)
BARBARA (cont.): Hey there.
(John and Jan watch her face express the surprise of what she is hearing.)
BARBARA (cont.): Well, Hunter, I trust your instinct.
They're right here.
Alright. Oh, Hunter, if you're able, maybe take a picture?
Okay.
(She sets down phone.)
JOHN: Cue drumroll.
JAN: Take a picture of what?
BARBARA: Whom. Tom Walker. He's at Hunter's house and spending the night.
(John and Jan shoot each other a look. Barbara looks at them. John finally uses the R in lariats to play ROUNDUPS, thus emptying his tile tray.)
JOHN (cont.) Seventy-seven.
(Jan marks the score. A long silence.)
JOHN (cont.): A middle name would be nice.
BARBARA: Check.
AKA scene 7
INT. NOVELIST'S HOME OFFICE - DAY
Requisite loaded bookshelf, desk and window.
The shelf takes up most of the wall that faces an old leather sofa against the opposite wall, under a framed Ad Reinhardt abstract painting.
Wood desk aimed at big window view to up-close Organ Mountains. Blank whiteboard on wall behind desk, near open door to hallway, near hatrack with old-school California Angels baseball cap. Globe on printer on stand next to desk.
Navajo rug on hardwood floor.
A clipper ship in a bottle, new-white baseball in a clear case near a Nolan Ryan California Angels bobblehead, antique typewriter, and G.I. Joe action figure next to a same-era Barbie adorn the bookshelf.
A chair and lampstand at one corner of the window, stool and telescope in the other.
The desk is held down by a short stack of yellow legal pads near pens and pencils in a cream coffee mug identified by NMSU in crimson; a worn-brown baseball; a framed 8x11 photograph of a sunshine-smiling 15-year-old girl in a wetsuit standing on the beach next to the pink surfboard she holds, the Pismo Beach pier in the background; and the computer attended by HUNTER, early-50s, in a swivel chair, typing at the keyboard. We can discern text reflected in his glasses but not the words.
He is fit, in jeans, running shoes, untucked and unbuttoned Hawiian-style short-sleeve over colored tee. Phone peeks from shirt pocket. His WATCH BEEPS THREE TIMES, he types briefly before closing the file to reveal his screensaver:
the girl in the photograph, long hair in a tail, in soccer uniform on field with other girls in one or the other of two jerseys, her kicking leg at 10 o'clock, having struck the ball past the diving goalie, the ball nearing the net, the photo taken from right behind it. Hunter smiles at the picture, powers down the computer, pockets his glasses, leaves into the hall.
INT. KITCHEN - MOMENT LATER
State of the art appliances, handsome cabinets and cupboards, stone counters and center island, view into adjacent dining room and, through the window above the sink to the covered patio - grill, table and chairs - and smallish xeriscaped yard fenced by a low stone wall, beyond which stretches open land to the mountains. Door with window from kitchen to patio. Bananas in a bowl on center island near keys and stack of mail.
Calendar magnetized to refrigerator turned to July, the picture for which features the girl in the screensaver and framed photograph, in a selfie she has taken that includes Hunter from where they sit in the front of a roller-coaster descending a steep section of track, both smiling ear to ear, Hunter flashing a peace sign. The box for the 7th of July is populated by CHLOE written in blue marker.
Hunter enters from hall, gets bottled water from fridge, sets it on center island near keys, retrieves a full plastic bag from a bin in a closet, ties it off, leaves into hall.
EXT. HUNTER'S HOUSE - MOMENT LATER
Southwest meets modern minimalism. Neighbors' homes widely spaced along the road.
Garage door open to feature newish Range Rover with New Mexico plates. A brown trash bin near where the driveway meets the mailbox and road along which homes are widely spaced. And Tom's truck slowly nearing, then finally stopping in front of the house.
INT. TRUCK
Tom, aviators on, idles and stares at the house, finally raises phone to take a picture. The moment he has it framed Hunter enters the garage through door to house, bag in hand. He notices the truck, Tom takes the picture, drives away. Hunter in the rearview mirror as he walks the bag to the bin, gaze aimed at the truck.
EXT. DRIVEWAY
Hunter arrives at the bin, watches the truck turn onto another street and not emerge into view from behind the house near that corner. He drops the bag into bin, walks back to the garage, eyes aimed up the road, waiting to see the truck that does not drive into view. He enters garage and house.
INT. TRUCK
Tom, idling and pondering in front of the house he has used to conceal himself from Hunter's view, finally makes the U-turn, turns the corner back toward Hunter/s house.
AKA scene 6
INT. TRUCK - DAY
Tom driving a two-lane road nearing what it's signage makes clear is The Talavera Fire Department east of Las Cruces, New Mexico, where the high desert meets a community of handsome homes heavy on southwest style near the base of the Organ Mountains under a brilliant sun in a cloudless blue sky.
The portable GPS on the seat tells him in a WOMAN'S VOICE to turn left onto Soledad Canyon Road. He does so and drives straight at the mountains under a brilliant sun in a blue sky. He gets aviator sunglasses from sleeve on driver's visor, puts them on, looks around.
AKA scenes 5a and 5b
INT. MOTEL ROOM - SUNSET
Basic room lit through the crack where the curtains meet. We hear a CAR DOOR SHUT before the KNOCK OF BOOTS ON CONCRETE before the form of a man in a cowboy hat passes the curtains before Tom enters, closes the door, puts hat on rack, bed on suitcase, parts the curtains to the view of monsoon clouds gathering above the Albuquerque skyline, obscuring the Sandia Mountains. A neon sign shows Tom is staying at the Yucca Springs Motel; a third of its parking spaces are taken, Tom's truck in the one nearest his door. He gets phone from pocket, sits at desk, speaks into phone.
TOM: Wanda.
Hey baby, just remembered you and Daisy are at Bingo. Just now in my room, 'bout to run a bath, have Chinse delivered, maybe finish the book. Gimme a call. Love ya.
(He walks to the window, frames the view in his phone's camera, takes the picture, back to call function, speaks.)
Ruthie.
Hey sis.
Just now landed.
Alright, well tell her I said hi and I'll call when I'm leavin' about six.
Love you too.
(He sets phone on desk, unbuttons shirt, sits, removes boots, walks to and enters the bathroom. We HEAR THE SQUEAK-TURN OF FAUCET a beat before a BATH BEGUN before a FAINT RUMBLE OF THUNDER.)
EXT. MOTEL - SUNRISE
The wet and puddled lot under a clear sky and the Sandias painted pretty. Tom comes out of his room, hat on, suitcase in one hand, keys in the other, phone in a pocket of a new shirt.
EXT. INT. TRUCK
He opens the driver's door, slides suitcase to passenger side of seat, gets in, closes door, puts key in ignition, sets suitcase in well below seat, sets hat on seat, starts the engine, lets it idle, turns on RADIO, finds STATIC, tunes to find the BEGINNING OF FREDDY FENDER'S SONG, I Love My Rancho Grande. He raises the volume, drives away out of lot onto street and out of view.
AKA Scene 4.
INT. GIL'S GREAT ROOM - DAY
Describe. (Ranch limestone, whitetail deer mounts, longhorns over fireplace, leather furniture, wall-mounted BIG-screen, rifle case, Mexican brown eagle shield, etc.)
GIL, mid-70s reading a book, aimed at the big window view to the Roberto (AKA Bobby) 15, and RAMON 13, playing catch with a football in the oak-heavy woods.
Enter MARIA, mid-30s, Brownsville Gyrl t-shirt.
MARIA: Had I not seen it on the calendar I've forgotten Tom and Wanda arrive tomorrow.
GIL: Just Tom. Wanda's staying back to tend to a friend whose husband just passed.
He marks the page, closes the book, we see it is Foglost.
MARIA: Oh darn. How long will he be here?
GIL: About a week. Big news, by the way. They're moving down.
MARIA: Moving down here?
GIL: Yep. They and Ruth are going in on a place in Kerrville. Just starting the looking around.
MARIA: Wow. That's great.
GIL: Yep.
His PHONE RINGTONES the Willie Nelson instrumental, Bandera, he looks at the screen.
GIL (cont.): Tom selfie.
Maria walks over, looks over his shoulder at the Huey selfie Tom has sent.
MARIA: Where is that?
GIL: Memorial in Angel Fire.
He pockets phone.
MARIA: What's Foglost about?
GIL: Alcoholism. Loss. Despair.
MARIA: Cheery.
GIL: And getting another chance.
MARIA: So, hope, too?
GIL: We'll see. I'll finish it tomorrow.
MARIA: Speaking of which, is fishing still on?
GIL: We'll leave about six.
MARIA: Breakfast?
GIL: Jacalito's.
MARIA: Yum.
GIL: Also, if it's alright with you, I'm thinking I'll take Bobby out in the vet before you leave.
MARIA: As in Bobby driving the Corvette?
GIL: Yes.
MARIA: Where?
GIL: Backroad loop halfway to Vanderpol.
MARIA: Does he know?
GIL: No. Wanted to run it by you first.
MARIA: Oh my goodness, he'll be so excited.
GIL: We have your okay?
MARIA: Of course, dad. But you have to let me be there when you tell him.
GIL: I'll call a meeting.
MARIA: Ramon will be jealous.
GIL: His turn next year.
MARIA: He knows how it works. Oh, and just a heads-up, Bobby has let it be known he is trending toward a preference for Bob.
Gil nods, smiles.
GIL: I remember the day Ricky told us he preferred Rick. Did he ever tell you that story.
MARIA: No. But I'd love to hear it.
GIL: I'll save it for when Bobby tells me it's Bob from now on.
MARIA: If he does.
She bends to kiss his cheek.
MARIA (cont.) Lunch in fifteen.
GIL: Thank you, sweetheart.
She leaves, he watches the boys, resumes reading.
[SOUND CUE CUT TO:
Tom entering ABQ motel room.]
Someone's grassy back yard, and I think I know whose, daytime.
The number of people it takes to populate both benches attending a picnic table. I am at the opposite end of the table from whomever is at its head, My guess is it's the person whose back yard we are in.
The person seated next to me, on my left, has an actressy-vibe, her hair stylishly disheveled. She wears sunglasses and has her attention fixed on me.
End dream.
Reminds me of the dream of arriving (late) to Sarah's house, for the party I've been invited to. That dream ends with me, having arrived, looking in a window and thinking that all in the house - at the party - fir my notion of the demographic re Sarah's business associates.
EXT. - DESCRIBE - DAY
Hunter and Gil with beers, the view to Hill Country. Lean-to with fire-pit, horseshoe area, rope-and-tire swing from tree branch. The boys at the archery range. The ATV's.
HUNTER: Where does the trail go?
GIL: To the creek.
HUNTER: Where does the creek go?
GIL: West prong of the Medina River, when there's water in it. This storm will get it wet enough.
HUNTER: How long have you been here?
GIL: All my life. My dad and two of his cousins used their G-I Bills to start a construction company in San Antonio. About five years in he bought the first parcel and started on the house, little bit at a time. He and mom spent their first night a year to the day after dad broke ground. I was born nine months later. Victoria a year-and-half after that.
HUNTER: Where was your father in the war?
GIL: Pacific. U-S-M-C.
HUNTER: My uncle was there in the Navy.
GIL: On a boat I might have heard of?
HUNTER: If you've heard of the U-S-S Helena.
GIL (beat): I have. Dad remembered it helping out at Gaudalcanal.
HUNTER: So did my grandfather.
GIL (beat): Did he continue on to Kula Gulf.
HUNTER: He did. And survived.
GIL (beat): Ever talk about it?
HUNTER: A little. Not much detail. I didn't press. My mom told me about the nightmares.
Gil nods.
HUNTER (cont.): Was Dale in the war?
GIL: First Cav, wounded at Luzon. Ruthie can tell you more about that.
HUNTER: Tom had a First Cavalry tattoo on his left shoulder.
GIL: (beat) Did he talk about it?
HUNTER: No. And nothing about Vietnam. I saw it when I found him in bed.
GIL: I was with him in Bangkok when he got that.
HUNTER: R and R.
Gil nods.
HUNTER (cont.) Would you mind talking more about that sometime?
GIL: We can do that. Maybe when you're back.
HUNTER: I'd like that very much.
GIL: I have pictures.
HUNTER: I'd love to see them.
GIL: I'd love to share them.
HUNTER: Did you enlist?
GIL: We both did.
HUNTER: How were your parents with that?
GIL: Mama was not pleased. Dad was conflicted. I'd never seen him shed a tear until the day I went off to boot camp. I think Ruth will confirm that it was about the same with Dale and Opal. I can tell you that Tom and I came to serious second thoughts about that early in country. But more about that next time you're here.
HUNTER: Thanks. Will the boys join?
GIL: Good question.
HUNTER: Thoughts on that?
GIL: Still forming. Bobby's starting to ask about it. Maria is dead set against it. You ever in the military?
HUNTER: No, unless the Peace Corps counts.
GIL: How long and where?
HUNTER: Two years in Africa. Ghana.
GIL: Maybe more on that when you're back.
HUNTER: Sure.
DISTANT THUNDER
GIL: Here she comes. I guess you're in the middle of Monsoon season in Cruces.
HUNTER: Yep. Have you spent any time there?
GIL: Passing through several times and once for a wedding in Mesilla. Tom and I used to visit a Vietnam buddy in El Paso at least once a year. Garrison Weaver. He passed a few years ago. White-tail at your nine o'clock.
Hunter slowly turns to his head to the left to see the white-tail buck in the woods, seeming to stare back at them. The boys have the deer in sight.
HUNTER: How often do you hunt?
GIL: I'll take folks out once each season to feed the homeless for Thanksgiving at the shelter the church runs. Family or friends. This year will be Ramon's first time. Bobby got his a couple years ago. Have you ever hunted, Hunter?
The deer bounds away into the woods out of view.
HUNTER: No. Did Tom?
GIL: He did. We got our first the same day with dad and Dale.
HUNTER: How old were you?
GIL: Both thirteen. Last time I was in Laramie that mount was in their home office.
NEARER THUNDER and the first DROPS OF RAIN.
HUNTER: Did he do the Thanksgiving hunts?
GIL: He came along a few times. But as far as I know Tom never pulled a trigger since the last time he did in Vietnam.
NEARER THUNDER, HARDER RAIN, FAR-OFF LIGHTNING. Gil turns to the boys, lets loose a LOUD WHISTLE. The boys are quick to their ATV. Gil starts the engine. Gil gestures to the boys to head on. They do, into the woods and out of view. Gil finishes his beer, sets the empty in the console.
GIL (cont.): Vámonos.
Hunter finishes his beer, does the same.
HUNTER (cont.): Let's.
Gil drives the ATV into the woods out of view.
Next day. Hunter leaves in the truck.
Chloe, Barbara, Jan and John, boat on Lake Nacimiento, re Ruth's husband and son.
Wanda amd Ruth re Daisy and storm. Truck engine sound, Hunter arrive.
Brian, his dad and son. R meeting the author of the books dad reads, re planned proposal to Barbara,.
Gil and Maria re "tomorrow."
Night. Hunter, Wanda and Ruth, table-talk re Gil.
Jackie at home gets call from Hunter in Ruth's guest room. Guest book. Hunter's laptop Tom screensaver.
Next day, sunrise, Barbara and Chloe, surfing.
Hunter, driving truck, with Wanda and Ruth on two-lane backroad. Arrive Gil's gate. M for Mendoza. Gil on deck, sound of truck engine, truck arrive. Maria and the boys watch through window.
Jan and John, re college deferment re Vietnam.
Fort Park, Hunter, Gil, the boys and ATV's. Maria's call.
Maria, Wanda and Ruth in kitchen, tamales, sound of ATV's, their arrival.
Doc 1 re Hunter's email and pics.
Night. Wanda, Ruth and Hunter on back porch with ice cream. Hunter's abridged back-story.
Gil with Bangkok pics, enter the boys. Sit down, let's talk.
Next morning. Hunter leaving. Ruth and Wanda re matinee at the Arcadia and calling Daisy.
Hunter driving, the flat, glove compartment, the manual, TX and WY fishing licenses. Hood of truck, the jack and spare.
John and Jan re Foglost bestseller. Re movie rights and Hunter moving.
Sess and Claire re Honda knot video.
Hunter, flat fixed, the impala and a man who could be Dale Walker inquiring re truck. Hunter, not for sale, was his father's and his before that.
Daisy at home, call from Wanda and Ruth.
Hunter arrive home, boots and hat, guestbook, teardrop.
Doc 2.
Leaving Laramie.
Hawaii.
Epilogue. Chloe birthday truck. Drives away with grams and gramps.
Sarah is who I'll be sending the link to Final Draft to when it is completed. I'll begin that blog Monday after sorting out - Rubik's Cubing - Act 3 tomorrow.
In the dream she has left her front row seat to be on stage to make the acceptance speech for the award she has won. I am in the second row. She makes a remark about how long it has taken for whatever the award is about to come to fruition. I, knowing the award has plenty to do with me - it's her movie from my screenplay, obviously - add a rejoinder re how much considerably longer it has taken me. A collective chuckle from the crowd. End dream.
Ruth's maintenance of the family ancestry website is a late addition. John finds the link to it when he searches online for Tom, armed with his middle name.
Next morning, the truck, heeere's Jackie, away they go. Re cousin's girlfriend and the more the merrier.
Jan and John power-walk in their rural affluence, "found them" re Tom and Wanda's mobile harm park, Travis did the trick. And also led to a link not yet clicked on re ancestry site.
Hunter driving. Tom re last time on a horse. Butter and saddle.
Barb and Brian. Re ranch foreman's job. Chloe's selfie.
Sess and Claire, the horses and teens. Rover arrive. Intros.
Wanda and Daisy re biodegradable urn for Clem's ashes, Tom's selfie.
Horseback through the pines.
John and Jan re Ruth's/Tom's family tree. Chloe's Barb-forwarded selfie.
Mountain meadow. Tom and Hunter, Chloe and Jackie, Sess and Claire.
Ruth places Tom's selfie, framed, next to Hunter's books in parlor with piano.
Horses uphill 'round the bend, view to Sierra Blanca.
Gil finishes Foglost. Tom's selfie with Hunter. Maria notices resemblance re Hunter's blurb pic.
Pinus ponderosa. Re Bonanza and Tom's brief Hollywood wrangling. Triangle bell re chuckwagon.
Wanda drops off Daisy. See you in the morning. Daisy enter Clemless home.
Horses creekside. Tom and Hunter re fishing. Who taught Tom how to tie a fly? A fella I knew in Vietnam. Rufus Buford, from _____. Re talking more about it "next time."
Barbara arrives home - San Luis Obispo cul-de-sac - in Tesla, gets the pic Chloe took of Tom and Hunter creekside.
Horse barn and a Honda knot.
White Sands sunset, footprints in the dunes.
John and Jan, Chloe's sunset selfie.
Night. Jackie leaves Hunter's. Shooting star. Tom too tuckered for a movie, gonna call Wanda and Ruth, eager to hear, get on to bed. Into house. Hunter re a picture.
Tom's Tahoe tale. Chloe "call mom."
Tom calls Wanda and Ruth. Guest book.
We meet Tom and Wanda in bed at night and are introduced to Foglost and Hawaii.
Tom leaves the next morning in the truck, Wyoming plates.
Credits over Tom driving open highway through ranchland populated by cattle and surrounded by distant mountains.
We meet Gil in his great room, reading Foglost. The boys through the window in the woods. Maria in re Tom and Wanda. Gil re no Wanda and the move.
Wanda with Daisy re move, brick and back yard. WYO theatre, gets call from Tom in ABQ motel room, sunset. Tom calls Ruth, leaves message, starts bath.
Tom leaves Yucca Blossom motel, sunrise.
Tom driving Hunter's 'hood, Organ Mountains, GPS, the turn.
Hunter home office, Organ Mountains, Chloe picture and screensaver. Hunter leave in to kitchen, leaves with trash.
Ext. Hunter's house. Range Rover in the open garage. Bin near the mailbox. Tom's truck arrives. Tom idles, takes picture with phone just as Hunter enters garage from house, trash in hand. Tom drives away, Hunter watches truck turn out of view behind neighbor's house. Hunter enters house.
Tom, idling, makes a U-turn.
Hunter, foyer, doorbell, Tom on porch, truck near bin. Hunter opens door, Howdy my name is Tom Walker. How Tom found address, Tom enter. How Tom found out about him re Olivia's obituary. Hunter re out the door to airport for daughter. Tom: Yessir.
Meet Barbara, Jan and John. Hunter's call. "They're right here." "Tom Walker from Texas is at Hunter's house. He's spending the night and leaving in the morning."
Wanda with Daisy gets call and news from Tom in Hunter's guest room. Tom calls Ruth with Gil. Hijole. Tom leaves room, self-tour of Hunter's house, then to low stone wall, where he lights a cigarette.
Hunter, driving, and Chloe: "And I was nervous about meeting Jackie."
Hunter and Chloe arrive at Hunter's, truck in driveway. Garage talk.
Tom on patio, Hunter and Chloe arrive. Intros. Chloe excuses herself. Hunter's questions, Tom's answers, Hunter to kitchen for water, exchange with Chloe, Hunter out, Chloe takes picture of Tom and Hunter sitting across from each other.
Barbara with Brian re Tom and Olivia. Chloe's selfie.
Jan and John, sunset, re getting Tom's middle name, Barb's forwarded Chloe selfie.
Hunter, Chloe, Tom, night, post-dinner. Thunder, monsoon season and rain in ABQ. Tom re Hawaii, surfing, excuses self to call Ruth and Wanda and get on to bed. Hunter re coffee in the morning. Another horse? Hunter calls Jackie.
INT. ROVER - DAY
Hunter driving two-lane road lined by woods.
TOM (to Chloe): When's the last time you were on a horse?
CHLOE: If a mule counts three years ago at the Grand Canyon.
TOM: I'd say a mule counts. Didja have a good time?
Chloe nods.
HUNTER: How 'bout you, Tom?
TOM: First week a May. We got up to Sheridan a couple times a year to see some friends with horses. You?
HUNTER: Same Grand Canyon mule ride.
TOM: Before that?
HUNTER: Pony ride at the county fair when I was a kid.
CHLOE: We're doing the dude ranch thing next year.
TOM: Whereabouts?
HUNTER: To be determined.
TOM: Well, I know a fella runs one outta Stanley, Idaho, if yer intrested. It's a drive from Boise but a pretty one.
HUNTER: We're interested. You've been there?
TOM: Yessir. Helped get it runnin'. Me and Wanda were out a few years ago. Heck, if ya decide to go that way, we'll join ya. Assumin' you'd be okay with that.
HUNTER: We'd be okay with that, wouldn't we?
Chloe nods. Chloe nods. A lull.
TOM: So Jackie, I guess you ride fairly regularly?
JACKIE: Luckily, yes. Once a month or so. So you've probably owned a horse or two, Tom.
TOM: Yes ma'am, a few. More accurate to say they owned me.
CHLOE: When's the last time?
TOM: Had a palomino who passed six year ago last month.
CHLOE: What was his or her name?
TOM: Her name was Butter.
CHLOE: How did she die, if you don't mind?
TOM: Old age. And like I said, I'll talk about what whatever y'all wanna hear about. And I'll talk Butter all day and night if ya let me.
CHLOE: How old was she?
TOM: A month away from twenty-nine.
CHLOE: How long did you have her?
TOM: All her life. Her father was a chestnut a rancher gave me my first foreman job.
HUNTER: Where were you?
TOM: Oregon. North a Bend, if ya know where that is.
Hunter nods.
CHLOE: Do you have pictures of Butter?
TOM: Oh yeah. Not on my phone but a whole album at home. And her ashes. Got her saddle in storage.
CHLOE: Will you ever have another horse?
TOM: Well Chloe, I'm thinkin' about it. There's a few stables in the area that me and Ruth'll look at. Thinkin' we can give a rescue a nice home.
CHLOE: Cool.
Tom nods to something in the woods.
TOM: What's cool is what's off to our two o'clock.
Chloe, Jackie and Hunter look and see five horses, stationary except for tail swish, seeming to stare back at them.
JACKIE: Finally a sighting.
CHLOE: Are those the wild horses you mentioned?.
JACKIE: Five of them anyway.
Chloe aims her phone out the window, takes a picture of the horses. As soon as she does, the horses trot deeper into the woods. Chloe turns to see Tom recording her with his phone. OVER TOM'S SHOULDER we see her smile and the horses leave view, Tom stops recording, pockets phone, winks at Chloe. Hunter sees this in the rearview mirror, smiles, looks at Jackie, who smiles.
Add John finding link to online ancestry page that Ruth keeps. (Then the Chloe selfie Barbara forwards.)
37. Hunter's dream.
38. Kitchen, coffee, reveal. Tells Chloe.
39. Wanda with Daisy gets Hunter's call.
40. Ruth gets Wanda's call.
41. Gil gets Ruth's call.
42. Coroner away.
43. Barbara, Brian, John and Jan, golf, Hunter's call.
44. Wanda, Daisy, Laramie airport.
45. Hunter and Chloe.
46. Gil and Ruth.
47. Daisy at home, photo album.
48. Hunter arrive Jackie's.
49. Chloe, Barb, Jan and John (driving).
50. Next day. Hunter leaving. Guest book, glove compartment.
51. Sess with Claire, the cowboy died.
52. Wanda and Ruth, truck engine, Hunter arrive.
53. Jan, John and Barbara in boat on Lake Nacimiento, sunset. Chloe afloat a tether away. What do we know about Ruth. Chloe pulls herself in, ties H
54. Night. Table talk. Hunter, Ruth and Wanda share a bottle of wine and Hunter's backstory. To bed.
55. Next day. Ruth, Wanda and Hunter driving Hill Country Farm-to-Market. Ruth re Gil. Arrive at his gate.
56. Gil on deck, truck engine, arrival. Maria and boys watch greetings through window.
57. Daisy.
58a. Fort Park, Hill Country vista to mesas. The Ranchero. THUNDER. ATV's away.
58b. The women in the kitchen with tamales. ATV's arrive.
59. Hunter in Ruth's guest room, raining. Facetimes Chloe with Barbara. "What's up for tomorrow?" "A drive, how 'bout for you? Re surfing with mom. Jan and John re Ruth's address re a card in the mail. End call. Clem and Daisy's entry.
60. John and Jan.
61. Hunter, Wanda, Ruth back porch, ice cream, rain, about Chloe and the truck.
62. Next day. Hunter leaves in truck. Wanda and Ruth re matinee and calling Daisy.
63. Hunter and truck recognized by father and son, offer to buy it. Not for sale. It was my dad's. And his before that.
64. Chloe, Barbara and Brian re his father.
65. Hunter arrive home. Guest room. Tom's entry in guest book. A tear drop lands next to previous.
66. Doc 1.
67. Hawaii.
Epilogue: Chloe birthday truck sunset.
