scene 14

scene 13

EXT. EL PASO INT'L AIPORT - SHORT TERM PARKING LOT - DAY

Hunter, sunglasses on, and CHLOE, 17 - running shoes and Lycra tights that complement her forest-green long-sleeve tee with GO SLO in yellow across the front, sunglasses - walk through the lot, their gaze aimed similarly at the ground. Chloe's pink backpack slung over a shoulder, Hunter pulls a camouflage suitcase on wheels. 

HUNTER: Are you upset that I presumed you'd be okay with this?

CHLOE (beat): No. I totally trust you. I mean, you left your house to a complete stranger. 

HUNTER: I have his license plate.

CHLOE: What state?

HUNTER: Wyoming, where he lives. He's on his way to Texas. That's all I know. 

CHLOE: What's he driving?

HUNTER: Guess.

CHLOE (beat) Pickup truck.

HUNTER: Late eighties F one-fifty. 

CHLOE: Cowboy boots?

HUNTER: And hat. Pearl snap button shirt and silver belt buckle featuring a turquoise horseshoe. 

CHLOE: No spurs?

HUNTER: No spurs.

Hunter aims key and CHIRPS THE ROVER, flashing its lights.

CHLOE: And I was nervous about meeting Jackie.

HUNTER: Well Jackie's nervous about meeting you.

Hunter opens the hatch, stows the roller-bag, Chloe adds her backpack. Hunter closes the hatch, Chloe into the front passenger seat, Hunter in the driver's.

CHLOE: Horse day still on?

HUNTER: Still on. She'll be by around ten.

CHLOE: You seem utterly unfazed, dad.

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

They buckle up, Hunter starts engine, backs out of frame.

.

silly interlude re what good to Sarah the Final Draft blog

 

Re the blog soon to begin.  

.

scene 13

scene 12

INT. GREAT ROOM - DAY

Gil as previously, same rocker aimed at the window, reading Foglost, near the end. Phone on lampstand. Roberto and Rodrigo playing pool. Gil's PHONE VIBRATES, he marks page, picks up phone, stares at the selfie Tom has sent from where he sits on Hunter's back yard's stone wall, Organ Mountains behind him.

GIL (softly): Híjole.

He pockets phone, opens book to flap with Hunter's photo and blurb, stares. Maria arrives in doorway, unbeknownst to Gil and the boys. She observes until finally Rodrigo sees her, drawing Roberto's attention.

MARIA: Come and get it.

She leaves into hall, the boys rack their cues, Gil closes book, puts on loafers, follows boys into hall. 

scene 12

scene 11

INT. HUNTER'S GUEST ROOM - DAY

Tom's suitcase on queen bed, lamp on nightstand on each side, aimed at wall-mounted TV. Framed print of (tbd) above bed's headboard. Tom's hat on rack near open door showing mostly closed door across the hall. Tom sits at the desk facing window to patio, yard, wall and land and mountains beyond. He stares out the window, tapping his phone on the desk populated by lamp, pen and pencil near guest book, and etch-a-sketch. He finally speaks into phone.

TOM: Ruth.

EXT. OPEN AIR PEACH MARKET - DAY

A DOZEN SHOPPERS, A FEW VENDORS, AND RUTH, mid-70s - sneakers, knee-length shorts, unbuttoned short-sleeve blouse over sweat-stained tee, visor - reaching into pocket to get PHONE RINGTONING Willie Nelson's instrumental, Bandera, as she finds the shade of a tree. 

RUTH: Hi, brother.

Peach market in Fredericksburg, where are you?

(Her face expresses confused surprise.)

Well I'm speechless, Tommy.  Have you called Wanda?

Wish I could've seen her face.  

Alright. Well, call me tonight. And Tommy, take a picture or two, okay?

Love you too.

(She pockets phone, shakes head, walks out of frame.) 

INT. HUNTER'S GUEST ROOM - MOMENT LATER

Tom as he was, staring out the window, tapping phone on desk. He stops tapping, stares at the guest book, gets up, pockets phone, gets hat from rack, puts it on, leaves into hallway, his BOOTS-KNOCK ON HARDWOOD FADING to silence. Moments later he appears in the window when he walks to the low stone wall, gazes out to the mountains.

scene 11

scene 10 

EXT. WYO THEATRE - DOWNTOWN LARAMIE - DAY

The front and doors are boarded up, the boards painted into a landscape featuring rudimentary horses and cattle looking back at the painter from their positions along a creek through grasslands, hint of mountains in the far-distant background. COMING SOMEDAY MAYBE NOT OR in blue lettering on the marquee.

DAISY (O.S., nearing): When's the last time you were in a movie theatre?

WANDA (O.S., nearing): With Tom, Ruth and Gil in March at an Alamo in Austin. They were showing Last Picture Show.

DAISY (O.S., nearing): Oh I love that movie. And Cloris Leachman, my goodness.

They walk into frame, dressed much like there were at the river trail. 

WANDA: How 'bout you?

Pearl stops, stopping Wanda. Pearl looks up at the billboard. 

DAISY: We watched the most recent James Bond movie in Cheyenne with Pearl and Dean. Did I already tell you our first movie date was right here. Diamonds Are Forever.

WANDA: No. You didn't.

Wanda wraps an arm around Daisy waist. Daisy reciprocates. Wanda's PHONE PLAYS TOM'S RINGTONE.  

DAISY (singing lightly): Would you swim the sea for to ease my pain.

Wanda gets phone from pocket.

WANDA: Howdy, partner. 

Standing in front of the WYO with Daisy. Where are you?

(Her face expresses confused surprise.)

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

(Daisy turns her attention to Wanda listening intently.)

Alright.

Okay.

I'll be here. Tom, maybe take a picture if you can?

I love you too.

(She pockets phone.) 

DAISY: Take a picture of what, she asked nosily. 

Wanda remains shocked.

DAISY (CONT): Wanda, is everything okay?

Wanda gathers herself.

WANDA: Yes. Yes. Everything is fine. Tom met someone he knows in Las Cruces and is staying the night.

DAISY: Someone you know?

WANDA (beat): Know of. I haven't met him. Are we ready for lunch? 

Daisy notes the tone of subject change. She nods. Wanda extends hand, Daisy takes it. They continue on their way out of frame.

scene 10

scene 9

EXT. PATIO/BACK YARD - DAY

A handsome bungalow's shaded patio, chairs, grill and wall-mounted TV.  Hanging seashell chime. Two chaise lounges at the kidney pool, all fenced and privatized by trees and plants. Hose on spool, gardening supplies and tools arranged near a wooden gate on a side of the house. Sliding glass door to house behind JOHN and JAN, mid-70s, playing scrabble at the table with BARBARA, 50ish. Barbara and Jan survey their tiles and the board in similar style, eyes darting and chin propped on hand.  John arranges his tiles in search of a word. 

He's in loafers that match the belt that holds up his khaki slacks. Argyle socks that complement his polo shirt. Handsome watch and gold wedding band. Jan, scorekeeper with pen and legal pad, in new jeans, leather ankle-high boots, light cardigan over denim blouse. Her slender silver watch draws the eye to the shiny diamond on her wedding ring. Barbara in fashionable track suit and running shoes. Each with phone and glass of white wine at hand. John stops his tile activity.

JOHN: Bingo.

JAN: Uh oh.

John uses all seven tiles to lay down the word "NIBLICK," using the N to make "NAUGHT" of "AUGHT."

BARBARA: Ouch. 

JOHN: A cursory count comes up seventy-four but feel free to double-check.  

He reaches into the tile bag, adds seven to fill his tray.

BARBARA: Speaking of niblick.-

JAN: Seventy-four confirmed and the lead regained. Sorry, sweetheart. Speaking of niblick.

Jan records the score on the legal pad.,

BARBARA: Speaking of niblick, Brian pulled the trigger on that titanium driver.

JOHN: Oh boy. Has he used it yet?

BARBARA: No, Saving it for the fourth tee.

John smiles, nods.

JAN: Do we know if his son made the baseball decision yet?

BARBARA: We do. He's going to play a year at Cuesta and go from there.

JOHN: I suspect Brian doesn't mind he's staying home.

BARBARA: He's happy about it. 

Jan adds four of her tiles to niblick's k to make the word "QUICK" placing the Q on a "triple-letter" space.

JOHN: How long have you had that Q.

JAN: Awhile. Got the U last draw. Forty.

Barbara's PHONE RINGTONES a FOGHORN. 

BARBARA: Hunter.

JOHN/JAN: Foglost.

Barbara nods, picks up. Jan gets four new tiles from the bag, places them in tray. 

BARBARA: Hey there. 

(Her face expresses confused surprise.)

Wow. Well, Hunter, I entirely trust your sense of this.

They're right here.

Okay.

I'll be waiting.

(She puts phone down, looks to John and Jan.)

JOHN/JAN: Well?

BARBARA: Tom Walker is at Hunter's house.

JOHN: That Tom Walker?

BARBARA: Yes. He's spending the night.

JAN: Does Chloe know?

BARBARA: Not yet. She'll call tonight.

Silence. Finally:

JOHN: We need a middle name.

BARBARA: Check.  

A BREEZE RATTLES THE SEASHELL CHIME.

scene 9 part 2

scene 9 part 1

EXT. HUNTER'S FRONT PORCH - MOMENT LATER

Tom, hat on, stands at the door, truck parked on the street near the bins. Hunter opens the door slowly and slightly, surveys Tom and the truck.

HUNTER: Can I help you?

TOM: Howdy, sir. My name is Tom Walker.

Hunter surveys Tom and truck parked on the street near the bins.

HUNTER: Tom Walker from Texas who was in Reno, Nevada, about this time fifty-one years ago?

TOM: Yessir. One of 'em anyway. I was there the evenin' a the eleventh through the afternoon a the fourteenth of July.

HUNTER: Doing what, if you don't mind me asking?

TOM: You can ask me anything ya want. I was passin' through on my way to Mexico from the end of a job near Fallon, Nevada.

HUNTER: What kind of job?

TOM: I'd round it off to ranch hand.

HUNTER: What was in Mexico?

TOM: A little vacation.

HUNTER: What was my mother's name?

TOM: Well, Marilyn was her first name but she went by her middle name Olivia. If I got the right Hunter Hardyn.

HUNTER: How did you find my address?

TOM: Paid a few bucks for an online search.

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: Just happen to be in the neighborhood?

TOM: Sorta. On my way to Texas.

HUNTER: From where?

TOM: Where I live in Laramie, Wyomin'.

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

TOM: Yessir.

HUNTER: You'll be back through on your way home?

TOM: Yessir. In a week.

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

TOM: Yessir.  

Hunter opens the door wider, gestures for Tom to enter. Tom takes off hat, enters, leaves view. Hunter stares at the truck, finally closes the door.

silly interlude re (more) burnout

 

i need to step away, again.

related Retreat

.

scene 9 part 1

scene 8

INT. *FOYER - MOMENTS LATER

Bench seat at big window to street. Hat rack near door. Piano with bench against one wall faces an arrangement of wooden tribal masks on the other, above an old and narrow wooden table attended by two stools. Candle at both ends of table. Both walls end at hallways before the back wall, on which a mirror hangs above a sofa. 

*Foyer decor very likely to change. 

Hunter enters from one hall, crosses through and into the other. The DOORBELL RINGS, Hunter re-enters, puzzled, goes to door, looks through peephole, pulls away, more puzzled, looks through the peephole again. 

to be continued.

scene 8

scenes 6 and 7

INT. NOVELIST'S HOME OFFICE - DAY

Old wooden desk near open door to hallway faces big window view to the up-close Organ Mountains east of Las Cruces, New Mexico. World War Two U.S. Navy beret, old-school California Angels baseball cap and sombrero on hat rack near doorway.

World map on wall behind desk. Printer adjacent to the desk populated by lamp, computer, pens and pencils in a coffee mug near a stack of yellow legal pads, hardcover copy of Evan S. Connell's book Son of the Morning Star,  a brown-old baseball, and a framed photograph of a 16-year-old girl in a pink one-piece swimsuit smiling at the camera from where she is "tubed" in the jade-green wave she is surfing. The computer's screensaver features the same girl seated next to a 50-year-old man in the front seat of a roller-coaster in steep descent in the selfie she has taken.

The wall on the left between desk and window is shelving loaded with books. On the opposite wall a framed Ad Reinhardt Red Painting print hangs above an old leather sofa attended by a coffee table. Navajo rug on hardwood. Rocking chair and lampstand between shelves and window, stool and telescope between window and sofa.  

HUNTER, 50, the man in the roller coaster picture, in running shoes, jeans, untucked long-sleeve button-up, enters from hallway, opens text file on computer, saves the changes, turns computer off, leaves into hallway. 

INT. KITCHEN - A 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 to patio. Bananas in a bowl on center island near keys, half-emopty plastic water bottle, stack of mail. Calendar on refrigerator turned to July - accompanying picture tbd - with "Chloe" written in the box for the 7th. Hunter enters from hall, drinks the water, crumples the bottle, adds it to other recyclables in a plastic bag he pulls from a closet, ties off the bag.

EXT. HUNTER'S HOUSE - MOMENT LATER

Southwest in flavor like the other handsome homes widely spaced along the hardpack dirt road lined by recycling and trash bins at each driveway. Garage door open, newish Range Rover with New Mexico plates. Tom's truck slowly nears from down the road, stops in front of the house.

INT.  TOM'S TRUCK  

Tom 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, plastic bag in hand. He notices the truck, stops, Tom takes the picture, drives away, eyes on Hunter in the rearview mirror. 

EXT. DRIVEWAY

Hunter walks to the bins, keeping his eyes on the truck as it turns onto another street, eclipsed by by the house near that corner. Hunter waits for the truck to reappear. He finally drops the bag into one of the bins, walks back to the driveway, watches for the truck. He stops at the garage, waits, finally continues into house. 

INT. TOM'S 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.

the timeout helped

related.

]threw notes at it, finding form, closer to clicking the rubik's cube this is.

inclined to let it sit awhile before resuming.

for the record.

scenes 6 and 7

scene 5

6. INT. MOTEL ROOM - SUNSET

Basic room. Tom's suitcase on the queen bed, hat on rack, boots at its base, mini-fridge, wall-mounted TV, and the desk Tom sits at, looking out the window at the gathering monsoon clouds that shadow the Albuquerque skyline and obscure the Sandia Mountains. Tom's phone, eyeglass case and Foglost on the desk with a pen and pencil in a holder near a Yucca Springs Motel notepad. White tee under Tom's unbuttoned shirt. The first TAPS OF RAIN ON THE WINDOW. Tom picks up phone, taps it on desk, finally speaks into it.

TOM: Ruth.

Hey sis, just now remembered it's your swim night. Anyway, in my room 'bout to run a bath, tag you're it, Love Tommy.

(He sets phone down, HARDER RAIN against the window, ominous darkening cloud-gathering. He stands suddenly, leaves into bathroom. We HEAR FAUCET SQUEAK and BATH STARTED.) 

7. EXT. YUCCA SPRINGS MOTEL - PARKING LOT - SUNRISE

Clearish sky above the dozen vehicles, including Tom's truck, in the wet and puddled lot. Yucca Springs Motel in neon above the registration office guarded by potted Yuccas. Tom comes out of room, suitcase in hand, different western shirt, walks to truck.

INT./EXT. TRUCK

Tom unlocks and opens driver's door, slides suitcase to passenger side, sets hat atop it, gets in, closes door, starts engine, buckles up, turns on radio to static, punch-tunes to Freddie Fender's (I Love My) Rancho Grande, smiles, turns it up, drives to the street, turns right, drives out of view, MUSIC FADING INTO DISTANT SIREN FADING INTO FAINT DOG BARKING.

scene 5

scene 4 

EXT. LARAMIE RIVER GREENBELT TRAIL - DAY

Wanda and DAISY, 70-something, sit on a bench between the trail and river near the Laramie River Historic Bridge. Both in tennis shoes, anklet socks, knee-length shorts, long-sleeve blouses.

DAISY: You're going to miss our balmy winters.

Wanda laughs. 

WANDA: Ruth sent me a picture of her porch thermometer this morning at ten-thirty. Already ninety on the way to a hundred-and-five, with ninety-two humidity.

DAISY: And that's worse than shoveling the driveway in twenty-below?

WANDA (beat) No, it is not.

DAISY: How cold are Kerrville winters?

WANDA: Thirties occasionally. Infrequently colder and usually warmer.

DAISY: Fireplace.

WANDA: Very preferably. 

DAISY: Big back yard?

WANDA: That would be nice. And a shade tree. I think you would like Kerrville.

Wanda's PHONE RINGTONES an instrumental version of the Townes Van Zandt song, If I Needed You. She gets phone from pocket. Behind them on the trail a JOGGER follows her DOG on a leash.

WANDA (CONT.): You in your room?

Rain yet?

On the bridge bench with Daisy.

I love you, too. 

Sweet dreams, sweetheart.

(She pockets phone. Behind them on the trail a MAN rides a bike behind a SMALL BOY on a bike with training wheels.)

DAISY: Where is he staying?

WANDA: Yucca Springs Motel. We've stopped there a couple times. Simple, great Chinese restaurant down the street, window to the skyline.

DAISY: Clem and I stayed in Albuquerque once. Nineteen eighty-five. La Posada de Albuquerque.

WANDA: For how long and for what reason?

DAISY: Two nights, for a wedding. Clem's cousin Darrel's son David. We all took the tram ride to Sandia Peak. I have pictures somewhere. 

(A lull. A FISH SPLASH in the river.)

WANDA: Rainbow.

DAISY: Yep. Ready?

Wanda nods. They rise, walk back to the trail hand in hand.

scene 4

scene 3

INT. GREAT ROOM - DAY

Limestone walls, hardwood floor.

Longhorn steer skull and horns above the family photographs on mantel above fireplace. 

Sombrero, two cowboy hats, Houston Oilers football helmet and camouflage ballcap on rack near entryway. 

Leather furniture oriented to fireplace, big screen TV and big window to woods.

Pool table, mini-fridge near counter attended by four stools, loaded rifle closet, four whitetail buck shoulder mounts.

GIL, mid-70s - socks, jeans, button-up short-sleeve shirt, glasses - sits in corner rocker near window to woods in which two boys, ROBERTO, 16, and RODRIGO, 14 - both in shorts, tee shirts, tennis shoes - kick a soccer ball back and forth to each other. Loafers under rocker, phone on the rocker's lampstand. Gil turns a page of the book in his lap.  MARIA, 40-ish - sandals, old jeans, mustard tee with BROWNSVILLE GYRL in brown across chest - arrives in entryway.

MARIA: Knock knock.

GIL: Who's there?

MARIA: Ida.

GIL: Ida who?

MARIA: Ida forgotten Tom and Wanda arrive tomorrow had I not seen it on the calendar.

GIL: Just Tom.

He marks page, closes book.

GIL (cont.): Wanda stayed back to be with a friend whose husband just passed.

MARIA: Oh. How long will he be here?

GIL: A week or so. Big news.

MARIA: Yeah?

GIL: They're moving down.

MARIA: Down where?

GIL: Kerrville. They and Ruth are going in together. 

MARIA: Wow.. 

GIL: Ruth and Tom are going to looky-loo a few places. 

MARIA: This is great, dad. 

GIL: Yes it is.

She approaches him..

MARIA: Whatcha readin'?

Gil lifts the book to show her it's Foglost.

MARIA: Your guy. When did it come out?

GIL: Sunday.  

MARIA: What's it about?

GIL: An alcoholic's slow and steady demise, so far. 

MARIA: Looks like enough pages left for hope.

GIL: We shall see.

She kisses his head.

MARIA: When will Ruth and Tom come by?

GIL: Day after tomorrow.

MARIA: What's your guy looking like these days?

Gil turns to the author flap showing a medium shot of Hunter in plaid flannel and beanie, snow on the peaks of the Organ Mountains behind him, above the blurb:

H.C. Hardyn is the author of another novel, Trabuco, and a book of short stories, Puncture Wounds. 

MARIA: Handsome man aging well. Those are the Organ Mountains east of Las Cruces.

GIL: Yeah? 

MARIA: Yeah. No indication re location in his social media?

GIL: No. Minimal footprint, Wiki page his publisher maintains, almost zero personal information, never given an interview.

MARIA: Hmm. Ready for your haircut when you are.

GIL: Five minutes.

MARIA: I'll be there.

She leaves, he examines author page, opens book to mark. When his PHONE VIBRATES he picks up to see the selfie Tom has sent, standing and saluting in front of the Huey helicopter display at the Vietnam Veterans Memorial near Angel Fire, New Mexico. His cowboy hat shades his eyes but his smile is big. Gil goes to the author flap, compares the two images, finally pockets phone, watches the boys, opens book to mark, reads..

scene 3 final

scene 2

INT. TRUCK - DAY

Tom, sporting aviator sunglasses, drives on a two-lane highway surrounded by fenced open grassland and distant hills. Traffic in opposite direction on the other side of a grass median strip. He looks out his window at the rolling freight train that makes a horizon line between earth and blue sky, then out the passenger window at cattle that dot the land beyond a house and barn. A horse's gaze aimed at him from the back of the horse trailer with Colorado plate ahead of him. He turns on the radio to static, punch-tunes it to ending of the Willie Nelson instrumental Bandera, smiles, the song ends, a moment of silence before Glen Campbell's cover of Galveston starts. Tom turns it up, sings along to the end of "sea winds blowing."  

[CUT TO: 

INT. GREAT ROOM - DAY

Gil reading Foglost, FAINT WHIR OF CICADAS. The boys kicking soccer ball amidst the oaks.] 

scene 2

scene 1

EXT. MODEST HOME - SUNRISE

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

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

TOM: Scenic. 

WANDA: Lunch?

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

WANDA: Tortilla Azul. 

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

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

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

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

WANDA: I remembered that last night. Take pictures.

TOM:  Will do. 

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

WANDA: I love you, Tom.

TOM: I love you, Wanda.

A lengthy kiss.

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

WANDA:  Sixty-one.

TOM: But who's countin'. 

She checks his watch.

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

TOM: Ready?

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

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

WANDA: I'll be waiting.

Wanda steps up for another kiss, steps down.

WANDA: Buckle up, cowboy.   

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

INT. TRUCK

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

EXT. DRIVEWAY

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

scene 1 final

INT. BEDROOM - NIGHT

TOM and WANDA, mid-70s, sit up in bed, under the covers, in pajamas, reading. Both wear glasses. Curtains closed across the window above the headboard. Lamp, eyeglass case and phone on their respective nightstands. Wanda peruses a Hawaiian Travel brochure. Tom is reading a grey hardcover book we can see is titled Foglost and written by H.C. Hardyn. Wanda turns page.

WANDA: Should we do a luau?

TOM: Well, what is it they say about when you're in Rome?

WANDA: Do as the Romans do.

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

WANDA: Now that's some halfway thinking alright.

TOM: You think this ol' dog ain't got one more trick in him.

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.

WANDA: Hmm. Maybe I'll take a hula lesson.

TOM: You know I'll be front and center for that.

Tom turns a page.

TOM (cont.): So whaddaya reckon the chances are we'll get lei'd.

Wanda, shocked, sets down the brochure, stares at Tom, who finally looks at her.

WANDA: Thomas Travis Walker, my goodness gracious.

TOM: What? Ain't that what they call them flower necklaces they put around your neck when ya get off the plane. A lei?

Wanda shakes her head.

WANDA: Yes, that's what they're called. But I'm not sure our airline does that.

TOM: Oh.

She returns her attention to the brochure, Tom his to the book.

WANDA: But I feel there's a good chance we will when we get to our hotel.

Tom looks at her, closes book. She looks at him, winks. He smiles. She puts brochure on her nightstand, Tom sets the book on his. 

Hawaii 1: elements

Thanksgiving.

Sunset.

Hunter, Chloe, Wanda, Ruth, Daisy, Gil, Maria, the boys in island attire.

Tom's ashes in the biodgradeable sea turtle that:

Chloe paddles out with on her surfboard.

The live sea turtle she sees pass beneath her.

Ukulele, Elvis and (Tom and Wanda's ringtone) If I Needed You.

what do we know about 1: John and Jan

We know they both are 70-something and, like their daughter Barbara and granddaughter Chloe, often use "what do do we know about" to introduce a question.

We know from Hunter's mountain meadow exchange with Tom that they are retired attorneys who live in Paso Robles, California. 

We know from their power-walk ballcaps that John went to Stanford and Jan to Cal Berkeley and that there is an old sports coupe in the driveway of their California ranch-tyle home. We know from their drive home from the airport with Barbara and Chloe that they also own a new SUV.

We know from the golf course scene that they play golf. We know from the scene in which we meet them that they, like Barbara and Chloe, play scrabble.   

Timeout

 

House built, now to paint and place furniture and fixtures, decorate, choose countertops, etc., but after a Timeout, aside from some backstory fun and tinkering. Sense of things in place having pushed through some Resistance, blah blah blah. Mornings at Mom's next week to begin Final, finally.      

Other titles: The Symbol of Checking and Stopping, Stoppage, Reposing, Non-action, Stopping

act 4 beats

act 3 beats

58. Next day. Hunter leaves in truck.

59. Hunter driving, radio music.

60. Gil and Maria.

61. Wanda and Ruth, Hunter arrive.

62. Sunset. Chloe with Barbara, Jan and John, re Ruth.

63. Night. H, W, R table talk, photo albums, wine re Gil.

64. H guest room, laptop, screensaver, R and W about the truck. 

65. Hill Country highway, Hunter driving, Wanda and Ruth. Arrive Gil's gate.

66. Gil on deck, sound of truck engine, arrival and intros.

67. Chloe and Barbara.

68. Fort Park. Women in kitchen. 

69. That night. H, W, R, porch with ice cream. Rain and thunder. Hunter's abridged backstory.

70. Gil in den, tequila and Bangkok pics. Enter the boys. 

71. Next morning. Hunter leaving. W and R, matinee at Arcadia and call Daisy.

72. Hunter driving, flat on the flat, abandoned structure as shade, manual in the glove compartment.

73. Chloe movie-maker in her room. 

74. John and Jan, Foglost best-seller, movie deal, selling Las Cruces for ____. John calls Hunter. Hunter at flat, fixed, John's ringtone, phone on seat. Their talk, add Jan, re out there to deliver Chloe's birthday present. End call, DRIVER stops to check on Hunter, re the truck, "my father's, and his before that." In, start engine, drive away.

75. Daisy gets Facetime from Wanda and Ruth.

76. Hunter's guest room, Hunter enter with boots and hat.

77. Doc. Going to Hawaii.

78. Leaving Laramie.

79. Hawaii.

80. Chloe birthday truck.

EPILOGUE: Gil and Hunter fishing.

silly interlude re structure: four acts, not three

 

Other titles: Insight, Understanding

related.

act 3 beats

act 2 beats

43. Hunter dream.

44. Tom reveal.

45. Tell Chloe.

46. Wanda with Daisy gets Hunter's call.

47. Ruth gets Wanda's call.

48. Gil gets Ruth's call.

49. Barbara with Brian, John and Jan gets Hunter's call.

50. Coroner wagon away.

51. Jackie gets Hunter's call.

52. Wanda and Daisy, Laramie airport.

53. Gil picks up Ruth.

54. Hunter and Chloe.

55. Daisy home alone, photo album.

56. Hunter and Doc.

57. Chloe with Barb, John and Jan gets call from Hunter in guest room.

act 2 beats

act 1 beats

21. Next day, truck, Jackie.

22. John and John, found them, Ruth's ancestry site.

23. Rover, last time on a horse.

24. Doc, Foglost, Hunter file, selfie. 

25. Sess and Claire, Rover arrive, intros.

26. Barbara and Brian, Ruth's family tree. 

27. Horses in the pines.

28. Wanda and Daisy, Tom selfie. 

29. Mountain meadow.

30. Ruth places framed Tom selfie.

31. Cuh-lip, cuh-lop, Sierra Blanca.

32. Gil's screensaver is Tom selfie, Maria notices. 

33. Pinus ponderosa, Bonanza, buckle. Claire re Hunter pic for dad.

34. John, Jan, Ruth's tree.

35. Creek and fishing.

36. Brian, his dad and son. 

37. Horses, hay, Honda knot.

38. Claire's dad and mom, Claire's selfie with Hunter.

39. White Sands sunset.

40. Jackie leaves.

41. Tom's Tahoe tale.

42: Tom facetime Ruth and Wanda, guest book. 

act 1 beats

Rubik's Cubing revisited, again (and again)

0. Tom and Wanda in bed, Hawaii.

1. Wanda and Tom, truck, Wyoming plates, Tom leaves, wind chimes.

2. Tom driving cattle country, radio music.

3. Gil, Maria, the boys, Foglost, Tom and Wanda's move.

4. Wanda and Daisy, WYO theatre, urn, Tom's ringtone, room in ABQ.

5. Tom, ABQ motel room sunset, call Ruth/sis.

6. Next day. Tom leave ABQ motel sunrise.

7. Hunter home office, kitchen.

8. Tom Hunter's house. Contact.

9. Tom U-turn.

10. Hunter foyer, doorbell, howdy.

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

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

13. Tom calls Ruth, Fredericskburg and peaches.

14. Tom's home tour.

15. Hunter and Chloe.

16. Gil gets Tom's selfie.

17. Hunter, Tom, Chloe.

18. Barb and Brian, re Tom and Olivia.

19. John and Jan. Middle name.

20. Night. H, T, Ch patio, segue into call Jackie re horse.   

scene 2 location wy hwy 287

CREDITS OVER: 

INT. TRUCK - DAY

Tom driving. 

Cattle question answered.

Add RADIO MUSIC.

timeout

In need of a refreshed perspective before beginning Final. In the meantime throw notes at Baseball Movie

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

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." 

related taking much longer than i had imagined.

---------------------

.

silly interlude re J.K. Tanner

.