scene 25

sc 24

EXT. JOHN'S/JAN'S PATIO - DAY

Floaties in the pool. John and Jan in terry cloth robes at the table, looking at STREET VIEW OF TOM'S/WANDA'S HOME. The license plate on the Subaru wagon in the port is blurred.

JOHN: Funny. She was just beginning to tell Cedric about Hunter and Thomas Travis Walker.

JAN: Besides Jackson, what's the closest you've been to Laramie.

JOHN: Cheyenne, my second year at Buford for an E-P-A vee Wyoming coal depo. Second week in January.

JAN: Tropical?

JOHN: Twenty-below every morning and a slapping wind that added to the pleasure. 

JAN: Where did you stay?

JOHN: The Plains Hotel. Like Robert Kennedy and Ernest Hemingway before me. 

JAN: Fancy place?

JOHN: Fancy enough. Now the historic plains, I believe, and once upon a time the Governor’s Mansion for Nellie Davis Taylor Ross, the first female governor in the United States. 

JAN: Learn something new.

JOHN: If I recall her name correctly, in which case I wonder why. You, closest to Laramie.

JAN: Fort Collins for a sorority sister's wedding the summer before Duke.

JOHN: Last time in a mobile home.

JAN: Not actually in but on the doorsteps of however many were in the park we did Halloween when I was a six. 

JOHN: Had I not asked.

JAN: It was a Friday that year so we made a weekend of it. 

JOHN: Where did you stay.

JAN: The Del Marcos.

JOHN: Classic. Costume?

JAN: I was Dorothy.

JOHN: From Kansas.

JAN: Yes. But where in Kansas.

JOHN: Liberal, later.

JAN: Correct.

JOHN: Did David suit up?

JAN: Lone Ranger.

JOHN: How many times did he hear who was that masked man as you walked away?

JAN: About the same number of times I was asked to click my heels three times.

John puts arm around her, Jan scoots into him. They stare at Tom and Wanda's home.

JAN/JOHN: Funny how...

JAN: You first.

JOHN: How Tom's arrival has stirred up these ancient recollections. 

Pause.

JAN: Are we ancient, John?

Pause.

JOHN: No. We are not.

He stands, extends hand to Jan, who takes it, stands. John leads her into house and out of view. BREEZE SINGS THE CHIMES.

scene 24

sc 23

EXT. DECK - CABIN IN THE WOODS - DAY

KATE and CEDRIC, 70-somethings, at repose in their respective chaises, their phones and bottled waters on the varnished tree trunk table between them. Kate in running shoes, jeans, unbuttoned denim blouse over tee, sleeves rolled to elbows. We can't see what on her laptop has her attention. We can see Cedric is reading Foglost. Tan work boots, new jeans, belt cinched at prominent gold buckle. Untucked corduroy long-sleeve over tee. Gold watch. 

Single-level Mountain Handsome surrounded by lodgepole pines. Wood, windows, stone. The chaises share the cedar deck with a shaded grill and fire pit near where the deck meets a small meadow surrounded by lodgepole pines. View through big window behind them to the room with the fireplace and TWO CATS looking out from different levels of cat tree. Occasional SONG OF WILSON'S WARBLER.

CEDRIC: What can you tell me about Hunter's upbringing?

JAN: What I can recall. On the way?

CEDRIC: Sure. 

JAN: Whence the sudden curiosity?

CEDRIC: Not so sudden, just getting around to asking. And piqued by certain subtleties regarding our man in the boat.

JAN: Ah. 

CEDRIC: Who was just met the fog.

JAN: Not another word, Cedric. 

CEDRIC: Sorry.

JAN: Well, I did presume fog might be involved.

She closes laptop.

JAN: Ride in five.

John checks watch, marks page, closes book.

JAN: Hunter never met his father. When you get to short stories, start with Honda Knot.

JOHN: Hmm. Okay.

JAN: Do you know what a Honda knot is.

JOHN: I do. 

JAN: Have you ever tied one?

JOHN: I have not. But I will read the story.

JAN: Hunter's mother died from lung cancer on her thirty-third birthday. Hunter was six. His grandparents raised him. More on the way.

JOHN: When will I meet him?

She picks up when her PHONE RINGTONES A MAN YELLING "FORE."

JAN: Chloe's graduation.

(into phone after second FORE) Hey. I might have to call you back. Bob and Kell are picking us up for lunch at Creekfeet.

(She stands, Cedric stands, pockets phone.

JAN: I'm here. Jesus, you won't believe the timing. I was just introducing Cedric to the CliffsNotes of Hunter's backstory. And Chloe's there. 

Wow. 

(CAR HONKS TWICE.) 

Johnny, I'll call you right back.

K. Oh John, send any pictures.

Love you too. 

(She pockets phone, tucks laptop. The cats bond out of view.)

CEDRIC: Bullet point?

JAN: I'm wrong about Hunter having not met his father. More when I hear more from John.

They walk to house, enter, leave view.

scene 23

scene 22

EXT. HUNTER'S HOUSE/DRIVEWAY - DAY

Cloudless blue sky. WHIR OF GARAGE DOOR OPENING, revealing Hunter, Chloe and Tom. Hunter and Chloe in hiking boots, jeans, long-sleeve tees, sunglasses propped on ballcaps. Tom cowboy per always, plaid western shirt. 

Hunter into Rover to back it to the street, Chloe leads Tom to truck. 

CHLOE: Cool truck.

TOM: Like it?

CHLOE: Dig the two-tone.

TOM: This was my dad's last truck.

CHLOE: Really?

TOM: Yep. Picked it up in San Antonio on his way home from an Oilers game. 

CHLOE: Oilers?

TOM: Football team that don't exist anymore.

CHLOE: Oh. Can I see inside.

TOM: Course ya can. Need to get my sunglasses anyway.

He opens the door, gets sunglasses from sleeve on driver's visor. Hunter parks Rover on street, gets out, walks to Tom and Chloe.

CHLOE: Love the saddle blanket.

TOM: That's new. Dash and radio ain't original, obviously.

Hunter arrives.

CHLOE: This was Tom's dad's last truck.

HUNTER: Really?

CHLOE: Yessir. 

HUNTER: Eighty-six?

TOM: Five.

HUNTER: It's in great condition.

TOM: I try to stay on top a things. Don't drive it much. Ordinarily we'd be in the Subaru.

Something catches Chloe's eye.

CHLOE: Yonder comes a convertible.

Tom and Hunter turn to watch the Alfa Romeo Spider, top-down, approach.

HUNTER: Heeere's Jackie.

Hunter walks to street and like an aircraft marshaller guides the driver, JACKIE, 50ish, long hair in a tail under SKI APACHE ballcap, to driveway and garage. Tom closes truck door, pockets keys, stands with Chloe watching Jackie arrive.

TOM: Nervous?

CHLOE: I spent all my nervous on you.

She winks, Tom smiles. Jackie parks in the garage, gets out - cowgirl boots, jeans, untucked and unbuttoned denim shirt over tee - quick kiss with Hunter, gets backpack from passenger seat, takes Hunter's hand.

JACKIE: And I was nervous about meeting Chloe.

Hunter leads Jackie to Tom and Chloe, Tom removes hat.

HUNTER: So, without further ado, Jackie, it's my pleasure to introduce you to Chloe and Tom. Tom and Chloe, Jackie.

Jackie extends hand to Chloe, they shake.

JACKIE: Finally.

CHLOE: Right?

JACKIE: Ready for some saddle time?

Chloe nods. Jackie extends hand to Tom, they shake.

JACKIE (CONT.): Tom, you look like maybe you've got soke saddle time under your belt.

TOM: Some. Wanna thank ya for havin' me along.

JACKIE: I'm happy to have you along. Speaking of belts, that's a mighty fine buckle.

TOM: Like it?

JACKIE: Very much.

TOM: This was my grandad's.

CHLOE/HUNTER: Really?

TOM: Yep. My dad's dad.

CHLOE: What was his name?

TOM: Randy. Randall Austin Walker. Won it in a poker game in Laredo.

HUNTER: I'd like to hear more about that.

CHLOE: Me too.

JACKIE: Me three.

TOM: It's a good story. Maybe on the way?

CHLOE: Do you mind if I record you?    

TOM: Course not.

CHLOE: Thank you.

HUNTER: So, shall we?

JACKIE: Let's.

Hunter activates the garage door closing, leads to the Rover.

JACKIE: Also, we have another late addition. My cousin's girlfriend is joining us.

HUNTER: The more the merrier.

Hunter opens the front passenger door for Jackie, who gets in. Chloe gets in behind Jackie, Tom behind Hunter, who assumes the wheel. All buckle up. Hunter starts the engine, drives away to road, stops, turns left, drives out of frame.

scene 22

sc, 21

EXT. HUNTER'S PATIO - NIGHT

Hunter, Tom and Chloe around the table post-dinner. Silverware on top of stacked plates pushed to center of table near glass pitcher of water, each with their half-empty glasses at hand. House lights off, starry sky. FAINT SPORADIC CRICKET CHIRP THROUGHOUT.

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

TOM: We do. Goin' to Hawaii. First time for both of us.

CHLOE: Which island?

TOM: Oahu. Doin' Waikiki the first few days, then a few more in a place called Kailua. I bet y'all been.  

Chloe and Hunter nod. 

CHLOE: I learned to surf at Maui.

TOM: Take a lesson?

CHLOE: My mom.

TOM: How old were ya?

CHLOE: Tenth birthday.

TOM: I reckon you're pretty good by now.

Chloe shrugs.

CHLOE: Not so much. Plenty of room for improvement.    

TOM: Wanda don't believe it but I'm set on takin' a lesson down the beach from our Waikiki hotel.

CHLOE: You should. And that's a great place to learn.

TOM: That's what I read. I'm sure I'll do plenty a fallin' but havin' fallen off plenty a horses, I'm bettin' the landin' will be a lot softer.

CHLOE: And it's warm water. That's cool.

TOM: So where do ya surf outta San Luis Obispo?

CHLOE: Pismo.

TOM: Water's prob'ly a little cooler than Hawaii.

CHLOE: Always a wetsuit. How cold does it get in Laramie in the winter?

TOM: Mighty cold. 

CHLOE: Below zero?

TOM: Plenty below plenty often, then ya add the wind and it can get a little uncomfortable. Ever been to Wyomin'?

CHLOE: My aunt Kate and her husband live in Wilson during the spring and summer. We're there every Fourth of July.  

TOM: So your aunt Kate is whose sister?

CHLOE: My grampa's. My mom's dad. John. My gramma is Jan.

TOM: Where do they live?

CHLOE: Paso Robles.

TOM: Well that ain't too far from San Luis Obispo, is it?

Chloe shakes her head.

CHLOE: Ever been to that part of California?

TOM: Closest I been was Bakersfield forty-somethin' years ago.

CHLOE: What were doing in Bakersfield.

TOM: Well, Chloe. I was whatcha call dryin' out. Know what that is?

CHLOE: Not drinking alcohol?

TOM: That's right. 

CHLOE: These days?

TOM: Me and Wanda will have a beer with friends after Thursday night square dance and a glass a wine when we're at Ruth's. We met at an A-A meeting. Married a year to the day later. On that note, I hope y'all'll excuse me to give 'em both a call before it gets too late.

Tom stands.

HUNTER: I hope you'll sign the guest book, Tom.

TOM: I will. Hope you don't mind signin' my copy of Foglost.

HUNTER: Happy to.

TOM: Chloe, thank you for a delicious supper. Hope ya don't mind sharin' the recipe.

Chloe nods.

HUNTER: I'm out here with coffee at sunrise, Tom, if you're up. 

TOM: See ya then. Goodnight, folks. 

HUNTER/CHLOE: Goodnight, Tom.

TOM: And thank y'all so much.

Hunter and Chloe watch Tom enter house, leave view.

HUNTER: If Jackie's could wrangle another horse, and Tom is able and willing...

CHLOE: Yes.

Hunter gets phone from pocket, speaks into it.

HUNTER: Jackie. 

scene 21

sc. 20

EXT. SCENIC HILL VIEW AREA - SUNSET

Jan in the driver's seat of the mid-80s Mercedes Benz 560 SL aimed at the ocean and rolling green hills, John in the passenger seat. They share the area with TWO MALE MOTORCYCLISTS, standing near their motorcycles, helmets on seats, taking in the sunset from the pullover off Highway 46 between the coast and Paso Robles, California.

John and Jan lean into each other to look at the selfie Chloe sent Barbara on Jan's phone.  

JAN: The Marlboro man in winter.

JOHN: Handsome fella.

JAN: (SINGS): I got spurs that go jingle jangle jingle.

JOHN (SINGS): As I go ridin' merrily along.

JAN/JOHN Kind eyes.

JAN: A little sad?

JOHN: Like Hunter's.

JAN: Sometimes.

JOHN: Sometimes.

JAN/JOHN: Not here.

JAN: Chloe looks what?

Pause.

JOHN: Pleased.

JAN: At ease.

The motorcyclists put on helmets, START ENGINES, ride away out of view and earshot. Jan puts phone on console.

JOHN: We'll meet him.

JAN: Maybe them. If there's a them.

JOHN: I feel better about this, Jan.

JAN: I do too, John.

JOHN/JAN: Let us pray.

They kiss, buckle up, Janb starts engine, drives to road and away in opposite direction of motorcyclists, out of view.  FAINT SEAGULL SQUAWK. 

scene 20 bookmark

sc. 19

EXT. HOUSE/DRIVEWAY - DAY

Describe. End of cul-de-sac in neighborhood with view to up-close Cerro San Luis Obispo. We HEAR THE ENGINE WHIR of the Porsche 914 before it comes into view around a turn. Barbara driving, steers into driveway, parks. DOG BARKING inside the house.

INT.  PORSCHE

Barbara gets phone from purse in passenger seat, stares at selfie Chloe has sent that includes Tom and Hunter at the patio table, sunset upon the Organ Mountains. She stares, finally puts phone in purse, gets out, walks to front door, opens, greeted by German Shepherd that comes out happy to see Barbara, who kneels to and hugs, leads dog into house, shuts door behind her.

scene 19 bookmark

scene 18

INT. RUTH'S READING ROOM - DAY

Describe. FAINT WARBLER SONG before FLOOR CREAK before Ruth enters, places framed selfie Wanda and Daisy were looking at on a floating shelf with three hardcover books, Foglost, Trabuco, and Breakfast Beers and other Short Stories, all written by H.C. Hardyn. She steps back to assess the arrangement, makes a slight adjustment, smiles, leaves room, FLOOR CREAK. 

scene 18 bookmark

sc. 17

INT/EXT. TBD - DAY

Daisy sees Wanda staring at her phone, then sit down, continuing to stare. Daisy approaches Wanda, who looks at Daisy before handing her the phone. OVER DAISY'S SHOULDER we see the selfie that Tom has taken that includes Hunter and Chloe where they stand at the rock wall that borders Hunter's back yard, the Organ Mountains behind them.

WANDA: Her name is Chloe.

Daisy smiles, hands Wanda phone.

DAISY: She's beautiful.

WANDA: Isn't she?

DAUSY: Ready?

Wanda nods, stands, pockets phone, she and Daisy leave through doors. 

scene 17

scene 16

EXT. HUNTER'S HOUSE - DAY

Tom's truck in the driveway, the Rover approaching, garage door opens.

INT. TRUCK

Hunter turns into the driveway, Chloe stares at the truck until the Rover is in the garage and the door closes. Hunter turns off the engine. 

HUNTER: Ready?

Chloe shakes her head, unbuckles, leaves frame in leaving Rover. Same with Hunter after he unbuckles.

INT. KITCHEN - MOMENTS LATER

Window over sink frames Tom sitting at patio table, hat off. 

HUNTER (O.S.) Tom?

Two beats before Hunter and Chloe enter from hall, Hunter with a grocery bag he sets on center island. They stare at Tom. 

CHLOE: Belt buckle?

HUNTER: Two linked turquoise horseshoes on silver.

Chloe gets phone, aims, takes picture. Tom turns to them as if he has heard it.

CHLOE: Here we go.

EXT. PATIO

Tom stands, watches Hunter and Chloe come out through the sliding glass door, approach, Chloe slightly behind Hunter.

HUNTER: Sorry it took so long, there was a big rig crash at the ten twenty-five split.

TOM: Ain't nothin' to apologize for, I just been sittin' here takin' in the fresh air and view. I'm the one oughta be apologizin' for intrudin' on y'all.

HUNTER: You're not intruding. Tom, I'd like to introduce you to Chloe, my daughter. Chloe, this is Tom Walker.

CHLOE: Hello.

TOM: Hello, Chloe.

HUNTER: Did you show yourself around?

TOM: I did. Ya got a real nice place here.

HUNTER: So Tom, Chloe, who is vegetarian, is making dinner, the Chloe casserole featuring roasted vegetables, spinach, black beans and tofu in the form of enchilada, if Chloe deems that a fit description of the delicacy.

Chloe nods.

CHLOE: Enchilada yes, delicacy is in the taste buds of the beholder.

HUNTER: But if you're used to meat with your meals, there's chicken that can be added to yours.

TOM: I'll stick with the original, thank you very much. Me and my wife have been cuttin' down on our meat consumption for awhile, and noticin' the difference for the better.

CHLOE: I'll get it started. If you'll excuse me, Tom.

TOM: Yes ma'am. You done excused me.

Chloe looks at Hunter, who barely nods. Hunter and Tom watch Chloe leave into the dining room, cross into kitchen out of view.

HUNTER: She's shy by nature, and nervous.

TOM: Makes two of us.

HUNTER: Three. She's also curious and might have a question or two. 

TOM: Well. I'll answer any questions y'all got. Mem'ry ain't what it used to be but my brief time with your mother's clear as the lake.

HUNTER: A recollection over dinner would go well.

Tom nods.

TOM: Mind if I ask if she's visitin' or comin' home?

HUNTER: Visiting. She lives with her mother in San Luis Obispo.

TOM: High school.

HUNTER: Starts senior year in a few weeks.

TOM: Prob'ly don't need me to tell ya she takes after her mother.

HUNTER: Not to make me aware of it. I'm confident she wouldn't mind hearing that.

TOM: Yessir.

HUNTER: Hunter. If you don't mind.

TOM: Yessir. Hunter.

HUNTER: When did you do the search that led to my mother's obituary?

TOM: Ten years ago last month. Found it in a newspaper archive. 

HUNTER: What paper?

TOM: Orange County Register.

HUNTER: What prompted the search?

TOM: Me and my wife was talkin' about takin' a trip. Lake Tahoe come up. She asked if I'd been. Told her I had. That led to me tellin' her about me and your mother. That led to us lookin' her up.

INT. KITCHEN

Chloe observes them from behind center island as she sorts through casserole ingredients. She takes a ;picture of them.

EXT. PATIO

I wrote ya a letter, care of your publisher.

HUNTER: I never got it.

TOM: Never sent it. I didn't know what all your mom mighta told ya. If anything.

HUNTER: Tom Walker from Texas. Cowboy on his way to Mexico to meet a friend. Good dancer and a gentleman. From where in Texas?

TOM: Me and my sister grew up in a town called Bandera. 

HUNTER: What's your middle name, Tom?

TOM: Travis.

HUNTER: For whom or what?

TOM: My grandad on my mom's side. Travis Buford. Travis Sawyer Buford. My sister keeps up the family tree on one a them ancestry sites.

HUNTER: Is that so?

TOM: Yessir. Yes, Hunter. 

HUNTER: What's your sister's name and where is she?

TOM: Ruth. She's lives in Ingram, Texas. That's where I'm headed.

HUNTER: Is she alright and your only sibling?

TOM: Yes to both. Me and my wife and Ruthie are goin' in on a house in Kerrville, if you're familiar with the area.

HUNTER: Hill country.

TOM: You been?

HUNTER: I'm down once a year to see a good friend in Wimberley. 

TOM: Alright.

HUNTER: Are your parents living?

TOM: No sir.

HUNTER: Do I have siblings?

TOM: Not that I know of.

HUNTER: Your wife.

TOM: Wanda. She'd be along but stayed home to be with a friend whose husband just passed.

HUNTER: How long have you been married?

TOM: It'll be twenty-five years the second a November.

HUNTER: Previous marriage or marriages?

TOM:  No sir.   

HUNTER:  Wanda and Ruth know you're here?

TOM: They do. 

HUNTER: What if I hadn't known who you are?

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

HUNTER: Every phone has a G-P-S feature, if not your truck.

TOM: I'da been fibbin' and toldya I'd  lost it if you'd brought it up.  

HUNTER: Can I get you a lemonade?

TOM: Lemonade'd be great, thank you.  

HUNTER: B-R-B.

TOM: Pardon?

HUNTER: Be right back?

TOM: Ah. Right. B-R-H..

Hunter walks to house.

INT. KITCHEN

Chloe at casserole prep, two glasses of lemonade added, gaze on Tom, Hunter nearing. SOUND OF SLIDING GLASS DOOR OPENED before Hunter enters, stops when he sees the lemonade.

HUNTER: Mind reader.

CHLOE: I reckon we oughta thought to pick up some sarsaparilla. 

Hunter smiles, aims his gaze at Tom, Chloe turns hers to Hunter.

HUNTER: Gut feeling at first sight?

CHLOE: Probably doesn't bite. So?

HUNTER: No siblings. Sister in Texas, parents deceased. Sister, Ruth, keeps a family tree on an ancestry site.

CHLOE: Really.

HUNTER: He and his wife are selling in Laramie and going in with Ruth on a house. in Kerrville.

CHLOE: Texas.

HUNTER: Texas.

CHLOE: We'll have to take a selfie.

HUNTER: Yes we will.

He takes the lemonades, leaves into dining room.

HUNTER (O.S.) Thanks for the lemonades.

CHLOE: Dad.

HUNTER (O.S.): Daughter.

CHLOE: He's here.

HUNTER (O.S.): He is.

We HEAR SLIDING GLASS DOOR CLOSED. Chloe watches Hunter take the lemonades to the patio. A brief exchange before Hunter raises hos glass to toast. Chloe is quick with her phone and captures Tom bringing his glass to Hunter's. They sit and converse. Suddenly both cross one leg over the other the same way and in synch as if choreographed, pausing their conversation. Chloe smiles.

scene 16

scene 15

EXT. CAFE PATIO - DAY  

Jan and John at a table with a view to train and tracks at Paso Robles Depot. SEVERAL OTHER PATRONS enjoying the same. John and Jan pick at the remaining items on their Tapas plates, both sip sparkling waters. FAINT MURMUR OF INSIDE ACTIVITY.       

JAN/JOHN: And we were worried about Brian. 

(They look at each other.)

JAN: And we were wrong. Weren't we?

JAN: We were. Gut feeling?  

(John ponders.)

JOHN: A good thing. I think. I hope.

JAN: He'll have a memory of Olivia to share with Chloe.

JOHN: And Hunter.

INSIDE ACTIVITY LOUDER AND LATIN JAZZ when a WAITER, 20-something, opens the door to lead a GROUP OF THREE to their table.   

JAN: Have you told Kate?

JOHN: Tomorrow, after Barb's talk with Chloe tells us more. 

JAN: I wonder how he found out about Hunter.

JOHN: A search of Olivia's name turning something up. My best guess. Probably one of Hunter's first questions. Besides his arrival coinciding with Chloe's, it's interesting, or maybe coincidence, that it also coincides with Foglost becoming a bestseller.

JAN: That crossed my mind. 

JOHN: Hunter might have a sibling.

JAN: As did that. Speaking of bestseller, I wonder if Tom Walker has read Honda Knot.

JOHN: I think I'll read it again.

The waiter comes to them?

WAITER: Can I interest y'all in dessert.

Jan and John look at each other, shake their heads.

JOHN: I reckon we're done.

John fishes two twenties from wallet, hands them to waiter.

JOHN (CONT.) That's you, thanks very much.

WAITER: Thank you, sir, very much.

JOHN: You'll have vacant table in a few minutes.

WAITER: Y'all take your time.

INSIDE ACTIVITY, LATIN JAZZ waiter opens door.

JAN: When did you start reckonin'?

JOHN: When I heard y'all, which I reckon we might hear more of someday. 

JAN: Have you ever set foot in a cowboy boot?

JOHN: Both feet into the Roy Rogers Santa left our first Christmas in Fort Wayne.

JAN: Had I not asked. Probably not a chance there's a picture Kate might have. 

JOHN: There's have been a very good chance if not for the fire in the garage our first summer in Arbor.

JAN: What fire?

JOHN: Long story.

JAN: For on the way home.

JOHN: Ready?

Jan nods, they stand, was down the last of their plates with the last of their waters, INSIDE NOISE, LATIN JAZZ, LAUGHTER when they open the door, MUFFLED when door closes.

 DEPOT CLERK'S VOICE THROUGH SPEAKERS: For Amtrak passengers waiting for the southbound Coast Starlight, your train is a little late out of Salinas, with an updated arrival time of four-twenty.  To repeat, the southbound Coast Starlight is scheduled to arrive at four-twenty. Amtrak appreciates your patience.  

scene 15

scene 14

INT. MASTER BEDROOM - DAY

Barbara and BRIAN, fit 50-ish, entwined in bed, sweaty and naked under sheet. Masculine decor, ceiling fan in slow spin, window to backyard featuring batting cage with pitching machine.      

BRIAN: So what can you tell me about Tom and Olivia?

BARBARA: What I remember Hunter telling me. The abridged basics then more on the way.

BRIAN: K.

BARBARA: They bumped into and spilled their drinks on each other at the slots at Harrah's in Reno.  Conversation ensued and concluded with her saying yes to his invitation for a drive around Lake Tahoe the next day.

BRIAN: What were they doing in Reno?

BARBARA: Olivia to see Elvis, Tom passing through on his way to Mexico from the end of job on a cattle ranch outside Paradise Valley, Nevada.

BRIAN: Cowboy?

BARBARA: From boots to straw Stetson.  

BRIAN: Are there pictures?

BARBARA: Two. Both selfies Olivia took of them with an instamatic she picked up in South Lake Tahoe after realizing at Emerald Bay she'd forgotten her camera. Chloe has the one of them on the beach at Zephyr Cove, Hunter has the other, Olivia at the wheel of Tom's rented Corvette parked at a turnout with s view to the Carson Valley. He's in the passenger seat. Not long after that was taken they stopped in Carson City to play slots at the Nugget. They ended up spending the night at the Pony Express Hotel. Breakfast the next morning at an I-HOP in Reno, he drops her off at her hotel, drives to the airport. No exchange of numbers or addresses. Olivia met friends who'd come to see Elvia, they did, flew home the next day. Two weeks later she learned she was pregnant. 

BRIAN: No birth control?

BARBARA: Olivia's diaphragm. 

BRIAN: How old were they?

BARBARA: Both twenty-six.

BRIAN: I wonder how he found out about Hunter. 

BARBARA: I'll learn that and more when Chloe calls tonight. We should probably go.

BRIAN: We should.

They leave bed and frame. 

BRIAN (0.S.) I bet Chloe will be very interested in his recollection of Olivia.

BARBARA (O.S.) Hanging on every word.

SOUND OF SHOWER STALL OPENED, CLOSED, SHOWER STARTED.

silly interlude 2: this timeout

 

.

scene 14 in progress

scene 13

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

Chloe totes backpack, Hunter rolls suitcase through the lot toward the Rover.

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

CHLOE: No. For one, I presume you'd have called and asked had I been able to get a call.

HUNTER: Of course.

CHLOE:  And you know I've expressed curiosity about him. There must be some level of instinctive trust for you to leave a stranger with a pickup truck alone in your house.  

HUNTER: I have his plates.

CHLOE: Do we know if you have any siblings?

HUNTER: I left it at exchanging numbers in case of emergency and saving questions for later. Other than how he found out.

CHLOE: That was my next question.

HUNTER: A search for gramma got him to her obituary and my name therein. Looked me up, found my date of birth, then found my Wiki page and through that the short stories and Honda Knot therein. Did the math, end quote. 

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 around ten.

Hunter KEY-CHIRPS the Rover, the tailgate opens. Chloe places backpack, Hunter the suitcase, closes tailgate.

INT. ROVER

Hunter gets in driver's seat, Chloe front passenger's, close their doors.

CHLOE: Dad?

HUNTER: Daughter?

CHLOE: You're taking it almost like you were expecting it.

HUNTER: Which of course I was not. Stupefied seems an apt description. 

CHLOE: In case you were running low on things to talk to Doc about.

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

FAINT JET ENGINE TAKEOFF WHINE.

scene 13

scene 12

EXT. ROADSIDE PEACH STAND - DAY

RUTH, 70-something - tennis shoes, calf-high white socks, knee-length cargo shorts, Austin City Limits tee, visor, keys in hand - and Gil walk away from the SHOPPERS at the stand toward where a few vehicles, all with Texas plates, are parked in a dirt parking area. Each cradle a bag of peaches.

RUTH: Where y'all fishing?

GIL: Tom's call. 

RUTH: Boys along?

GIL: Yep. And Dale.

RUTH: How's he doing?

GIL: Comin' along. Saw him at the V-F-W yesterday. He found a biodegradable urn in the form of water lilies he's going to put some of her ashes in and set on the pond. Karen and the kids are there 'til school starts. Looking forward to seeing Tom. Sad to hear about Clem.

RUTH: I told Wanda to tell Daisy to think about moving down. 

GIL: Maybe a good idea.  

Ruth opens the hatch of a 2000-ish Volvo wagon, both place their peaches, Ruth's PHONE RINGTONES the Willie Nelson instrumental, Bandera. She gets phone from pocket.

RUTH: Howdy.

Fredericksburg peach stand with Gil. Where ae you?

(Her face expresses surprise, Gil notices.)

My goodness, Tommy. 

Alright. 

I'll be waiting.

I'll tell him.

Love you too.

(She pockets phone.)

GIL: Well?

RUTH: He called from Hunter's guest room. He's spending the night. Hunter just left for the airport in El Paso to pick up his daughter.

GIL: Híjole.

Ruth shuts the hatch.

INT. GUEST ROOM - DAY

Navajo rug on hardwood. O'Keeffe TBD above bed/headboard, Tom’s suitcase on bed aimed at wall-mounted TV.  Lampstand with drawers. His hat on rack near open door to hall, saloon-style doors to closet. Lamp, pen and pencil on pad of paper, guestbook, globe, etch-a-sketch on desk at window to patio/yard. Tom in swivel chair, taps phone, stares out window to patio/yard, stops tapping, opens guest book to where it is page-marked, takes a brief look at mostly illegible cursive writing in purple pen, dated June 11.

He closes book, stares out window, finally gets up, takes hat off rack, puts it on as he leaves into hall, BOOTS KNOCKING ON HARDWOOD FADE to SILENCE interrupted by FAINT CLOSING OF DOOR moments before Tom walks into frame made by desk window. He stops at the low stone wall, gets a cigarette he pulls from a pack he gets from shirt pocket, lights it with a lighter he gets from other shirt pocket, puffs, puts pack and lighter back in pockets, takes another puff, gaze toward the mountains.  

scene 12

scene 11

EXT. WYO THEATRE - LARAMIE, WY - DAY

An old boarded-up movie theatre in the Streamline Moderne architectural style, on a quiet street in the downtown area. We know it's the Wyo from the decorative lettering above the blank marquee. The boards across the front painted an image form the 1946 John Ford-directed film, Cheyenne Autumn,  Richard Widmark's character is in open field, prairie schooner covered wagons on fire behind him.

Wanda and Daisy come into view when they round a corner, walk toward the theatre, voices louder as they near.    

DAISY: So this isn't the easiest stretch of sidewalk.

WANDA: I know.

DAISY: What do you know?

WANDA: Your first movie date with Clem.

After a moment the memory comes to Daisy.

DAISY: My goodness, I only now remember telling you that. 

WANDA: Jeremiah Johnson.

DAISY: Gosh you have a memory.

WANDA: An indelible evening.

DAISY: We had a little to drink, didn't we?

WANDA: That bottle of Napa Valley wine Ruth gave us.

DAISY: Tom and Clem were in Livingston for the rodeo.

WANDA: Yes.

They stop in front of the theatre, attention on the painting.

DAISY: Richard Widmark but I can't think of the movie, if it's from one.

WANDA: I presume so. This wasn't here when we drove by a few days ago. I bet Tom would know if I sent him a picture.

The PHONE IN WANDA'S PANTS POCKET RINGTONES the instrumental beginning of the Townes Van Zandt song, If I Needed You. She answers.

WANDA (CONT.): I was just about to send you a picture of a painting on the boards in front of the Wyo but maybe a description will be enough. Richard Widmark sporting buckskin in a field with covered wagons on fire. 

Cheyenne Autumn. You're good, cowboy. Where are you?

(Wanda's face expresses surprised bewilderment Daisy observes.)

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

Alright. You're never gonna run out of surprises, are you?

She's right here. 

Okay. I expect a picture or two.

I'll be waiting.

I love you too.

(She pockets phone, stares at Daisy.)

DAISY: Waiting for what?

WANDA: Tom's call tonight. He's at Hunter's house. In his guest room. Spending the night. Hunter is on the way to the airport to pick up his daughter.

They stare at each other. FAINT SIREN STARTS, FADES OUT. Daisy opens her arms, Wanda steps into the embrace they hold before breaking. They walk hand in hand out of frame.

DAISY (O.S.): He did it.

WANDA (O.S.): Finally. 

.

scene 11

scene 10

EXT. DECK OF HILLSIDE HOUSE - DAY

Barbara, John and Jan, dressed as previously, play scrabble at a table on the cedar or redwood deck shaded by oak trees, view through which to down-the-hill neighbors. Tiles on the board show a game near completion. Jan is keeping score with pencil and yellow legal pad. Scrabble dictionary, bottle of white wine and each with a glass half-empty. Jan's and Barbara's eyes on the board, John rearranges the tiles in his tray in search of a word, stops.

JOHN: Yahtzee.

JAN/BARBARA: Oh no.

John plays NIBLICK, uses the S of another word to pluralize.

JAN/BARBARA: Shit.

JOHN: Lest it not be apparent, seven-letter word and triple-word points.

JAN/BARBARA: It's apparent.

JAN: And I know you've already done the math.

JOHN: My calculation comes out to ninety-three. But please do verify.

JAN: Verified.

Jan adds score to John's column. 

BARBARA: Niblick.

JOHN: Niblicksss.

BARBARA: Yes, dad.

JOHN: Speaking of which, did Brian get his driver yet?

BARBARA: Yesterday. He's at the range right now. 

JAN: When is his son coming up?

BARBARA: Next Saturday.

JAN: Nervous?

BARBARA: Yes. 

JOHN: Have you checked his social media footprint?

BARBARA: Cursory glance. A lot of Cuesta baseball. 

JAN: He's a pitcher?

BARBARA: Catcher.

JAN: Catcher.

BARBARA: And a kind of blog about the restoration of that El Camino I might have told you Bran got him.

JOHN/JAN: You did.

JOHN: Which brings up Chloe's birthday. 

BARBARA: Which reminds me to tell you that Hunter's going to call you about that. I guess you've already talked about a car?

JOHN: A brief email exchange in which he brought it up.

Barbara picks up when her PHONE RINGTONES TYPEWRITER SOUND.

JAN: Right on cue.

BARBARA: Ears burning? 

Dad and I were just talking about Chloe's birthday and the car thing.

She's here.

(Barbara listens awhile, her face expresses surprise. She looks at John and Jan looking at her.)

I'm here. Speechless.

Well, Hunter, I'm going to defer to you. 

(Jan and John look at each other.)

My immediate gut feeling is that I trust yours.

I'll be waiting for her call.

Alright. Oh, Hunter, maybe take a picture?

Bye.

(Barbara sets phone down.)

JAN/JOHN: Drumroll.

BARBARA: Tom Walker from Texas is at Hunter's house. He's spending the night. Chloe will call before she goes to bed.Stunned Silence.

JOHN: A middle name would be helpful..

BARBARA: Check.

scene 10

scene 9

INT. ENTRYWAY - DAY

High-end blinds closed on window near door. Door rug over stone floor; window above potted plant(s); hat/coat tree; tapestry TBD on wall above console table with lamp, wooden bowl, stone FOUNTAIN GURGLING and candle; tribal masks on wall above leather bench seat; mirror on wall above a piano and bench; closed door; opening into hallways in opposite directions. 

Hunter enters from one hall, crosses into the other a beat after DOORBELL CHIMES. Three beats befpre he re-enters, slowly walks tp front door, looks through peephole, draws back, furrowed brow, looks again.

EXT. HUNTER'S FRONT PORCH

Describe. Cactus garden.

Tom stands near the door under shade of covering, hat on. Sunglasses peek from shirt pocket. Truck parked on street near bin. He waits, turns to leave just as the door opens wide enough for Hunter to peek through. over the security chain. Tom turns back to door. Hunter sizes him up.  

TOM: Howdy. My name is Tom Walker.

HUNTER: Tom Walker who was in Reno, Nevada in late November nineteen seventy-six.

TOM: I was there the twenty-first through the twenty-fourth.    

HUNTER: What's my mother's name?

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

HUNTER: How did you find my address?

TOM: Paid a little bit for an online search.

HUNTER: Just happen to be in the neighborhood?

TOM: Sorta. On my way to Texas.

HUNTER: From where?

TOM: Laramie, Wyomin', where I live. 

HUNTER: I'm leaving to the airport.

TOM: Yessir. 

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

TOM: Yessir. I reckon in about a week or so.

HUNTER: I won't be here.

TOM: Yessir.

\Hunter surveys Tom, unlatches the security chain, opens the door wider, gestures for Tom to enter. Tom removes hat, enters, leaves view.  Hunter stares at the truck, finally closes door.

scene 9

scene 8

INT. TOM'S TRUCK - DAY

Tom in aviator sunglasses drives slowly along a street lined by widely spaced handsome Southwest-style homes we know by the nearby Organ Mountains are in Hunter's neighborhood. Most homes have blue recycling bins at their curbs near their driveways, but not the home Tom stops at, idling. 

The open garage features a Range Rover SUV - "Rover" hereafter - and Honda Gold Wing motorcycle. Tom raises phone to take a picture just as Hunter comes through a side-of-house gate with blue recycling bin he begins to roll to driveway. Hunter stops when he looks up to see Tom aiming camera, lower it, stare back for a moment, then drive away up the street.

EXT. DRIVEWAY

Hunter rolls bin to street, watches truck.

INT.  TRUCK

HUNTER IN REAR VIEW MIRROR sets bin in place, watches truck. Tom turns onto street with house on the corner, stops where the house obscures him from Hunter's view, idles. 

EXT. DRIVEWAY

Hunter waits to see the truck come onto view, but it does not. He finally walks to garage, keeping his eyes on the neighbor's house. He stops at garage, waits, continues into house through door at back of garage. 

INT. TRUCK

Tom stares straight ahead, hands on the wheel, oblivious to the house's curtains parted. He finally makes the U-turn back to Hunter's street, turns onto it.  

scenes 8A/B

scene 7

A. INT. HOME OFFICE - DAY

Old wooden desk and swivel chair near door to hallway face big window view to nearby Organ Mountains east of Lad Cruces, New Mexico. A large framed map of the world on wall behind desk. 70s-era California Angels baseball cap and bucket hat on rack near door. Loaded bookshelf across from framed print of Ad Reinhardt Red Painting above old leather sofa. Navajo rug on hardwood . Saguaro cactus sculpture where bookshelf meets window, stool and telescope where window meets sofa. 

Printer on drawer-stand near desk. On desk: pens and pencils in New Mexico State University coffee mug atop legal pad; baseball atop hardcover copy of Jim Brosnan's book The Long Season; framed photograph of Chloe and a 50-ish man in the front seats of a roller-coaster in steep descent, their faces, like those of the passengers behind them, animated by excitement and apprehension; and a computer, screen showing text for two seconds before it gives way to the screensaver that is a photograph of Chloe flashing a smile and peace sign at the camera from where is crouched and "tubed" in the wave she is surfing in a wetsuit, Pismo Beach pier in the background. 

HUNTER, the man next to Chloe on the roller-coaster, enters. Athletic, running shoes, old jeans, unbuttoned Hawaiian shirt over tee. He opens text file, saves, closes, powers off computer, leaves.

B. INT. KITCHEN/DINING AREA - MOMENTS LATER 

High-end appliances, cabinetry, countertops. View into adjacent dining room and, through its big window and window over the kitchen sink, to the table, chairs and grill on the covered patio in the xeriscaped back yard bordered by a low stone wall beyond which are neighbors' homes and the Organ Mountains. Door to stone walkway to 

Keys, phone, bowl of peaches and bananas on center island. Calendar on refrigerator featuring picture of fireworks display is turned to July and days marked off to the 11th, that space filled with CHLOE written in blue pen. 

Hunter enters, gets half-empty bottle of water from fridge, drinks it in two gulps, tosses the bottle into plastic bag he pulls from bin in cupboard under sink, ties off the bag, leaves through door to patio, out of view.

scene 7

scene 6

INT. PORSCHE CAYENNE - DAY

John driving, Chloe front passenger, Barbara behind Chloe, Jan behind John.

JOHN, mid-70s, driving. Active-lifestyle-fit.

Sunglasses hang from open collar of polo shirt. Khaki slacks, belt matches loafers, Rolex watch, gold wedding band.

CHLOE, 17, front passenger seat. Competitive swimmer-fit. 

Sporty tracksuit, running shoes, sunglasses propped atop head.

BARBARA, 50-ish. Athletic fit.

Jeans, Uggs,  long-sleeve tee with BEAVER CREEK across chest. Designer sunglasses propped as Chloe’s. Saddle-ish bag-purse between her feet.

JAN, mid-70#  Active lifestyle-fit.

Martha Stewart casual. Khaki capris, deck shoes and anklet socks, cream sweater over pink blouse. Silver necklace and wedding ring with diamond made hard to miss by her hands over the perfect purse in her lap.

Driving NB CA 101 through agri-rich Salinas Valley.

JAN: Do we know the where of horse day?

CHLOE: On land in Jackie’s family, northwest of Ruidoso, end quote.

JOHN: What do we know about thr whence of the horses?

CHLOE: Jackie has a cousin who manages a riding stable .

JAN: Isn't the Ruidoso areas where Andy and Carol Whittaker retired.

JOHN: Cloudcroft.

JAN: That's right. 

CHLOE: Dad's looking at land in the Cloudcroft area.

JOHN/JAN/BARBARA: Really?

CHLOE: Yep. 

BARBARA: Gonna build his cabin?

CHLOE: Looking like it.  

JOHN: Sell in Las Cruces?

CHLOE: Yeah. I guess he's starting to get traffic.

JAN: What do you mean?

CHLOE: People driving by too slowly, sometimes stopping.

JOHN: Maybe has to do with being a bestselling author.

CHLOE: Maybe. 

JOHN: So long comfortable semi-anonymity.

CHLOE: He sold the film  rights.

JAN/JOHN/BARBARA: Really?

CHLOE: Yep. Mostly finalized a few days ago. That's all I know.

JAN: Wow.

CHLOE: Details when I get them.

BARBARA: Do we know what's he's working on now?

CHLOE: A baseball story. 

JOHN: Hasn't he had that in a back pocket for awhile?

BARBARA/CHLOE: Yes. 

Silence.

scene 6

scene 5

EXT. YUCCA SPRINGS MOTEL/PARKING LOT - DAWN

The registration office is Yucca'd up decoratively, including neon. Full moon above wet and puddled half-empty lot, first fiery hint of sunrise behind the Sandias.

Tom comes out from room, suitcase in hand, descends stairs, walks to truck, startled to a stop when a COYOTE hurries across in front of him, into and out of view, its eyes on Tom throughout. Tom considers this, proceeds to truck, fishes keys from pocket. 

INT. TRUCK

Tom opens driver's door, sets suitcase on passenger seat, gets in, starts engine, moves suitcase to below passenger seat, sets hat on seat, moves phone from pocket to console, buckles up, turns on headlights, turns on radio to the instrumental beginning of Freddy Fender singing (I Love My) Rancho Grande. Tom smiles, turns it up, rolls down window, drives out of lot to street and out of view, MUSIC FADES to FAINT DOG BARKING. 

scene 5

scene 4

INT. BASIC MOTEL ROOM - SUNSET

Bed, desk and chair lit through crack in curtains. BOOT STEPS ON CONCRETE NEARING before Tom enters, closes door, puts hat on rack, suitcase on bed, parts the curtains to second-floor view to Albuquerque skyline and Sandia mountains obscured by gathering monsoon clouds. RAINDROP TAPS WINDOW. He gets phone from pocket, puts it on desk. Lamp, pen, pencil and pad of Yucca Springs Motel stationery on desk. Framed Yucca Art print above the headboard. 

Tom sits on chair, takes off boots, sets them at hat rack, opens suitcase, gets Foglost, sets it on desk, page nearer the end than beginning marked with a grey ribbon. TWO HEAVIER RAINDROPS. He takes off his shirt. His white tee reveals a well-toned lean torso and arms as firm, taut ropes with hooks. Hangs shirt in closet, gets another western-style shirt from suitcase, hangs it. 

Picks up, speaks into phone.  

TOM: Ruth.

I have arrived.

Run a bath, have Chinese delivered, read the book.

First drops right now. 

Aimin' for early. Gil's got a pepper order in so I'm stoppin' in Hatch.

Alrighty. 

Maria and the boys up?

K. 

Love you too.

HEAVIER RAUN, DARKER CLOUDS. He sets phone on bed's lampstand on the way to the bathroom, leaves view when he enters. SOUND OF BATH BEGUN. 

 

scene 4

scene 3

EXT. MIRROR LAKE PICNIC AREA, MEDICINE BOW N.F., WY - SUNSET

Wanda and DAISY, 70-ish, both in tennis shoes, pants, sweaters over t-shirts, sit at a bench, aimed at the small lake surrounded by trees and hill-sized rocky outcroppings. 

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

Wanda smiles.

WANDA: Balmy is the hundred and four on Ruth's porch thermometer yesterday. 

DAISY: Thank goodness it's a dry heat.

WANDA: Ninety percent humidity dry. 

DAISY: Icky sticky. How cold does it get?

WANDA: Low twenties, but that's rare. Average lows in the mid-thirties. 

DAISY: Our average high.

WANDA: You should move down.

Daisy looks at her, Wanda looks at Daisy.

WANDA (CONT.): Seriously. I think you'd like Kerrville. Maybe giver it some thought..

Daisy considers this.  

DAISY: Alright. I will.

A RAINBOW TROUT leaps and splashes.

WANDA/DAISY: Rainbow.

WANDA/DAISY: Jinx.

Daisy gets her phone, finds and shows Wanda a selfie CLEM, mid-70s, has taken with Tom and Gil near a small fire in a pit made of rocks, on the banks of a small alpine lake. Patches of snow on the ground and covering the peaks of distant mountains. Tom and Ed sit on a log, Gil is kneeling behind them. Each wear flannel shirts and ballcaps, have three-day beards and are smiling. Tom uses both hands to display a huge rainbow trout.

Wanda and Daisy stare.  

WANDA: Gil has that framed in his den.

DAISY: He told me in the letter he sent with the card. Clem was so looking forward to their Port Aransas trip.

WANDA: So was Tom.

Daisy pockets phone, they watch the last of the sun dip out of view.

DAISY: Feel that temperature change?

WANDA: Sure do. 

A lull.

DAISY: Ready?

Wanda nods. They stand, walk out of view. Another FISH LEAP AND SPLASH.

scene 3

scene 2

EXT. AMERICAN LEGION POST 157 - BANDERA, TX - DAY

GIL and DALE, both MID-70s, sit next to each other on one of the concrete steps to the post, their backs to its glass double-doors. A cane at Dale’s side. Flagpole flies United States flag at top, Texas flag below it, above a black POW-MIA flag. All three limp. Intermittent SAWING, HAMMERING and DRILLING from inside the hall. 

Texas plates on van in the handicap space near the ramp to the doors. The post's old marquee sign identifies the post number and advertises 8 pm Wednesday night bingo. 

Both men in work boots, old jeans, sweat-stained long-sleeve t-shirts. Gil wears a Dodgers affiliate-era San Antonio Missions ballcap. Dale's advertises Hill Country Feed and Tack above the bill. He sips from a bottle the label identifies as sarsaparilla, Gil from a Jarritos soda. 

DALE: Maria and the boys comin' up before school starts?

GIL: Day after tomorrow.

DALE: Are we fishin'?

GIL: We are. 

DALE: Where?

GIL: Tom's coming down. I thought I'd let him pick.

DALE: Did you tell me that and I forgot? 

GIL: No sir. Because you'd have remembered the big news I'd have included. He, Wanda and Ruth are buying a house in Kerrville.

DALE: Hell yes I would have remembered that. Well damn, that is big news and good news. Time frame?

GIL:  Before winter gets to Laramie. He gets in tomorrow afternoon. They're gonna start recon and check out a few open houses.

DALE: Wanda ain't comin'?

GIL: Staying back with a friend whose husband just passed. 

GIL'S PHONE CHIRPS, he gets it from pocket, looks at screen, smiles, passes phone to Dale. OVER THEIR SHOULDERS we see the selfie Tom has taken where he stands in front of the Vietnam-era Huey helicopter display at the Vietnam Veterans Memorial in Angel Fire, New Mexico. 

DALE: Jesus lord. Flashback.

GIL: Yep.

Gil pockets phone.

GIL (CONT.): Back to work?

DALE: If I can get off my ass.

Gil stands, Dale gets cane, Gil helps him stand, puts arm around his shoulder, walks him into hall, follows.

WHIR OF CICADAS.

scene 2

scene 1

EXT. DOUBLE-WIDE MOBILE HOME - SUNRISE

Two-tone 1985 GMC Sierra Classic K1500 pickup truck in driveway, in front of a newish Subaru Outback in the carport. Wyoming plates on both and the car in the port of the double-wide across the way, lined on both sides by similar, well-maintained homes in a mobile home park. A United States flag flies from the porches of two homes along the lane. 

WESTERN MEADOWLARK SONG before Tom and Wanda come out front door to porch, walk to steps to driveway. 

Tom's - cowboy boots, jeans, leather belt with silver buckle featuring two linked turquoise horseshoes, western-style shirt with pearl snap-buttons, cowboy hat - has suitcase in one hand, Wanda's hand in the other.

Wanda's in robe over gown, slippers, hair in a bun, thermos in hand.

WANDA: Thought about where you might have lunch?

TOM: That Mexican place in Cimarron we stopped at last year.

WANDA: Tortilla Azul.

They reach steps, walk to truck's driver's door

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

WANDA: That was delicious. 

Tom sets suitcase on truck's running board, fishes keys from pants pocket, opens door, puts key in ignition, suitcase in well below passenger side of bench seat, lowers center seats into console, takes thermos from Wanda, sets it in holder, puts hat on passenger side, turns to Wanda, they embrace. 

TOM: I'll every half-hour.

WANDA: Thank you.

They part to watch ED, THEIR AGE, approach from down the lane in an electric wheelchair, SMALL DOG in attached basket. He's in slippers and flannel robe, blanket over legs and lap. Ed waves as he nears.

TOM: Mornin', Ed.

ED: Mornin', Tom, Wanda.

WANDA: Morning, Ed. Good morning, Spiffy.

The dog barks, wags tail.

ED: Off to Texas?

TOM: Yessir. 

ED: Safe travels, soldier.

TOM: You too, partner.

Ed salutes, motors along.

TOM: What're you and Daisy doin'?

WANDA: Walk along the river, brunch at Creekside, out to Randy and Opal's for scrabble and sunset at Mirror Lake.

They kiss.  Tom gets in, Wanda pushes door closed, Tom starts engine, lowers window, Ruth steps onto running board.

WANDA/TOM: Love you.

Another kiss.

TOM: Ready?

Wanda nods. Tom backs out into lane, turns truck in direction Ed had come from. Wanda reaches, runs hand through Tom's hair, Tom kisses her hand. Wanda steps down from running board.

WANDA: You'd better get before I don't let you.

They stare at each other.

TOM: Bye, love of my life.

WANDA: You drive safe, cowboy.

Tom nods, blows a kiss, drives away. Wanda watches him. 

INT. TRUCK

Tom's eyes on WANDA IN REARVIEW MIRROR as he nears and stops where the lane bisects another.

EXT. LANE

Wanda watches the truck turn left, Tom wave out the window. She waves back, the truck leaves view. She stares in that direction, finally walks to porch, into house.

WESTERN MEADOWLARK SONG.

scene 1

INT. BEDROOM - NIGHT

TOM and WANDA, MID-70s, in pajamas, sitting up in bed under the covers. Wanda is reading James Michener's Hawaii. Tom is reading a gray hardcover book we can see by the slightly darker shade of gray is titled Foglost and written by H. C Hardyn. Both wear glasses, the cases for which are on their respective lampstands with their phones. Black in the crack between curtains above headboard.

Tom wets thumb to turn 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: 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.

A lull. Wanda turns page.

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

Wanda, shocked, stares at Tom, Tom turns to 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. A garland. 

TOM: Oh.

WANDA: I don’t think our airline does that.

TOM: Oh well.

WANDA: But I think we'll have better luck when we get to our hotel.

Tom looks at Wanda, who turns to him, winks. They close and put books on lampstands, place glasses in cases, turn off their lamps. 

BEDSPRING SQUEAK IN BLACK.