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.