The ever-shifting course of this river.
For the Record.
1. Tom in Hunter’s guest room, boots off, Wanda (with Daisy), then Ruth st home. Looks at guest book.
2. Next day. Hunter’s dream, wakes at dawn, leaves bedroom in pajamas.
3. Hunter patio coffee sunrise. Phone-record elements of dream. Into kitchen, Tom reveal. Tell Chloe.
4. Wanda with Daisy gets call from Hunter with Chloe.
5. Ruth gets call from Wanda.
6. Gil with Ricky and Vette gets call from Ruth.
7. Hunter and Chloe watch coroner vehicle drive away.
8. Barb with Brian, Jan and John on Paso golf course call from Hunter. Chloe coming home.
9. Daisy with Wanda at Laramie airport.
10. Hunter at Jackie’s having dropped off Chloe at airport.
11. That night. Hunter in guest room, Tom’s guest book entry.
12. Next day. Hunter leaves in Tom’s truck.
13. Chloe with Barb. Jan and John on boat, Lake Nacimiento. Chloe answers Jan’s “What do we know about Ruth. Hunter call from crossing west to east of Pecos.
14. Ruth and Wanda, Ruth’s porch. Re Gil, storm, Hunter arrive.
15. That night., Wanda, Hunter dining room table,.Wine, photo albums, and re Gil.
16. Jackie at home, call from Hunter in guest room. He reads Clem’s and Daisy’s guest book entry marked by a photograph. FLOOR CREAK, enter Ruth and Wanda, about the photo and “about the truck.”
17. Daisy at home.
18. Next morning, leaving Ruth’s in “mom’s car.” Keys to Hunter.
19. Hunter driving, arrive Gil’s ranch gate. A deer.
20. Gil on deck, limestone rancho. Hunter, Ruth and Wanda arrive, intros, into house.
21. Hunter, Gil, the boys, ATV’s at Fort Park. Re land, family, Vietnam.
22. Ruth, Wanda and Maria, kitchen meal-prep, ATV’s arrive.
23. Jan’s inquiry and John’s response re Vietnam.
35. Barb arrive home in Mini-Cooper, Chloe ice cream selfie on phone.
36. White sands sunset selfie.
37. Jackie leave, shooting star.
38. Tahoe story.
39. Tom call Wanda and Ruth. Daisy's staying over.
40. Hunter coffee patio sunrise, reveal.
41. Tells Chloe.
42. Wanda and Daisy. Hunter's call. Five oh five.
43. Ruth gets Wanda's call.
44. Gil gets Ruth's call.
45. Barb with Brian, Jan and John gets Hunter's call.
46. Hunter and Chloe watch coroner truck drive away.
47. Daisy and Wanda at airport.
48. Next day. Doc 1.
49. Hunter leave, glove compartment, under seat.
50. Chloe watching Tom video re Ruth. Hunter calls, crossing Pecos.
51. Wanda and Ruth front porch, Hunter arrive.
52. Table talk. Re Gil.
53. Hunter in guest room, calls Jackie at home.
54. Daisy at home, pics with Clem, Wanda and Tom.
55. Next day. Gil, front deck, Tom's truck, into house.
56. Fort Park. Vietnam.
57. Chloe driving John and Jan in the Benz. Rolling hills to view of ocean.
58. Hunter, Wanda, Ruth, ice cream on porch. Rain. Hunter backstory.
59. Gil, tequila, Bangkok photos.
60. Next day. Hunter leaving.
61. Hunter driving, flat, manual in glove compartment.
62. Wanda and Ruth re Daisy. Hunter's flat selfie. Hunter drive away.
63. Arrive Jackie's.
64. Hunter and Jackie in bed. More re Tom and Olivia.
65. That night. Hunter, Tom's entry in guest book.
66. Days later. Doc 2.
67. Weeks later. Leaving Laramie.
68. Hawaii.
69. Chloe birthday truck.
I find that my preconceived notions re direction are prone to evaporation. Coming to understand The Story more, through writing it, - blah blah blah - has it, in a way, new again, sort of, but with this a sense of disorientation.
For The Record.
I think I know where it's going, and then I don't. Now, especially, finding all my preconceived notions pushed aside, replaced by reconsidered direction.
It's good - Boots is getting better from this - but unwieldy, somewhat, re thinking I have it figured only to find that figured is a bridge to something different.
I will be very glad when I at last have this settled, sent off to Sarah, and basically behind me.
EXT. CHEYENNE NATIONAL CEMETERY - DAY
Wanda and Daisy with flowers at Clem’s headstone, same as the others in the grassy field.
INT. HORSE BARN - DAY
Tom fashions honda knot, lassoes mechanical bull.
They leave. Re layover in Rui for ice cream.
INT. CHLOE’S ROOM - SLO - DAY
Barb places framed ice cream photo on desk (with others).
EXT. WHITE SABDS - SUNSET
Hunter, Tom, Chloe and Jackie in the dunes. Sun over the San Andres Range.
This will be scene 29
EXT. PINE FOREST - DAY
Hunter, Tom and Chloe stroll through the woods some distance away from where Sess, Jackie and Claire are setting up lunch at a picnic table in a clearing near where the horses are tied.
TOM: Why dya reckon they call 'em ponderosa?
CHLOE: Pinus ponderosa, from the Latin ponderosus, large and heavy.
TOM: Oh. Ponderous.
Chloe nods.
CHLOE: Speaking of which, sort of, did you watch Bonanza when you were a kid?
TOM: Sure did. You ever seen it?
CHLOE: We watched an episode in Miss Hill's American Popular Culture class last year.
TOM: What else ya speak besides Latin.
CHLOE: I wouldn't say I speak Latin. I going into my third year of Spanish. How about you?
TOM: Poquito español. Suficiente para meterse en problemas.
CHLOE: Bastante suficiente, I reckon.
Tom smiles and winks.
TOM: Hunter?
HUNTER: Two years of French in high school.
TOM: Ever come in handy?
HUNTER: As a source of humor courting Barbara, who is fluent, and the summer after college I traveled in Europe. I took it because of a girl.
TOM: Remember her name?
HUNTER: Charlotte Barbier.
TOM: Girlfriend?
HUNTER: Something like that. What was your first girlfriend's name.
TOM: Well, more of a crush than a girlfriend but the afternoon I seen Ana Baca openin' the door of her fifth grade home room the same time I was openin' mine across the lawn is an image that'll stay with me til there ain't no more images in the memory bank, which lately shows signs of withdrawals.
CHLOE: Name of the first girl you loved?
TOM: Well Chloe, hate to be long-winded -
CHLOE/HUNTER: Be long-winded.
Well, my notion of the kinda love I'll call romantic has changed like weather over what I'll call the seasons of my life, startin' with symbolic spring and endin' in symbolic winter. But I reckon ya both know that's how I'm puttin' it. Or tryin' to anyway. Obviously I've arrived at winter. Toldja I'd be long-winded.
CHLOE: And we encouraged it.
TOM: Yes ya did. Still, lemmee see if I can condense what I'm tryin' to get at and we'll pick up some a the loose ends later. No matter what I mighta thought I knew about lovin' a woman I know I was never quit up to speed far as holdin' up my end of the deal. Ain't no accident I didn't marry til the fall of my life, and damn good that I didn't. Fact a the matter is, and if y'all'll pardon my Latin, I didn't know shit about lovin' a woman - about bein' loved by a woman - 'til I met Wanda Pearl Burroughs. Still learnin'.
Tom wipes away the tears that escape his eyes.
TOM (CONT.) I'm sorry, y'all. This sure snuck up on me. Been awhile since I been away from her for more than a day. Sorta thrown me off. Obviously.
Jackie RINGS TRIANGLE BELL.
TOM: Saved by the bell.
They walk to the picnic table. Chloe puts an arm around Tom's waist. Tom puts an arm over her shoulders. Hunter takes note, and a picture with his phone from behind them.
EXT. PICNIC TABLE
Jackie, Sess and Claire having prepped a meal (TBD) watch Tom, Hunter and Chloe approach.
SESS: So Jack, Claire notes Hunter's resemblance to her dad's favorite author H C Hunter.
JACKIE: One and the same.
CLAIRE: I knew it. Do you think he'd be okay with a picture.
JACKIE: I do. But I'll ask him.
CLAIRE: Thanks. My dad would love it.
SESS: So who is Tom to Hunter.
JACKIE: A man he met yesterday. Like when you met Charlie.
Sess looks at Jackie, who looks at her and nods.
SESS: Oh.
Sess and Claire exchange a look. All watch Tom, Hunter and Chloe approach.
Followed by Tom Reveal.
Campfire at night under starry skies as snow clouds form.
Tom and Hunter, the snort of horse we can’t see.
Snow arrives. Moon and stars eclipsed.
MOUNTAIN M EADOW, IN THE SADDLE
TOM: How often do you see Chloe?
HUNTER: Every other Christmas, birthday and spring break, and the last few weeks of her summer.
TOM: You and Barbara on good terms?
HUNTER: We are.
TOM: Are her parents living?
HUNTER: Yes, John and Jan are retired attorneys in Paso Robles.
TOM: Well that ain't too far from San Luis Obispo.
HUNTER: Half hour drive, and there's a train.
TOM: In good health?
HUNTER: Yes. They were athletes and college and swim and walk regularly. How about you and Wanda?
TOM: We walk around the block in the mornin' and evenin' and square dance Thursdays.
HUNTER: Can we revisit you meeting in A-A.
TOM: Yessir.
HUNTER: First sight.
TOM: Yessir. In line for cofffee.
HUNTER: How's the drinking these days?
TOM: We'll have a beer with a movie Saturday nights and a glass of wine with Ruth when we're down. Pretty much been that way since we met.
HUNTER: Wanda had a daughter from a previous marriage
TOM: Yessir. Rebecca. Drowned in a lake at summer camp whe she was eleven. Foglost has a little to do with drinkin'.
HUNTER: I had a problem. Not that you asked.
TOM: Was wonderin'.
HUNTER: You've read Foglost.
TOM: Readin' it. Forgot it on my nightstand.
HUNTER: Where are you in it?
TOM: Bob's just bought the boat. Drinkin' not a problem anymore?
HUNTER: Not a problem anymore. I have a beer at night on the patio and wine with dinner on occasion.
TOM: Ya look like ya use your gym room.
HUNTER: Have to keep up with Chloe.
Gil and Hunter on the bench aimed at the Hill Country view. The Boys aiming arrows at the archery target on a tree. Lean-to and fire-pit. Tire swing and tree-ladder to the branch. Horseshoe ring. Two ATV’s.
H’s inquiry re the land to G’s family (history), to Tom’s, and fathers’ World War 2 experience. H’s grandfather’s.
Into Tom’s tattoo and Vietnam. G has pics. They’ll pick it back up when H back with ashes.
THUNDER.
Chloe asks how Tom and Wanda met. T re A-A meeting Boise. Chloe asks where they married. At Gil’s. More on Gil. Tom to bed. H call Jackie.
Gottit. Another Sunday push at Mom’s.
And another Solution from Waiting.
Yay.
So much for the long-winded bookstore story.
HUNTER: How did you find out about me?
TOM: Looked for your mother online and found her obituary. Seen your name, looked ya up, found your Wikipedia page. Seen your date a birth.
HUNTER: When was this?
TOM: It'll be eight years November second. I thought about makin' contact. But I didn't know what your mother mighta toldya. And your first book had come out and was doin' well, and I knew you had a daughter, and I thought I might just be gettin' in the way.
HUNTER: And occasionally otherwise?
TOM: Yessir.
HUNTER: Why today?
TOM: Well, plan was to just take a picture of your house. But when ya seen me...I thought maybe it'd seem like I was some sorta stalker or somethin'.
HUNTER: That a wedding ring?
TOM: Yessir. My wife's name is Wanda. Normally she'd be along but she stayed home to be with a friend whose husband recently passed.
HUNTER: Kids?
TOM: Wanda had a daughter from a previous marriage.
HUNTER: You?
TOM: Not that I know of.
HUNTER: Previous marriage?
TOM: No sir.
HUNTER: Are your parents living?
TOM: No sir.
HUNTER: What's your middle name, Tom?
TOM: Travis. For my grandad. My mother's father.
HUNTER: Are your parents living?
TOM: No sir. Mom passed twelve years ago last month, dad a year and day later.
HUNTER: From?
TOM: Cancer took mom, dad had a heart attack.
HUNTER: What's your sister's name?
TOM: Ruth.
HUNTER: Other siblings?
TOM: No sir.
HUNTER: Is Ruth in good health.
TOM: She is.
HUNTER: Can I get you a water?
TOM: Yessir. A water'd be great.
HUNTER: Be right back.
TOM: Be right here.
Hunter leaves to kitchen
INT. KITCHEN
Chloe at center island.
Etc.
EXT. EL PASO INT'L AIRPORT TEMPORARY PARKING LOT - DAY
C: And I was nervous about meeting Jackie.
H: Well Jackie's nervous about meeting you.
C: Horse day still on?
H: She'll be by around ten.
Hunter CHIRPS the Rover. Roller-bag and backpack in, then them.
C: What's he driving.
H: An old pickup.
C: Beat up?
H: Great condition externally. Engine sounds healthy.
C: Dad?
H: Chloe?
C: You seem utterly unfazed.
H: I'm stupefied, sweetheart.
He starts engine.
H (CONT.): Buckle up,
Buckle up, H backs Rover out of frame.
LOCATION - DAY
Wanda and Daisy on "the bench on the river down from the bridge."
Re Clem's ashes and the biodegradable (tbd) she'll set on a pon in the snowy range.
TOM'S RINGTONE, W answers.
Receives the news. Her surprise and conversation leads D to inquire.
"Tom met someone he knows in Las Cruces. He's staying the night."
INT. HUNTER'S GUEST ROOM - DAY
Tom at desk. Window over desk to yard, wall, mountains. Hat on rack, suitcase on bed.
Calls Ruth.
EXT. RUTH'S FRONT PORCH - DAY
R with Gil. Tom's RINGTONE.
The news.
G: Híjole
T leaves, hat on, shows up in window, at backyard wall, lights a cigarette.
INT. H FOYER.
Piano and guitar.
Hunter enter, crossing, DOORBELL
Peephole double-take.
EXT. H FRONT DOOR
T standing, hat on, truck parked near the bins.
H open door wide enough to look out.
H: Can I help you?
T: Howdy. My name is Tom Walker.
Hunter surveys Tom.
H: The Tom Walker who was in Reno for the rodeo fifty years ago?
T: Well, one of 'em anyway.
Hunter looks past him to the truck.
H: What's my mother's name?
T: Olivia Edith. If I got the right Hunter C. Matheson..
H: What if I didn't know who you are?
T: I'da been turned around and askin' for directions back to Drippin' Springs Road.
Hunter considers, opens the door for Tom to enter.
H: Come in.
Tom removes his hat, enters. Hunter surveys the truck, closes the door.
FOYER
H: How did you find my address?
T: Online.
H: Just happen to be in the neighborhood?
T: Well, sorta. On my way to Texas?
H: From?
T: Laramie, Wyomin', where I live.
H: What's in Texas, if you don't mind me asking.
T: I don't. You can ask me anything ya want. My sister lives in a town called Kerrville.
H: I'm out the door to the airport in El Paso.
T: Yessir.
H: When will you be back through on your way home to Laramie?
T: Oh I reckon about a week.
H: We won't be here in a week.
T: Yessir.
CUT TO:
W with D. Tom's RINGTONE.
LOCATION - SUNSET
The truck in the turnout off the highway surrounded by grassland. Wyoming plates, aimed at the sun setting on the distant Snowy Mountains west of Laramie. Driver and passenger snuggled together in the middle, driver’s arm over passenger’s shoulders.
INT. TRUCK
Meet Tom and Wanda in square dance attire, gaze aimed at the sunset.
WANDA: Should we do a cruise?
TOM: Well hon’, what is it they say about when you’re in Rome?
WANDA: Do as the Romas do.
TOM: Heck, I’m halfway thinkin’ about takin’ a surfin’ lesson.
WANDA: I’d pay to see that.
TOM: Won’t have to. Got ‘em down the beach from our hotel. You just pull up under an umbrella with your Mai Tai, stick your toes in the sand, and watch me hang ten.
Wanda smiles.
WANDA: Maybe I’ll learn the hula dance.
Tom smiles.
TOM: You’ll find me front and center for that.
A lull.
TOM (CONT.): You and Daisy gonna do anything in particular?
Yes, Clem’s ashes into a biodegradable urn in form of goose on a pond in the Medicine Bow Wilderness, where he and Tom fished. A Clem story. Sun eclipsed by mountains.
Start engine, the turn onto highway, tail-lights away.
58; Coroner’s van away.
59. Wanda and Daisy Laramie airport.
60. Chloe, Barbara, Jan and John.
61. Hunter in guest room, Tom’s entry in guest book.
62. Doc 1.
63. Hunter leaving home in Tom’s truck.
64. Sess breaks news to Claire.
65. Ruth and Wanda, porch and storm, H arrive.
66. H, R, W table talk with wine.
67. H R’s guest room. Call Chloe at home, Barbara there. Chloe’s video re Tom on R’s history.
68. H, R, W nearing Gil’s. Ruth on Gil’s history.
69. Gil waiting, their arrival, Maria and the boys watch from inside.
70. Barb and Chloe.
71, Jan anf John.
72. Gil, Hunter, the boys at Fort Park.
73. Wanda, Ruth, Maria setting table, men and boys pass by in ATV’s.
74. Ruth’s back porch. More Hunter history.
75. Gil, den, tattoo, tequila, Bangkok photos, the boys.
76. Hunter leaving next morning.
77. Hunter driving salt flat, radio, flat, manual in glove compartment.
78. Brian, son, dad Cuesta baseball.
80. Flat fixed, a cowboy fence-mending. On the road again.
81. Arrive Jackie’s. The Tom and Olivia story, in bed.
82. Doc 2.
83. Leaving Laramie.
84. Hawaii.
85. Chloe birthday truck.
Epilogue: Hunter and Tom fishing.
CREDITS, MUSIC
54. Wanda at home, TOM’S RINGTONE. It’s Hunter with the news. She’ll call back. Need to call his sister.
55. Ruth at home, WANDA’S RINGTONE. The news. ‘Can Miss Daisy get you to the airport?
56. Gil at home, RUTH’S RINGTONE. The news. Tell’s Maria.
57. Barb, Brian, Jan and Jill on the golf course.
All with putters on the green. Two balls, one a foot from the hole, the other at the far-off fringe, two feet away from a sand bunker. Barb stands near that ball, John steps to the ball near the hole and drains the putt. Jan pats his butt mostly surreptitiously as he passes to meet Brian’s fist-bump. Barbara walks around her out, looking for the line.
BARBARA: Nice, pops.
JOHN: Thank you.
BARBARA: So mom, remember to not mention that dad’s on pace to break his personal course -
JOHN: Barbara Mallory. Tsk tsk.
Jan muffles her laughter.
BARBARA: What? I was just going to remind mom to not mention that you’re on pace to break your personal course record for tees recovered. Because that would jinx it. Have you broken a single one?
She winks, John shakes his head. Barbara squats between ball and bunker,, finally stands, readies, putter back, frozen by HUNTER’S RINGTONE, a TYPEWRITER AT WORK.
BARBARA (CONT.) Hunter.
She gets phone from pocket, picks up on ZING OF THE RETURN.
Receives the news she relays.
“Tom died at Hunter’s. Suspect heart attack but have to wait for the coroner’s report. Chloe’s coming home. She lands at eight in Oakland.
JAN: We should probably get going.
JOHN: Yes.
Barbara nods, steps the ball to putt. She makes putt. Brian gets ball from hold, sticks the flag, kisses Barbara. John and Jan hug her. All into carts and away. After a moment a ball lands on the green.
53. Yes to HUNTER’S DREAM.
INT. H BDRM - FIRST HINT OF SUNRISE
Hunter wakes, nuts and bolts of dream into phone recorder. Out of bed and room in silk pajamas, slips into slippers at door.
KITCHEN
H enters, starts flame under kettle and preps coffee pour-over. FAINT ROOSTER CROW. He checks off another day on the fridge calendar. He steps into hallway, looks into it.
INT. HALLWAY
OUR POV at hall’s end, near the open door to the guest room. Hunter stares, finally walks toward us.
INT. GUEST ROOM
Hunter arrive doorway, finally enter and check, confirm, ponder, finally leave room.
CHLOE’S ROOM
Hunter arrive doorway, finally enters, sits on bed near Chloe. Another FAINT ROOSTER CROW stirs her. She opens her eyes enough in turning over to see Hunter.
“No, dad. No.”
46. EXT. CIRRUS COW CREAM AND COOKIE - DAY
Hunter, Chloe, Tom, Jackie and ice cream cones.
CHLOE: Do you always get vanilla?
TOM: Unless I’m havin’ Ruthie’s peach.
CHLOE: Homemade?
TOM: Homemade. Though makin’ it at hom these day ain’t much like what both our grandmothers and great-grandmothers did. You always get chocolate?
CHLOE: Almost always. Sometimes rocky road.
TOM: That’s Wanda’s go-to. Unless she’s havin’ Ruthie’s homemade peach.
CHLOE: Must be pretty good.
TOM: You’ll have some one a these days. You can decide for yourself.
CHLOE: I will.
TOM: Cool.
Hunter move to White Sands sunset, keys to Tom.
43. EXT. ALPINE LAKE - DAY
Wanda and Daisy with the biodegradable urn in the form of a duck or goose. Clem’s ashes. They’ve hiked, no vehicle in sight. Backpacks, sun hats, walking sticks. A story featuring Tom and Clem. At last, the urn, its slow disappearing act.
Gathering clouds, they leave, out of view in the woods.
TRUCK IN TURNOUT
Newish truck maker TBD. WY plate. Prsnlzd? Daisy and Wanda arrive at first raindrops. Daisy in booing the wheel.
A brief exchange before D starts the engine. Buckle up.
44. EXT. BARN/CORRAL - DAY
The riders emerge from the woods, enter the barn.
45. BARN. Riders dismount, The Kids take over re removing and stowing saddles. Hay in the feeders. Re stop in Rui for ice cream on the way down the hill. “Before you go…” into Tom, re rodeo, fashioning a Honda knot and lassoing the mechanical bull’s horns, while many, including Chloe, record. Yay. Sess re “coffee”? All toward house.
41. Meet DOC, 60-something - loafers, jeans, plaid dress shirt, long silver hair in a tail - nearing office with coffee. Enters, greets RECEPTIONIST, continues to small office, sits, opens computer, sees EMAIL FROM HUNTER, opens to SELFIE HUNTER HAS TAKEN that includes Tom, with the subject line, guess who?
Doc stares at the image.
FADE IN WHISPERING CREEK
42. EXT. CREEKSIDE IN THE WOODS - DAY
Jackie, Sess and Claire with the drinking horses.
Tom, Chloe and Hunter creekside. Tom spots and points to the flash of a rainbow trout, gone a beat after Hunter and Chloe see it.
CHLOE: Cool.
Segue into fishing experience and who taught him to tie a fly. Tom’s vivid recollection.
Saddle up, away into woods.
31. John and Jan at home, day.
On the patio. Grill. Big-screen TV. Dog, grill, trees that partially shade the kidney pool.
They’re seated across from each other, attention on laptops. Jan types away. John a few times before:
JOHN: Gottem.
JAN: Gottem?
JOHN: Thomas and Wanda Walker, _______ Avenue, Laramie. There’s a street view.
He turns the laptop to her. She stares at Tom and Wanda’s house. Patch of snow in the front yard. She maneuvers up and down the street, returns to house, finally returns John’s laptop. John turns his attention to the streetview.
JAN: They’re moving to Texas.
JOHN: How do we know that?
JAN: Chloe called Barb last night.
JOHN: I was wondering.
JAN: She’s going to tell us more tomorrow.
JOHN: Alright.
JAN: Brian’s father is reading Foglost.
JOHN: Do we know if he knows of the six degrees?
JAN: We know that Brian does and that Brian’s father does not. Nervous about golf?
JOHN: Was. Until a cowboy rode into town.
OVER JOHN’S SHOULDER we see him pull up the selfie sent to Barbara. Jan stares at John staring at his screen.
Tells Jan the Roy Rogers boots for Christmas story she’d never heard.
Her Berkeley Days Go-Go boots story, news to John.
21. EXT. HUNTER’S DRIVEWAY - NEXT DAY
Truck history. Chloe license, Heeeere’s Jackie. Away they go.
22. John and Jan powerwalk 1.
23. Jackie about the horses, everyone last time on one.
24. Barb and Brian re how Tom and Olivia met. Salfie Chloe sends.
25. Sess and Claire and horses. Group’s arrival. Sess to Tom re first rodeo. Saddle up.
26. Gil, Maria, the boys, Tom’s “layover in Las Cruces.’
27. Horses in the woods.
28. W prints the Tom selfie Ruth places framed on shelf at Hunter’s books.
28. Horses and riders Mountain Meadow.
29. Doc 1. Hunter selfie.
30. Tom’s rodeo and Vietnam. Triangle bell re chuckwagon.
16. Truck in hunter’s driveway. Hunter and Chloe arrive.
In garage.
17. In kitchen, Tom at wall. Shoulda picked up a sarsaparilla. Ready or not. Intros, how Tom found him. Chloe takes picture.
18. Barbara with Jan and John and the picture Chloe sends.
19. Wanda prints and frames, Ruth places the selfie Tom has taken.
20. Post-dinner patio talk. Call Jackie re horse.
EXT. EL PASO INT’L AIRPORT SHORT-TERM PARKING LOT - DAY
Meet Chloe, 16. Jean shorts to knees, snug on athletic legs. Running shoes, anklet socks. Sleeveless t-shirt with sea wave across the front reveals surfer’s back and shoulders. Long hair in a tail through the back of snap-fit ballcap with SLO embroidered above the bill. Sunglasses. Ocean-colors camouflage backpack.
Hunter pulls pink roller-bag.
CHLOE: Can I tell mom?
HUNTER: I did.
CHLOE: Oh.
HUNTER: She was with grams and gramps.
CHLOE: They came with to the airport. They say hello. So what’s the plan?
HUNTER: He’ll stay the night, leave in the morning.
CHLOE: And I was nervous about meeting Jackie.
HUNTER: Well Jackie’s nervous about meeting you.
CHLOE: Horse day still on?
HUNTER: She’ll be by around ten.
Hunter CHIRPS THE ROVER.
Roller cart and backpack in, Chloe and Hunter.
CHLOE: Dad?
HUNTER: Chloe?
CHLOE: Boots?
HUNTER: Boots. Buckle up, angel.
Starts engine, backs out of frame.
1. Tom and Wanda, Snowy Range Sunset.
2. Tom and Wanda in bed, Hawaii and Tom’s book.
3. Next morning. Tom leaves Home.
4. Tom driving, music, Welcome to Colorado sign.
5. Tom arrive ABQ motel room. Boots off, call Wanda and Ruth.
6. Next morningTom leaves ABQ motel.
Gonna let this sit another day or two before getting back into it. I know there will be considerable change to present form, and that getting to present form was required before form could be changed. (There are references in this One More Edit series to hexagram 57, Subtly Penetrating, that highlight this dynamic re change coming from the work thst enables deeper insight, that enables - necessitates - further work.)
Darlings will most certainly die, but not in vain.
How will Boots benefit, revisited.
“The dissolution of the old forms releases energy into new purpose and direction” indeed.
Writerly Trait at work in this.
“…you can pause before falling automatically into the next step of the process, and see what is present before you respond.”
Flat fixed. Tom's aviators. A cowboy.
Hunter arrive Jackie's. Carson City.
Wanda and Ruth call Daisy.
Hunter home, guest book.
Doc 2.
Leaving Laramie.
Hawaii.
Chloe truck.
EXT. JAN' AND JOHN'S STREET - DAY
Uphill powerwalk mode per previous.
JOHN: Is tonight the night Barb meets Brian's son?
JAN: Yes. Kyle.
JOHN: Kyle.
JAN: Pizza and bowling in Pismo.
JOHN: Do we know anything about Brian's ex?
JAN: Debbie. A realtor in San Diego.
Lull.
JAN (CONT.): Chloe's going to spend a few days in Texas when Hunter goes back.
JOHN: Oh. Staying at Ruth's?
JAN: Yes. She'll fly into Austin and they'll tour the campus.
JOHN: Alright. Hook 'em, horns.
Lull.
JAN: Ruth keeps a blog.
JOHN: Really?
JAN: Barb forwarded the link Hunter sent her.
JOHN: You buried the lead, dear.
JAN: Got it just before we left. Didn't click on it.
JOHN: I can't wait.
They arrive at their driveway, set down dumbbells, catch breath with hands on hips.
JOHN (CONT.) Here's what's going to happen.
JAN: Oh boy, Nostradamus mode.
JOHN: Yep. I can see it all as if through crystal ball.
JAN: Do share, Zoltar.
JOHN: Barb marries Brian after Chloe graduates.
JAN: I can't say that I can't see it.
JOHN: They both sell and move to Templeton.
JAN: Oh really? And why Templeton?
JOHN: Brian will move his office there.
JAN: You see this as if through crystal ball?
JOHN: He told me on the putting green. Long-term plan.
JAN: Closer to us.
JOHN: Maybe.
JAN: Maybe?
JOHN: Closer to us unless we move closer to Chloe when she goes off to college.
Jan stops, looks at John, who stops and looks back.
JAN: Oh?
JOHN: By way of introducing what's only now on my mind.
JAN: Okay.
JOHN: Crazy?
She shakes her head, puts arm around his waist, he puts arm over her shoulder. They proceed to the front door.
JAN: What if she goes east coast?
JOHN: Asheville?
JAN: Midwest.
JOHN: Hot Springs?
JAN: Only now on your mind, huh?
JOHN (CONT.): This notion is one that may well evaporate. And it does occur that us tagging along thusly might not be Chloe's preference.
Jan nods.
JOHN (CONT.) In fact, in all honesty, that's my sense.
Jan nods, kisses him.
JOHN (CONT.): The closer she comes to leaving the nest the clingier I find myself becoming.
JAN: Me too. And we're still two years out.
JOHN: But we know what time does, don't we?
JAN: It flies.
JOHN: Let's take a look at Ruth's blog.
John opens the door.
JAN: Let's do. After we shower.
She smiles, winks, enters. John in behind her, closes door.
INT. TOM'S TRUCK - DAY
Hunter in sunglasses drives a remote stretch of two-lane highway through desert salt flat, mountains in the far distance. Silence but for the HUM OF TIRES ON ROAD. Far ahead we see the structure of what looks like an abandoned gas station. Hunter turns on the RADIO TO STATICKY BANDA MUSIC. He TURNS IT OFF.
As soon as the station is recognizable as such, a dilapidated shipwreck on land, we HEAR THE POP-BANG OF A TIRE FLATTENED and the CHUNK CHUNK CHUNK of the dead tire as Hunter rolls to a stop under the shade of the covering over the station bay.
Hunter sits and ponders the situation, stares ahead at the SHIMMERING WATER MIRAGE at the false end of the road ahead. He finally gets owner's manual from glove compartment, opens it.
EXT. TRUCK
Hunter gets out, walks to the rear flat on the driver's side, surveys the damage.
THE UNDERCARRIAGE, SPARE TIRE and Hunter's shoes.After a moment his knees and hands on the pavement, then his face in view, eyes searching for and finding the spare. Face, knees and hands out of view as he stands, walks out of view toward front of truck. We HEAR HOOD OPENED.
THE HOOD, then Hunter up and out from under it, tire jack in hand. He walks out of frame toward the flat.
INT./EXT. TOM'S TRUCK - DAY
In Ruth's puddled driveway, Hunter at the wheel, engine running, Wanda and Ruth at the window. Tom's hat is on his boots on Hunter's suitcase in the passenger well. Wet street and driveways but sunny sky.
RUTH: Will you take ten all the way.
HUNTER: I don't think so. I see a way north from Van Horn up to a road east to El Paso. Looks potentially interesting if a little remote.
WANDA: We've come and gone that way before. Fifty-four at Van Horn up to one-eighty and sixty-two.
HUNTER: That's the route.
WANDA: It's remote alright. We called it our moon crossing. But real pretty in its own desolate way.
HUNTER: I'm thinking so. A change from the interstate, anyway.
WANDA: You'll cross a salt flat not long after you turn left at that junction.
RUTH: And if you were so inclined to turn right the Guadalupe Mountains aren't that far north.
HUNTER: I saw that and very likely will.
RUTH: And a few spots to pull over for a view.
HUNTER: I'll take and send a few pictures along the way and call every hour, unless that's a bother.
Wanda and Ruth smile, shake their heads.
WANDA: Not a bother.
RUTH: Thank you, Hunter.
Ruth and Wanda lean in turn lean in to kiss Hunter's cheek. He returns the favor, winks and wave. They wave and watch him back to the street, stop, blow them a kiss they return, drive away out of view. They look to the sky. FAINT BIRDSONG.
RUTH: Sure nice to have blue sky but boy it is it going to be sticky day.
WANDA: My slip's already clinging.
RUTH: Fortunately I have tickets to a matinee showing of Last Picture Show at the Arcadia I was going to surprise you and Tom with.
WANDA: You're brilliant.
RUTH: I thought we might call Mary Ward and see if she'd like to come along.
WANDA: That's a wonderful idea. How is she?
RUTH: Better, slowly but surely. You know, back to Tom's ashes.
She walks to the steps and porch toward the door, Wanda follows.
WANDA: Yes.
RUTH: Mary put some of Jerry's into a biodregradable urn in the form of a duck they put on their pond.
WANDA: Hmm.
RUTH: That's what I thought.
WANDA: For further consideration.
They get to the door.
RUTH: I thought we might call Daisy today and give her something for further consideration.
Wanda smiles, nods. Ruth opens the screen door, Wanda through, Ruth follows. door closes.
60. Hunter leave Ruth's. Ruth re Last Picture Show at The Arcadia. Wanda "call Daisy tonight."
61. Hunter driving, remote desert salt flat. Radio. Flat. Manual, tire, jack.
62. Chloe at home with video re Tom Hunter Facetime call from FLAT FIXED. Tom's aviator sunglasses.
63. Hunter arrive Jackie's. In bed re the Tom and Olivia Story.
64. Daisy at home, call from Wanda and Ruth.
65. Hunter arrive home (same clothes), Tom's entry in guest book.
66. Doc 2.
67. Leave Laramie.
68. Hawaii.
Epilogue: Chloe Birthday Truck
INT. GIL'S DEN - NIGHT (CONT'D)
FR: [ROBERTO: Knock knock.
GIL: Who's there?]
-----------------------
ROBERTO: Wendy.
GIL (SMILES) Wendy who?
RODRIGO: Wendy ya think you'll be ready to start the movie.
GIL: Whoops. Sorry, got caught up in a time warp. I'll be right there.
ROBERTO: There's no rush, grampa.
GIL: No, no, I'm on my way.
RODRIGO: What album is that?
GIL: A few photos from Vietnam.
ROBERTO: Can we see?
GIL (BEAT) Yes. I'm going to show Hunter some pictures when he's back, including these. We'll do it then, okay?
The boys nod. Gil stands, wobbily enough the boys assist.
GIL: Like him okay?
ROBERTO: He's cool.
RODRIGO: He looks like the guy who wrote your book.
GIL: He is that guy, boys.
ROBERTO: How does Ruth know him?
GIL: He's her nephew.
The boys look to him, puzzled.
GIL (CONT'D): Hunter is Tom's son.
ROBERTO/RODRIGO: Confused.
Gil nods, leads them into hall. FLOOR CREAK.
GIL (O.S.) But I'll let Hunter tell you more about that when he's back.
Moment before SOUND OF TOM'S TRUCK ENGINE STARTED.
[CUT TO:
INT./EXT. TOM'S TRUCK - DAY]
INT. DEN - NIGHT
HEAVY RAIN. THUNDER CLAP.
Windowless. Leather recliner and lamp on small table in a corner near loaded bookshelf, the top shelf of which supports three framed photographs of three different soldiers in field of action, all looking at the camera, In one, black and white, a 19-year-rold United States Marine in World War Two Pacific Theater gear gives a thumbs-up where he stands near two other Marines in a jeep on a beach, a Navy Fletcher-class Destroyer on the horizon behind him.
In the middle photograph, color, a Marine recognizable as Gil at 19, gives a thumbs-up from where he crouches in a jungle, M-16 rifle at the ready.
In the other color photograph, a Marine in Afghan-War desert gear sits on an M1A1 Abrams tank, near the barrel, thumbs-up to the camera. His mile reveals pearl-white teeth. His sunglasses are reflective
A large framed color photograph on the wall above these features these three men together on the bench where Gil and Hunter were in the ATV. The man in the beach photo is 60-something, Gil is 40-something, the soldier on the tank is 20-something. Each in shorts, sandals, short-sleeve shirts with sunglasses in pockets, bottles of Victoria beer in hand, the hills under cloudless sky behind them.
Old leather sofa under framed reproduction of the José María Velasco painting, The Metlac Ravine. Lamp and bible on stand at one end of sofa, boots on floor at the other end.
Hat rack near open door to hall holds sombrero, two cowboy hats - one straw, the other felt - and a black Vietnam Veteran ballcap. Turntable and speaker on a crate of vinyl albums.
On a wall six same-size framed photographs show the house in stages of development from beginning to end, early framing to last piece put in place. In each photograph the same four men are at work, all wearing hard-hats. In the photo that captures the last stage, a man sits on the roof near the chimney, smoking a cigarette. The first in the timeline includes two mid-70s pickup trucks loaded with timber, parked under shade of oak.
On another wall a MENDOZA RD street sign above a photograph of the same four men, one of whom is Gil, dressed in suits on the sidewalk in front of the glass doors of a brick building with a MENDOZA BUILDERS sign.
On another wall an arrangement of two rifles, one above the other. Top, a World War 2 M1 Garand. Vietnam-issue M40 below. Both with bayonets.
A mini-fridge near an old wooden desk on which four framed photographs share space with a Marine-green canvas photo album marked with a red V, a half-empty bottle of tequila, empty shot glass, a half-smoked cigar in a glass ash tray, and a bronze desk plate with GUILLERMO engraved.
One photograph shows Gil at 20-something on his wedding day, at the cake with his same-age bride with long black hair. They smile the height of happoiness at each other. Behind them a mirror reflects the crowd in front of them, a few with cameras aimed.
Another photo shows Gil at 40-something with the same woman in an old-school selfie that she has taken of them cheek to cheek where they stand in pool towels and sunglasses on the high-up balcony of a room with a view to other hoteks along the Acapulco beach. Her robe is open enough to reveal ample cleavage.
Another photo shows Gil at 30-something, his wife, and an 8-year-old boy in Gil's lap, at the wheel of runabout boat on calm green water. A rust-colored canyon wall rises out of frame behind them.
Another photo shows Gil at 50-something and the boy in his lap at 30, standing next to each other in the same hands-on-hips pose in a barn, their attention on the (late-70s) Porsche 911 before them. View through open barn door to desert and old pickup and older listing windmill.
[ADD PHOTO BOYS.]
TOILET FLUSH followed by FLOOR CREAK before Gil enters in old jeans and sleeveless tee that reveals Marine Anchor, Globe and Eagle tattoo on a shoulder. He sist at desk, downs remainder of shot, pours another, opens photo album to page marked by pencil.
Over his shoulder we see four 3" x 5" photographs - two on each page - featuring Gil and Tom in shorts, sandals and tropical shirts, smiling at the camera.
In one the Wat Arun Buddhist temple is behind them on the other side of the Chao Phraya River.
In the photo below that, their shirts are unbuttoned and sandals off where they stand in the water off a crescent-shaped beach.
In the top photo on the opposite page Gil takes a selfie that includes Tom next to him and, in the background, two young Thai women dressed to attract stand next to each other look at the camera from where they stand next to two Triumph motorcycles in an alley.
In the photo below this, Tom and Gil stand with cocktails in hand near the entrance of a hotel signage makes clear is The Miami. They bookend the two Tahi women between them, also holding cocktails. All smile at the camera.
Gil sips his tequila, sets it down. NEARING FOOTSTEPS, then FLOOR CREAK before the boys arrive in the doorway. Gil closes album.
ROBERTO: Knock knock.
GIL: Who's there?
to be continued.
EXT. BACK PORCH - NIGHT
HEAVY RAIN.
Wanda and Ruth in rockers, Hunter on a bench, finishing bowls of ice cream in the screened-in room with doors to the house and grassy yard fenced by cedar. Mini-fridge, four chairs at a small table.
HUNTER: How far back in your family does homemade ice cream go?
RUTH: Well, before you leave in the morning I'll show you my grandmother's hand-crank bucket i have in a box in the garage. Is it alright?
HUNTER: It's delicious, Ruth.
WANDA: We love that selfie Tom took with Chloe where you had ice cream in Ruidoso.
RUTH: Oh my goodness.
WANDA: And all the others.
HUNTER: We took a lot of keepers.
RUTH: I've already got an album started.
WANDA: That White Sands sunset is spectacular.
HUNTER: Barb's going to posterize it. You'll get one.
WANDA: And Hunter, I have to say, speaking of before you leave and pictures, that selfie Olivia took with Tom at Lake Tahoe...it just took my breath away.
RUTH: I had to sit down.
WANDA: It's like a precious jewel.
HUNTER: I'm happy to have it. And his recollection, recorded by Chloe.
RUTH: I'd love to see it sometime.
WANDA: She was so beautiful.
HUNTER: Chloe's making a school project out of of what was photographed and recorded.
RUTH: How wonderful.
HUNTER: Jackie, Sess and Claire are sending what they have.
In the LULL each finish their ice cream and set down their bowls.
LOUD THUNDER.
INT. PICKUP TRUCK - DAY
The Dodge Ram 3500 at Sess's. Claire driving, left hand at noon on the wheel, right arm over Sess's shoulder. Sess's left hand in Claire's lap. Both in sunglasses. We see in the mirrors that she's hauling a horse trailer. We can see through the windshield that they're on a two-lane backroad in the desert.
NATIVE AMERICAN FLUTE MUSIC at low volume on the RADIO.
CLAIRE: Have you talked to Jack since we got back?
SESS: I was just about to tell you. Yes, last night. Tom died.
CLAIRE: Cowboy Tom?
SESS: Yes. He had a heart attack at Hunter's.
Claire shakes her head.
CLAIRE: Well shit.
SESS: You were right. He's Hunter's father. Was. They met for the first time the day before. Chloe's asking for photos and video. Send to me and I'll send to Jack.
CLAIRE: Okay. Rest in peace, Tom.
SESS: Amen.
A moment before the MUSIC STOPS.
INT. DINING ROOM/KITCHEN - DAY
View to woods through window over sink and big window at the table. Maria, Ruth and Wanda set a meal of tamales, charro beans, Spanish rice, Mexican corn, bacon wrapped jalapeño poppers and guacamole. After awhile we HEAR THE WHINE OF THE NEARING ATV'S. The women stop and wait. Finally the boys drive into view and pass by, waving. The women wave back. The boys continue out of view. A moment later Gil and Hunter follow course and wave. The women wave back and watch them leave view, then continue setting the meal. We HEAR THE ENGINES TURNED OFF.
EXT. HILLSIDE OAK WOODLAND - DAY
Grey sky. Rudimentary lean-to with fire pit, a tire swing hung from a tree limb, a horseshoe pit, an archery target, and a bench aimed at the view of surrounding hills. Near the bench an arrow sign is aimed at what looks like an opening to a trail.
Silent until the ENGINE WHINE OF ALL-TERRAIN VEHICLES NEARING. Finally the boys arrive in one and Gil and Hunter in the other arrive. The boys with bows and arrows head to the archery target and commence shooting, Gil parks near the bench, water bottles in both cup-holders.
HUNTER: Wow. You must get a helluva sunrise.
GIL: I'm here to meet it almost every morning.
HUNTER: When did your dad buy the land?
GIL: When he came back from the war. G I bill loan. My uncle Jose used his to start the construction company. When we sold that I bought the neighbor's property and started building the house.
HUNTER: What's the arrow pointing to?
GIL: Trail to the creek.
HUNTER: Where does the creek go?
GIL: When there's water to another that feeds the Medina.
HUNTER: Is there water in it now.
GIL: A trickle. This storm will change that.
HUNTER: Wanda said you were in Vietnam.
GIL: I was. As was Tom, but you probably know that.
HUNTER: It came up. We were going to get back to it later. Would you be willing to talk about it?
GIL: We can do that. Maybe when you're back next week.
HUNTER: I'd like that. Thank you.
GIL: Got our draft cards the same day.
HUNTER: Did you enlist?
GIL: Hell no. Didn't have any plans to be a Marine until they pulled me out of line to tell me I did.
HUNTER: I guess Tom didn't join, either.
GIL: He did not.
HUNTER: I saw his First Cavalry tattoo when they took his body away.
GIL: I have my E G A on the same shoulder.
HUNTER: E G A?
GIL: Eagle, globe and anchor.
HUNTER: Ah, right.
GIL: You ever in the service?
HUNTER: No. My grandfather was Army in Italy.
GIL: In the second.
HUNTER: Yes.
FAINT THUNDER.
GIL (CONT.): Here she comes.
HUNTER:
GIL: How's your monsoon season going?
HUNTER: Wetter than usual. Which is good, we need it. You've been to Las Cruces.
GIL: Driving through plenty of times. I've got a grand-niece in Truth or Consequences.
LOUDER THUNDER.
GIL (CONT.): I've got some photographs from when Tom and I were in Bangkok on R and R.
HUNTER: I'd love to see them.
GIL: When you're back.
HUNTER: Thank you.
GIL: Deer at your three o'clock.
Hunter turns to see the whitetail buck seeming to look at them from partially behind a tree. It finally retreats from view in the woods.
HUNTER: Did Tom hunt?
GIL: He did. Got his first here. At the creek. Pretty sure he's on a wall in Laramie. But not after he got back. I don't think he ever picked up a rifle again.
HUNTER: You?
GIL: Once a year I'll get one to give the church for their Thanksgiving at a homeless shelter in San Antonio.
Gil's PHONE CHIRPS. He checks.
GIL: Lunch time.
Gil turns, WHISTLES at the boys, quick to gather their bows and arrows and load them onto the ATV.
LOUDER THUNDER.
GIL(CONT.): Have you ever hunted, Hunter?
HUNTER: No. My maternal great-grandfather's middle name was Hunter for his paternal grandfather. Not that you asked.
GIL: I would've got around to it. Fished?
HUNTER: Once. Trout pool when I was a kid.
GIL: Something you'd try again if we took the boat out when you're back?
Hunter nods. Gil starts the engine. One of the boys starts theirs.
GIL (CONT.): It's a date.
Gil drives into the woods from whence they'd come, the boys follow. They leave view, ENGINE WHINE FADES to silence broken by CICADA WHIR.
In No Order of Appearance
______________________
Tom
Wanda
Hunter
Chloe
Barbara
John
Jan
Brian
Jackie
Daisy
Ruth
Gil
Maria
Roberto
Rodrigo
Sess
Claire
Clem (Daisy's deceased husband, referred to)
Dale (Ruth's deceased husband, referred to)
Darryl (Dale's deceased son, referred to)
Kyle (Brian's son,,referred to)
Bill (Tom and Ruth's father, referred to)
Margaret (Tom and Ruth's mother, referred to)
Calvin (Wanda's deceased first husband)
Rebecca (Wanda's deceased daughter, referred to)
Ramon (Gil's deceased son, Maria's husband and father of Roberto and Rodrigo, referred to)
Olivia (Hunter's deceased mother, referred to)
(Olivia's deceased parents/Hunter's grandparents referred to)
EXT. HOME AMONG OAKS - MOMENTS LATER
Limestone in the style of ranch. Neither fence nor neighbor in sight. Gil in rocker on deck facing the woods from which the hardpack dirt road leads to the paved parking area at the big garage. KIA SUV and Chevrolet Silverado pickup truck aimed at its closed doors. Gil's cowboy casual attire includes hat, black like his boots. His silver belt buckle features a bronze eagle. We HEAR TOM'S TRUCK ENGINE before it emerges from the woods. Gil rises from rocker and walks down steps to parking area as Hunter parks behind the KIA.
INT. BEDROOM - DAY
Describe.
Maria and the boys peek out a window at Hunter, Wanda and Ruth getting out of the truck, the greetings and intros that include Gil hugging Wanda and Ruth and shaking Hunter's hand before leading them to the deck. Maria and the boys leave the window.
INT. TRUCK - DAY
Hunter driving two-lane road. Wanda in the middle, Ruth on the passenger side.
Describe terrain.
A lull before:
RUTH: So Hunter, I thought I might tell you a little about Maria and the boys before you meet them.
HUNTER: I had assumed Gil's daughter and grandsons.
RUTH: Correct. Technically daughter-in-law. Maria was married to Gil and Soly's son Ramon, the father of Javier and Esteban. Ramon was a Marine killed in Afghanistan a day after Esteban's first birthday. Javier was three.
HUNTER: How old are they now?
RUTH: Sixteen and fourteen. They and Maria live in Seguin, east of San Antonio.
HUNTER: Was Gil in the military?
RUTH: He was a Marine in Vietnam. And his father before him in the Pacific in World War Two.
HUNTER: Bill?
RUTH: Seventh Army. Scar on his left shoulder from a bullet that grazed him at Operation Undertone, if you've ever heard of it.
HUNTER: I have. My grandfather was Fifth at Salerno, if you've ever heard of it.
RUTH: I have. Gil's gate is just around the bend.
EXT. RANCH GATE
Describe. Higher POV shows tops of surrounding hills. Hardpack dirt road beyond the gate.
We HEAR THE TRUCK'S ENGINE before it rounds bend into view. Hunter drives to the gate, Ruth gets out, punches keypad, back into truck as gate opens. Hunter drives through, gate closes as the truck turns out of view behind trees.
EXT. MORRO STRAND STATE BEACH - DAY
With other BEACH VISITORS, Barbara and Chloe, barefoot and sandals in hand, walk in the water where it laps upon the sand, the volcanic plug known as Morro Rock prominent in the bay ahead of them.
BARBARA: Do we know what they're doing today?
CHLOE: They're visiting Tom's best and lifelong friend where he lives outside a town called Medina.
BARBARA: Hill country.
CHLOE: Have you ever been?
BARBARA: When I was a sophomore in high school dad had a trial in San Antonio. Mom and I flew out and stayed my spring break. We went for a drive one day. Pretty country.
CHLOE: I'm invited down when dad goes back with the ashes.
BARBARA: Really?
Chloe nods. They turn away from the water toward a trail in the brush that leads away from the beach.
BABBARA (CONT.): Are you going?
CHLOE: Thinking about it. I'd fly into Austin and we'd spend part of the day touring U T.
BARBARA: Okay.
CHLOE: And maybe innertube float the Medina River.
BARBARA: Sounds fun.
CHLOE: You cool if I go?
BARBARA: Of course, Chloe. Way cool. I officially encourage it.
Chloe nods. The PARKING LOT the trail leads to comes into view, and the DOZEN CARS in it.
CHLOE: How are things with Brian?
BARBARA: Good. I'm meeting his son tomorrow.
CHLOE: Kyle.
BARBARA: Kyle.
CHLOE: Baseball player at Cuesta
BARBARA: Yep.
CHLOE: Meeting where?
BARBARA: Pismo for bowling and pizza. You're invited.
Barbara KEY-CHIRPS the NEW VOLVO SUV in the lot.
CHLOE: What time?
BARBARA: I'll leave at seven.
CHLOE: Hill run with Jen at six-thirty.
BARBARA: Doh. You told me that.
Barbara hands Chloe they key, gets in the front passenger seat, Chloe behind the wheel.
CHLOE: Did I tell you she decided on Duke.
BARBARA: I don't think you did.
CHLOE'S PHONE CHIRPS. She checks, smiles, passes phone to Barbara, who stares at the SELFIE HUNTER HAS TAKEN from where he sits at the steering wheel of the truck. Wanda in the middle next to him and Ruth on the passenger side lean into frame, all smiling. The passenger window frames the view to hills painted green by trees. Barb hands phone back to Chloe.
BARBARA (CONT.): I think you should go.
Chloe stares at the picture, nods. Barb leans over to kiss her cheek. They buckle up, Chloe starts engine, backs out of frame.
EXT. JOHN AND JAN'S STREET - DAY
Both per previous re uphill walk with dumbbells in hand.
JOHN: I've been thinking.
JAN: I've been noticing.
JOHN: We should reach out to Wanda and Ruth.
JAN: Mind reader.
JOHN: They're family now.
JAN: Indeed. A card?
JOHN: That's a start. I'll get the address when I call Hunter.
JAN: When are you going to call?
JOHN: When he gets home, which is according to Barb is Tuesday. I should have called earlier.
JAN: Would you mind if I join the call.
JOHN: Of course not. By that time we'll be talking to a bestselling author.
JAN: So much for under the radar cult following.
JOHN: And being made into a movie.
JAN: Barb said that according to Chloe's he's considering moving.
JOHN: I heard that. Do we know anything about prospective locations?
JAN: We do not but Barb's guess is a cabin in the woods you can't see from the road.
They arrive at their driveway, the Mercedes in its previous spot. They set their dumbbells on the curb, John checks his watch.
JOHN: Guess.
JAN: It felt quick. Sub thirty?
JOHN: Twenty-eight and small change.
JAN: Are we getting younger?
JOHN: Alas, no. Which segues into something else I've been thinking about.
He takes her hand, they walk the driveway to the door.
JAN: Yes.
JOHN: Simply to introduce the notion.
JAN: Alright.
JOHN: I want to be cremated, Jan.
Jan stops them.
JAN: You really are a mind reader. I've been considering the same.
JOHN: Let's talk.
He opens the door with key, lets her in, follows, closes door.
Ruth, Wanda and Hunter stand at the grave site marked by two alike headstones, Tom's truck parked under shade of oak to the side of the dirt road behind them. A bouquet of petunias and marigolds between the stones. One stone is marked William Davis Walker, September 22, 1920 - April 14, 1994. The other, Margaret Esther Walker, December 18, 1920 - April 21, 2000. A MAN, WOMAN, BOY and GIRL attend another grave on the other side of the cemetery, a car parked nearby.
HUNTER: Where are their parents buried?
RUTH: Mom's in Lubbock, dad's in Nacogdoches.
WANDA: Your mother and her parents?
HUNTER: The same cemetery in Santa Ana, California. Any plans for Tom's ashes?
Wanda and Ruth look to each other, Ruth nods.
WANDA: I'll put some in the Little Laramie River at Tom's favorite fishing spot.
RUTH: And some in the Medina River where he and dad fished.
HUNTER: I saw his licenses in the glove compartment.
RUTH: Gil has a boat they would take to Medina Lake for bass we'd batter up and fry.
HUNTER: Trout in the Little Laramie?
RUTH: Brown and rainbow.
HUNTER: Fly.
WANDA: That's right. I was talking about Daisy earlier. Her husband Clem passed a few months ago. He was Tom's fishing buddy. They'd head out to the Snowy Range and camp overnight, fish the little lakes. Have you ever fished, Hunter?
HUNTER: No. Who taught Tom to tie a fly?
RUTH: A soldier in Vietnam.
HUNTER: Do you think Gil would be willing to talk about Vietnam?
RUTH: I do. But you'd have to ask him.
They watch The boy and girl in the other party place flowers near the headstone. All in the party bow their heads, hands clasped in prayer position.
RUTH (CONT.) Ready?
Wanda nods. They walk to the truck, get in, Hunter behind the wheel, Ruth in the middle. He and Wanda buckle up, he starts the engine, drives to the road, turns onto it, drives out of frame. The man, woman, boy and girl walk to their car.
