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 MarÃa 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.
INT. DINING ROOM - NIGHT
Wanda, Ruth and Hunter in three of the four seats around the table, same wood as the hutch. Framed oil-on-canvas painting of peaches-in-wooden bowl still life. View into kitchen, curtains drawn closed across big window. Each has a near-empty glass of red wine, bottle on the table near a photo album.
RUTH: Hunter, can I ask you a personal question about Foglost?
HUNTER: Of course. You've read it?
RUTH: I finished it last night.
WANDA: Tom was about to but he left it at home.
HUNTER: He mentioned that.
WANDA: I was going to start when he was done.
RUTH: Gil's read your books, too. He might also have a question or two for you.
HUNTER: I'm looking forward to meeting Gil.
RUTH: As he is looking forward to meeting you.
A lull. Each sips.
HUNTER: Your question?
RUTH: My question, because Bob's alcoholism was so vividly and viscerally conveyed, is did you ever have a drinking problem?
HUNTER: I did. The fog began to lift five or six years ago, to round it off to more or less.
RUTH: These days?
HUNTER: A beer at night and glass of wine when it's offered.
WANDA: Tom and I met at an A A meeting.
HUNTER: He mentioned that. In Boise.
WANDA: That's right.
HUNTER: And that you were married a year to the day later on the first of November.
WANDA: We were.
HUNTER: And that you were going to Hawaii for your twenty-fifth.
WANDA: Yes.
HUNTER: He told me it was his only marriage and that he had no kids that he knew of.
WANDA: That is my understanding as well.
Hunter and Ruth smile.
HUNTER: How about you, if you don't mind me asking.
WANDA: I don't mind. And hope you won't when I ask a few of you.
HUNTER: I will not.
RUTH: I've got a couple myself.
HUNTER (SINGS) Getting to know you.
RUTH/WANDA (SING): Getting to know all about you.
A lull. Each swirls and sips.
WANDA: I was married and divorced almost twenty years before I met Tom. His name was Calvin. We were very young. We had a daughter, Rebecca, who drowned in a lake when she was ten at a summer camp. Cal and I divorced a couple years later. He died from lung cancer several years ago.
HUNTER: Drinking these days?
WANDA: We'll have a beer Saturday nights and wine with Ruthie when we're down.
RUTH: Tom will have a shot of tequila with Gil when we're over there. Speaking of over there, I thought we might take the long way through Bandera. The house isn't there anymore but the neighborhood mostly is.
HUNTER: I would like that very much.
RUTH: I hope you don't mind if we stop by the cemetery.
HUNTER: I'd like that, too.
Each swirls and sips.
50. EXT. BANDERA CEMETERY - DAY
Ever-changing and will very likely change again
47. Table Talk. Foglost re drinking.
48. Ruth's Guest room. Hunter's screensaver. W/R "about the truck."
49. Hunter driving Wanda and Ruth, Hill Country. On Gil, Maria and the boys, and Ricky. Gate just around the bend.
Gate, arrive, keypad, enter Rancho Mendoza.
50. Gil on front deck. Limestone. Truck arrive. Maria and boys watch through window.
51. John and Jan powerwalk. On death.
52. Wanda, Ruth and Maria.
53. Hunter, Gil, the boys at Fort Park. Maria ringtone.
54. Chloe and Barbara. Meet Brian's son re bowling.
55. Wanda, Ruth and Hunter, back porch with ice cream. H backstory.
56. Gil with Vietnam pics. Enter boys, Maria.
57. Hunter leaving next morning. W and R Last Picture Show at Arcadia.
58. Hunter driving, music, flat, manual.
59. H arrive Jackie's. The Tahoe story in bed.
60. Hunter arrive home, guest book.
61. Doc 2
62. Hawaii.
EPILOGUE: Gil and Hunter fishing.
Tweaks, late changes, dotting t's and crossing i's, a couple continuity fixes. And title change.
EXT. RUTH'S FRONT PORCH - DAY
Ruth and Wanda in rockers, glasses of lemonade in hand, glass pitcher on the table between them. ROCKERS CREAK dissimilarly. WHIR OF CICADAS.
A BREEZE SINGS THE CHIMES.
RUTH: Storm on the way.
WANDA: I saw that on the weather channel. I guess Corpus is battening down the hatches.
RUTH: We'll start getting our share late afternoon early evening. Probably not a bad idea to leave Gil's in time to beat the start of it.
WANDA: Definitely not a bad idea.
RUTH: Wait until you see how the boys have grown.
WANDA: That's what Gil told Tom.
RUTH: They cried when he told them. And Maria. He told her about Hunter.
WANDA: Alright.
RUTH: Maria told the boys.
RUTH: Okay.
The SOUND OF TOM'S TRUCK'S ENGINE lifts them out of their rockers. They watch Hunter drive intom frame, slow, look at them as he arrives at the driveway.
INT. TRUCK
Hunter drives to the garage, the women walk to the steps, he stops, turns off engine.
PORCH
Hunter gets out, walks the steps, embraces each of them. Ruth takes one of Hunter's hands, Wanda the other, lead him to the screen door. Ruth opens it, motions Hunter in, Wanda follows, then Ruth. WHIR OF CICADAS.
INT. JOHN/JAN'S HOME THEATRE.
EDIT: Dale and Darryl to Frank and Fred.
Windowless, one row of plush seating lower than the one behind it. Open door to hallway and framed photograph on wall. Movie posters. Chloe is sitting in back-row center-seat, face lit by her laptop's screen, filled with Tom in his seat in the Rover, looking out the window at Alamogordo passing by. John, Jan and Barbara in the front row stare at the same on the wall-mounted big-screen.
CHLOE (O.S.): What about Ruth as far as career, marriage and children?
Tom turns to Chloe.
TOM: Ruth was a junior high school teacher in Del Rio for a few years before she got into administration with Johnson City School District.
CHLOE (O.S.): Where did she go to college?
TOM: Then it was called Southwest Texas State. Now it's plain olf Texas State. In San Marcos.
JACKIE (O.S.): Johnson City as in Lyndon Baines?
TOM: That's the fella.
CHLOE (O.S.): Were your parents political?
TOM: I'd say mostly not. I remember back and forth about Vietnam, not to venture off into that.
CHLOE (O.S.): I'm the one who asked. So back to Ruth and school administration.
TOM: Well, that leads into her marryin' a man named Frank Norman. Frank was in oil, a petroleum engineer. They met when she was in Dallas for a conference. He was down from Tulsa on business. Little over a year later they married and Ruth moved to Tulsa. Frank was divorced and his 10-year-old son lived with his mother in Fayateville, Arkansas. Fred. Ruthie wasn't able to have children. Anyway, they lived in Tulsa, moved into a real nice home in the Garden District. Darryl moved in to go to college at Tulsa U. Mechanical engineering. In November of his third year he and Dale drove to Lubbock to fly with another father and son to a ranch outside Menard, Texas. The father was the pilot. He had a heart attack a mile away from the strip. Crashed. No survivors. Ruthie sold the house and moved in with our folks, went through a period of mourning, then traveled through Europe for a year. Came back, bought a house in Fredericksburg for herself, mom and dad. If there was ever anybody else in her life after Dale it'd be news to me. You gonna post this up on your social media?
CHLOE (O.S.) Not if you don't want me to.
TOM: Ah heck, Chloe, you go right ahead. Just let me know so I can tell Ruth and Wanda.
CHLOE (O.S.) Will do.
Tom winks, returns his attention to the window view, then back to Chloe.
TOM (TILTS HEAD, FURROWS BROW): Why do ya suppose it's called Alamogordo?
Chloe STOPS PLAY.
BARBARA: That's Hunter's head tilt and furrowed brow.
JOHN/JAN: Wow.
All stare at the screen.
INT. TOM'S TRUCK - DAY
Hunter in sunglasses drives east on highway 290 east of Sheffield, Texas aimed at a truss bridge and the straight-ahead stretch of highway lined by brown desert hills beyond. The Rodney Hayden song, Down On The Pecos, plays on the radio. He dives over the bridge, looks to his left at the Pecos River then ahead at the shimmering false end of the road. The song ends. After a moment Ry Cooder's Canción Mixteca begins.
TOM: Mid-80s Ford F-150 (Lariat)
WANDA: Newish Subaru wagon
HUNTER: Harley-Davidson Road Glide, new Land Rover
JACKIE: Early-90s Alfa Romeo Spider
SESS: Newish Dodge Ram Diesel Dually (and horse trailer)
CLAIRE: Jeep CJ-7
JOHN: Mercedes-Benz 560SL
BARBARA: Tesla
BRIAN: BMW 2002
RUTH: Older Volvo wagon
GIL: Late-80s Porsche 911 Carrera, Chevy HD pickup (and boat trailer), 2 ATV's
MARIA: New KIA SUV
Yep. Back to Boots when I begin the Finally Final blog.
For the record.
All I know is that it includes Chloe, Barbara, Jan and John. And maybe video of Tom Chloe has captured. And I know for certain the thing to do is "just" let the specifics come to me, and that they will.
EXT./INT. TOM'S TRUCK IN HUNTER'S DRIVEWAY - DAY
Driver's door, garage door, and garage door into house open.
Keys in ignition. Tom's boots atop his suitcase in the well below the passenger side. A suitcase on the hood of the Rover. Hunter comes out of house, closes door behind him, gets suitcase from Rover hood, walks to truck, puts suitcase on passenger side of seat, closes garage door, gets in behind the wheel.
He opens the glove compartment to find a portable GPS, a flare and lighter in a zip-loc bag, pocket knife, an envelope marked "ins/reg," another marked "WY/TX fish lic" that he opens to find Tom's Wyoming and Texas fishing licenses, and the truck's owner's manual. He puts licenses back in the envelope, the envelope in the glove compartment, closes the glove compartment.
He gets sunglasses from shirt pocket, puts them on, starts the engine, lowers the window, buckles up, drives to the street and away down the road.
INT. TALK THERAPY ROOM - DAY
Adobe. Window to small fountain in small courtyard behind where DOC, 60-something - new jeans, wingtips that match the belt, bolo tie with dress shirt, long hair in a tail - sits at a 60s-era vintage school desk behind Hunter in a recliner aimed at an aquarium teeming with tropical fish. Hat rack near opening to hall. Hunter's legs crossed at ankles, hands clasped at waist, gaze aimed at the SOFTLY GURGLING AQUAIUM. Doc writes on a yellow legal pad. Finally:
DOC: What becomes of the body?
HUNTER: Cremation. I'm driving his truck to Kerrville tomorrow, will be there a couple days, fly back for his ashes, head back down for a week or so. I know we're way over time, Doc.
DOC: My two-thirty cancelled and the over is on the house.
HUNTER: Thanks. And for the short notice. I heard his boots last night. Or thought I heard what sounded like his boots. Three steps. In his room. I was in the kitchen. I checked.
DOC: The guest room.
HUNTER: Yes. As if he'd be there.
Hunter uprights the recliner. Doc stops writing.
HUNTER (CONT.): His cologne lingers.
DOC: In the guest room.
HUNTER: In the house. Faint, but strong in his room.
DOC: What was his cologne?
HUNTER: Stetson. Citrus and sage. They fit.
DOC: What fits?
HUNTER: His boots.
Hunter stands, Doc stops writing, stands.
HUNTER (CONT.): Size eleven. His hat's a little small.
Hunter extends hand, they shake.
HUNTER (CONT.): Thanks, Doc. I feel better.
DOC: Good. So off for next week.
HUNTER: Yes.
DOC: I'll be looking forward to your Kerrville report.
HUNTER: I'm going to meet his best and lifetime friend.
DOC: He'll probably have a story or two.
HUNTER: I reckon he might. I'll let myself out.
DOC: Okay.
Hunter extends hand, they shake again. Hunter leaves into hallway, Doc sits, resumes writing.
EXT. HUNTER'S DRIVEWAY - DAY
Garage door open. Hunter and Chloe, arms around each other, watch PARAMEDIC 1 start the engine of the paramedic truck, drive to road, turn and drive away, PARAMEDIC 2's arm out the passenger window. They finally walk to garage and into house. Garage door closes behind them.
Gil and Roberto with straws in cans of horchata at a picnic table shaded by one of the many oak trees that surround the rustic store at the intersection where one two-lane highway bisects another. in the Texas Hill Country. Texas plates on vehicles in the parking lot that features Gil's Porsche 911 and a row of Harley-Davidson motorcycles lined up like horses at a hitching post. OTHER VISITORS at the three other picnic tables. The rumble of its engine precedes the big truck loaded with innertubes for river floating drives into and then out of view around the bend in the road.
Gil's PHONE RINGTONES PIANO OPENING to the Marcia Ball song, That's Enough of That Stuff..
GIL: Ruth.
(He gets phone from pocket.)
GIL: Hey girl.
(His face expresses the news he is hearing.)
Ruthie, I'll drive. I'm with Bobby in Venderpool. We'll go home, I''ll get the truck and be there in a couple hours, alright.
Okay, I'll call when I'm leaving. Is Wanda okay?
Alright. Talk to you soon.
(He pcockets his phone, ponders.)
ROBERTO: What's wrong?
GIL: Tom died.
(Roberto puts his hand on Gil's, Gil holds it, puts arm around Roberto.)
We need to get home so I can drive Ruth to the airport to get Wanda.
Roberto stands, Gil stands. Roberto puts arm around Gil, Gil puts arm around Roberto, they walk to the Porsche. Gil hands Roberto the keys. They get in, buckle up, Roberto drives out of lot onto road, turns onto bisecting highway, drives out of view.
EXT. GOLF COURSE - DAY
Teeing area of a three-par hole on the green of which GOLFER 1 squats to line up her putt from a far edge of the green guarded by a sand bunker on one side and small pond lined by palm trees on the other. GOLFER 2 observes from out of Golfer One's line of site, somewhat leaning on his putter. GOLFER 3 and GOLFER 4 observe from one of two carts parked along the path.
Jan and John in one cart arrive at the teeing area ahead of Barbara and Brian in another. All watch Golfer 1 sink the long putt and greet Golfer 2's high-five when she retrieves her ball from the cup. Jan steps to the tee box with an iron as Golfers 3 and 4 get in their cart and lead Golfers 1 and 2 in theirs down the path to the next tee. Jan tees up, looks down the fairway, waggles, swings and places the ball onto the green with a bounce.
JOHN: Look at that.
BRIAN: Nice shot, Jan.
John gets his iron, walks to tee box.
BARBARA: Someone's been practicing.
John presents the high-five Jan slaps. She bags iron, meets Barbara's high-five, sits in cart, watches John tee up, take a look to the green, waggle, swing and land the ball land on the green and roll to near the hole. Barbara, Jan and Brian applaud.
JOHN: Must be contagious.
BARBARA: Well then I'd better breathe it in before a breeze sweeps it away.
John bags iron, sits next to Jan. Barbara takes iron to tee box, tee up, takes a deep breath, addresses the ball, looks down the fairway, waggles, stops her swing when the PHONE in a pocket RINGTONES THE SOUND OF AN OLD-SCHOOL TYPEWRITER.
BARBARA (CONT.) Hunter.
(She picks up on the ZING of the return.)
Hey.
Oh no. Hunter.
Alright.
Okay.
I'll be here.
Love you too.
K..
(She pockets phone, picks up ball and tee, walks to cart.)
JAN/JOHN: Barb?
Barbara bags her iron, sits next to Brian in cart.
BARBARA: Tom died at Hunter's during the night.
JAN: Oh my.
JOHN: Jesus.
BARBARA: His guess is a heart attack. Chloe lands in Oakland this evening.
JOHN: We need to go.
Barbara nods. John and Jan in their cart lead Brian and Barb in theirs down the path to the green.
GOLFER 5 (O.S.) Fore!
A golf ball lands with a THUNK on the tee box.
EXT. BRICK HOUSE AT END OF CUL-DE-SAC - SUNRISE
Ruth stands near the mailbox at the driveway to the garage of the single-level home where the quiet, leafy winding lane ends. 1724 stenciled on mailbox. She assesses the home and brown-grass front yard with a For Sale staked in the middle, fenced by split-rail. Texas plates on every vehicle in view, including the older Mercedes-Benz wagon parked behind Ruth.
A concrete football field replete with sideline hash-marks has been chalk-marked onto the street. A MAN, 30 - running shoes, shorts, tee - jogs out of a garage to the street, looking back at the 5-YEAR-OLD BOY on a three-wheeler pedal-propelled Big Wheel following him. The boy sports a football helmet with a bobcat on each side. The man and behind and to the side of him follow the bend in the road out of view.
She gets PHONE from pocket when it RINGTONES the acoustic guitar opening the Lucinda Williams song, Bus to Baton Rouge.
RUTH: I swear to goodness I'm standing here outside a brick house at the end of a cul-de-sac about to take a picture to send you and Tom.
Wanda?
(Ruth's face expresses the news she is hearing. A FAINT SIREN comes and goes.)
I'm here. Wanda, are you going to be alright?
Does Hunter have my number?
Okay. Wanda, here's what we're going to do. Okay? I'm going to get you a flight to San Antonio. Okay? Can Daisy drive you to the airport?
Okay. I'm going to get home, book your flight, and call you as soon as I send the ticket for you to print.
Alright, sweetheart. I'm going to call Daisy to have her come over, okay?
I love you too.
I'll be alright. We'll get through this, Wanda.
Bye, baby.
She stares at the house. A breeze moves her hair across her face and RINGS FAINT CHIMES. She finally pockets phone, goes to Mercedez, gets in behind the wheel, stares ahead before finally dropping her face into her hands and sobbing, shaking her head.
INT. TOM'S/WANDA'S DINING ROOM - SUNRISE
Stove clock at 6:59. Wanda in robe and slippers, at the table with mug of steaming coffee, attention on her laptop screen and the online version of the Laramie Boomerang newspaper reflected in her glasses. Phone on the Hawaiian Travel brochure. She smiles when her PHONE PLAYS TOM'S RINGTONE. She minimizes screen to screensaver TBD, picks up.
WANDA: Well you're on the road early.
Oh. Hello, Hunter.
Yes I'm here. I'm just...Hunter, I hope it's alright if I call you back.
Thank you. Do you mind please texting me your phone number.
Thank you. I need a moment. Or two.
Thank you. Goodbye.
(She stares at her phone, screen filled with selfie Tom has taken TBD. She sets phone face-down, stares at the screensaver, touches Tom's face with a fingertip.)
(WHISPERS): Tom.
(Closes her eyes, places hands together in front of her, bows head, sobs.)
INT. HUNTER'S GUEST ROOM - DAY
Chloe, face crying-stained, stands next to Hunter near the desk, Hunter sets Tom's phone down. They stare at Tom's body. Finally:
HUNTER: Come on.
He gets phone from pocket, leads Chloe into the hall.
HUNTER (CONT. O.S.) I need to report a death that has occurred at my residence.
No.
Yes.
INT. BEDROOM - SUNRISE - MOMENTS LATER
Desk and chair, dresser drawer with mirror, chair and lamp in corner, wall art/poster, etc., and Chloe asleep in bed under open window to Organ Mountains. Hunter arrives in doorway, finally enters, sits on bed, stirring Chloe. She finally opens her eyes, finds Hunter, wipes hair out of face, sizes up Hunter's expression. She suddenly sits up.
CHLOE: No. No. Dad?
Hunter nods.
CHLOE: No.
Hunter sits next to her, opens arms, embraces her. Chloe sobs.
38. Hunter tells Chloe.
39. Hunter calls Wanda.
40. Wanda calls Ruth.
41. Ruth calls Gil, with Roberto, Corvette, Fred the Friend @ Bandera VFW.
42. Hunter calls Barbara, on golf course with Brian, Jan and John.
43. Doc 1. Extra time, two-thirty cancel, Now What?
44. Hunter leaves in Tom's truck.
45. Chloe and Barb, Barb's Volvo. Chloe watching video, Tom re Ruth
46. Wanda and Ruth front porch, Hunter arrives.
47. Hunter, Wanda, Ruth, table talk. Red wine, re Drinking, Foglost.
48. Jackie at home gets call from Hunter in Ruth's guest room. She's just off phone with Sess. Re Gil tomorrow. Enter Ruth and Wanda, About the Truck.
49. Gil, front deck, Tom's truck, intros, into house.
50. Chloe with Jan and John.
51. Hunter, Gil, the boys, Fort Park. Re Vietnam. Call for lunch, Maria's ringtone.
52. Bandera Cemetery. Thunder, rain.
53. Hunter, Wanda, Ruth back porch w/ice cream. Rain. Hunter's history.
54. Gil in den, tequila and Vietnam photos. Thunder and rain. Maria and the boys, about a photograph.
54. Hunter leaving next morning in the truck. Last Picture Show at Arcadia.
55. Hunter arrive Jackie's, bed, re Carson City.
56. Hunter arrive home, Tom's entry in guest book.
57. Doc 2. Hawaii.
58. Hawaii.
59. Leaving Laramie. Snow on the ground.
60. EPILOGUE: Hunter and Gil fishing.
INT. HUNTER'S KITCHEN - SUNRISE
Tea kettle on stove. Stove clock at 6:25. A little coffee in the pot of the pour-over kit on the counter. Window view to phone, coffee mug, pen on yellow legal pad on the patio table, roadrunner still on the stone wall until it scurries away when Hunter - jeans, running shoes, MT. BALDY long-sleeve tee - walks into view, finishes coffee, approaches, mug in hand.
He enters, pours remaining coffee in pot into mug, puts mug in microwave, turns dial for brief heat. DING when it's done. He gets mug, steps into hall, stops, sips, takes a step out of view.
INT. HALL
At the end of the hall near the partially open doors to the guest room and bathroom across from it. Hunter approaches slowly.
INT. GUEST ROOM
Tom in pajamas, still on his back under the covers, eyes closed, one arm alongside him, the other hand on his chest. Phone on desk, hat on rack, boots on floor near suitcase.
HUNTER (O.S.) Tom?
He arrives in the doorway, stands and stares at Tom.
HUNTER (LOUDER): Tom?
He enters, stands at the bed.
HUNTER (LOUDER): Tom?
He sets mug on desk, touches Tom's hand, no response. He takes Tom's hand, no response. He pinches Tom's arm, no response. He feels for a pulse, finally drops Tom's hand softly alongside him. He checks Tom's carotid pulse, holds a finger under Tom's nose to check for breathing. He sits, stares at Tom.
EXT. WANDA'S/TOM'S BACK YARD - NIGHT
Starry sky. Wanda in chair under the umbrella. Phone and glass of chocolate milk on the table. PHONE PLAYS TOM'S RINGTONE. She picks up to see Tom's face on screen.
WANDA: Well my goodness. Tell me I'm your first FaceTime.
TOM: You're my first, sweetheart. Two days without seein' your radiance is too much.
WANDA: Ah.
TOM: You in the yard?
WANDA: Yep. Starry skies and chocolate milk, waiting to hear your voice. And now here you are with me.
TOM: I love you, Wanda.
WANDA: I love you, Tom. Where are you?
TOM: Guest room. We had a wonderful day, angel.
WANDA: I can see it in your eyes. When do I get to hear all about it?
TOM: I'll call from lunch in Fort Stockton. And when I'm leavin' here in the mornin'.
WANDA: Okay. I love the pictures, Tom.
TOM: There's more. Chloe took plenty and she's gonna send some of 'em to me.
WANDA: I'm so happy about this.
TOM: I am too.
WANDA: Have you called Ruth?
TOM: Bout to, then get on to bed.
WANDA: Well sweet dreams, love.
TOM: You too, baby. Goodnight, Wanda Pearl.
WANDA: Goodnight, Thomas Travis.
He blows her a kiss. She reciprocates. The screen goes black, she sets the phone down, wipes a tear.
INT. HUNTER'S GUEST ROOM - MOMENT LATER
Tom's hat on rack, suitcase on bed. He's at the desk, shirt unbuttoned, boots on floor, looking at the guest book, phone in hand. He finally FaceTimes Ruth, who appears on screen, shaking her head. Tom smiles.
RUTH: Well brother, aren't you just full of surprises these days? A layover in Las Cruces and now your first FaceTime.
TOM: Hi, sis.
RUTH: Tell me everything. But first, the pictures are wonderful.
TOM: More on the way and I'll tell ya all about it when I get there.
INT. BEDROOM
Ruth in bed, magazine in lap, Tom's face fills her phone screen.
RUTH: Your face says you had a good day.
TOM: A fantastic day had by all.
RUTH: I'm so happy to hear it, Tommy.
TOM: Happy to report it.
RUTH: So you're leaving in the morning?
TOM: We're all headin' out right after breakfast. They're goin' on a motorcycle tour into Arizona. I'll call ya then.
RUTH: Okay. Maria and the boys are up.
TOM: Gil said they were comin'. Love you, Ruth.
RUTH: Love you, Tom. I can't tell you how happy I am that this happened.
TOM: Is happening.
RUTH: Is happening.
TOM: Talk to ya soon.
RUTH: K. Goodnight.
TOM: Goodnight.
Her screen goes blank. She smiles, shakes head, sets phone on nightstand, returns attention to her magazine of Logic Puzzles.
GUEST ROOM
Tom taps phone on desk, sets it down, opens the guest book, finds the blank page after the most recent entry, turns back to the entry. Over his shoulder we read the note in elegant cursive blue pen.
22 June
Hunter,
Thank you so much for your hospitality. We look forward to our turn as hosts when you and Chloe are in Boston and hope you will not forget us when Foglost makes you famous.
Friends Lou and Rebecca.
Tom closes the book, picks up phone, brings up the picture he took of the Tahoe photograph in Hunter's hand, stares,
TOM (WHISPERS) Olivia.
