EXT. FOREST - DAY
Shafts of high-noon sunlight through the ponderosa pines. WOODPECKER KNOCKING before the CUH-LIP CUH-LOP OF HORSE HOOVES LANDING before they and their riders enter, ride through and out of frame, Sess first and Tom last, fanned out as if a search party. WOODPECKER KNOCKING.
EXT. MANUFACTURED HOME IN THE WOODS - DAY
SESS and CLAIRE, 40ish, cowgirls from boots to belt buckle and hats, sit on a log bench on the front deck of the home facing the two-lane road that leads to the hardpack dirt driveway to the carport covering A Dodge Ram 3500 dually pickup truck with New Mexico plates and a mid-80s Jeep with Oklahoma plates. Behind the house a four-horse trailer next to a barn near a corral and SIX SADDLED HORSES tied to a hitching post. Forest surrounds the clearing.
CLAIRE: How did they meet?
SESS: Flight from Denver to A-B-Q.
CLAIRE: What does Hunter do?
SESS: Writer.
CLAIRE: Writer of what?
SESS: The book your dad is reading and two others.
Claire shoots Sess a look then turns her attention to the SOUND OF THE ROVER as it comes into view. They stand, wave at Jackie who waves out the window, walk the steps down and to where Hunter parks at the port. Hunter, Jackie, Chloe and Tom walk to meet them.
CLAIRE: Do you know how the cowboy's related?
SESS: I do not.
Tom removes hat, Jackie opens her arms as she nears Claire.
JACKIE: What a wonderful surprise.
Jackie and Claire embrace.
CLAIRE: Hey sweetheart.
JACKIE: When did you get in?
CLAIRE: An hour ago.
Jackie and Sess embrace.
SESS: You made it.
JACKIE: And saw horses a half-mile this side of the ranger station.
CLAIRE: I did too.
SESS: Good start to the day.
JACKIE: So, introductions. Hunter, Chloe and Tom, it's my pleasure to introduce you to Claire and my cousin Cecilia.
Handshakes, hellos, variations of nice to meet you.
SESS: And Sess is fine, thank you. Tom, I'm guessing this is not your first rodeo.
TOM: I been to a couple.
JACKIE: Sess was a champion barrel racer back in the day.
TOM: What's the fastest barrel y'ever raced?
Tom winks, Sess smiles.
SESS: There was one in Fort Worth that could giddyup. Ever do any rodeo?
TOM: Juniors. Did a little tie-down ropin'.
SESS: Alright. Up for some riding?
TOM: I sure am. And i wanna thank y'all for lettin' me tag along.
SESS: The more the merrier. Let's saddle up.
They walk to the horses, Tom puts on his hat.
INT. ROVER - DAY
Hunter drives a two-lane road through piney woods.
TOM (to Chloe): When's the last time you were on a horse?
CHLOE: If the Grand Canyon mule ride counts, then two years ago.
TOM: I'd say it counts.
HUNTER: My last time as well.
TOM: Before that?
HUNTER: Once at a friend's uncle's house when I was a kid.
TOM: You.
CHLOE: Once also, pony ride when I was six.
HUNTER: There's a picture.
TOM: What did ya think of the Grand Canyon?
CHLOE: It was cool. Have you been?
TOM: When I was ten. Me and Ruth and mom and dad drove to Flagstaff for a cousin's wedding. .
HUNTER: Drove from Bandera?
TOM: We did.
HUNTER: In what?
TOM: Dad's brand new Impala three forty-eight.
HUNTER: Transmission?
TOM: Four-speed manual.
CHLOE: What color?
TOM: White, red and white interior. Convertible.
HUNTER: What became of it?
TOM: Totaled when dad hit a whitetail buck that jumped outta the woods outside Vanderpool. Got some ponies loose off to starboard.
All turn their attention the four horses cantering in the woods.
JACKIE: They're wild.
TOM: That so?
The horses leave view.
CHLOE (SINGS LIGHTLY): Wild, wild horses.
TOM (SINGS LIGHTLY..) We'll ride them someday.
Chloe smiles, Tom winks.
EXT. PATIO AND POOL - DAY
Barbara and BRIAN, 50ish, in terry cloth robes, play scrabble at a table near a grill under shade in a back yard with a kidney pool. Neighbor's trees above cedar fence. They each have a beer, their sunglasses and phones near. Brian has the pencil and pad of paper for scorekeeping. Tiles on board indicate a game close to an end. Barbara rearranges the tiles in her tray, in search of a word. Brian surveys the board.
BRIAN: Do you know what Tom does or did for a living?
BARBARA: Retired ranch foreman. Which a quick search shows to include myriad responsibilities.
She plays MYRIAD.
BRIAN: Nice.
BARBARA: Thank you. Twenty, please.
Brian tallies her 20, Barbara gets six tiles from the bag.
BRIAN: And she regains the lead. How many makes a myriad?
BARBARA: Many many.
BRIAN: Oh.
BARBARA: More specifically, I am fairly certain I have heard it connected to ten-thousand, along with innumerable.
BRIAN: I am similarly certain you are correct re the Greek, murias, re ten-thousand, although ten-thousand sounds numerable to me.
BARBARA: Agreed.
Barbara's PHONE BUZZES. She picks up, stares at the screen, hands Brian the phone. We see the SELFIE CHLOE HAS TAKEN that includes Tom, Hunter and Jackie standing on the shoulder of a highway through wooded hills, a significant mountain behind them.
BRIAN: I've been there.
BARBARA: Where's there?
BRIAN: Highway seventy through the Mescalero Apache reservation. The mountain is Sierra Blanca.
BARBARA: When were you there?
BRIAN: Maybe a dozen years ago visiting a friend who moved to Cloudcroft. Pretty place.
He hands her phone back.
BARBARA: Jackie's pretty, isn't she?
BRIAN: She is. Do you know what she does?
BARBARA: History professor at New Mexico State.
Brian finally finds LARIATS in his tiles, smiles.
BARBARA: Uh oh. That smile.
BRIAN: Tom Walker from Texas looks like he might know how to fashion a lariat.
He plays LARIATS.
BRIAN (CONT.): Or two.
Barbara shakes her head.
BARBARA: Well, well. I reckon that about lassos the game.
BRIAN: Given there are no more tiles in the bag, I reckon you reckon correctly.
She extends her hand, they shake.
BRIAN: Round two?
BARBARA: Yes. But not scrabble.
She stands, extends her hand. Brian takes her hand, stands.
BARBARA (CONT.): All this horse talk has me hankerin' for some saddle time.
BRIAN: Yee. Haw. Okay with some buckin'.
BARBARA: Just try to throw me.
Barbara leads him to the door to the house, Brian follows her in, closes door behind him. Barbara removes her robe, she's nude, as is Brian after dropping his robe. He follows her into the house out of view.
EXT. HUNTER'S DRIVEWAY - DAY
Garage door opens. Tom and Chloe come out, Hunter drives the Rover to the street. Hunter and Chloe in hiking boots, jeans, long-sleeve tees, ballcaps, sunglasses propped on bill. Chloe has her backpack. Tom per usual but faded jeans. Tom follows Chloe to the truck.
CHLOE: Cool truck.
TOM: Like it?
CHLOE: Nice two-tone.
TOM: Ain't the original paint but it's the same colors.
CHLOE: Did you buy it new?
TOM: No, my dad did. This was his last truck.
Tom opens the driver's door, gets aviator sunglasses from visor pocket, puts them in shirt pocket.
TOM (CONT.): Gotcher driver's license?
Chloe nods. Hunter parks, walks to Tom and Chloe. Tom shuts the door.
TOM (CONT.): Car?
She shakes her head.
TOM (CONT.) Do ya want one.
She shrugs. Hunter arrives.
CHLOE: This was Dale's truck.
HUNTER: Really?
Down the road a red car, top down, comes into view.
TOM: Bought it brand new comin' home from a Cowboys game with a couple friends.
CHLOE: Yonder comes a convertible..
Tom and Hunter turn to see the early-90s Alfa Romeo Spider convertible approaching.
HUNTER: Heeere's Jackie.
Hunter waves and points the driver to the garage like an aircraft marshal. JACKIE, 40-ish, drives into the driveway, parks in the garage. Tom and Chloe watch Hunter walk to Jackie, in hiking boots, jeans, long-sleeve tee, Ski Apache ballcap. She gets out, gets backpack from passenger seat, meets Hunter's quick kiss. Tom removes his hat.
JACKIE: I'm so nervous.
HUNTER: Like the rest of us.
He takes her hand, leads her to Tom and Chloe.
HUNTER (CONT.): So, Chloe and Tom, It's my pleasure to introduce you to to Jacqueline. Jacqueline, meet Tom and Chloe.
Chloe, Tom and Jackie shake hands, exchange hellos and good to meet yous.
HUNTER: Shall we?
JACKIE: Let's.
Hunter activates garage door closure, leads them to the Rover.
HUNTER: I thought maybe a White Sands sunset if it works out timing wise.
JACKIE: That would be nice. Which reminds me, I hope nobody's shy about being in pictures because I plan to take a few.
CHLOE: I brought my selfie stick for a reason.
HUNTER: I was hopin' y'all wouldn't mind 'cause I plan on takin' a bunch myself.
CHLOE: Yay.
Hunter opens the front passenger door for Jackie, who gets in. Chloe gets in behind her, Hunter in the driver's seat, Tom behind him. They buckle up, drive away.
EXT. HUNTER'S PATIO - NIGHT
Hunter, Tom and Chloe seated at the table, remnants of casserole dinner on plates pushed away. Chloe has a milk, Hunter and Tom ice waters from a glass pitcher. Moon obscured by then peeking through clouds. Tom's hat hangs off the back of the fourth chair.
A lull before DISTANT THUNDER.
HUNTER: Here it comes. This is our monsoon season, Tom.
TOM: Yessir. Got plenty of rain in Albuquerque last night. Prob'ly somethin' you don't get a whole lot of in San Luis Obispo.
CHLOE: We get some. What we do not get are the balmy Laramie winters I'd bet you and Wanda are going to miss.
Tom laughs, not noticing the quick look Hunter and Chloe shoot each other.
TOM: No, Chloe, I'd bet ya don't.
CHLOE: Or the cool summers you'll have in Texas.
Tom laughs again and again does not notice the look Chloe and Hunter shoot each other.
TOM: Or them either.
NEARER THUNDER.
CHLOE: Are you and Wanda going anywhere for your twenty-fifth?
TOM: We're goin' to Hawaii.
CHLOE: Cool. What island?
TOM: Oahu. First part a the week on the beach at Waikiki, rest a the time in a town called Kailua.
CHLOE: Been before?
TOM: No ma'am. First time for both of us.
CHLOE: Excited?
TOM: We are. I bet y'all been.
Chloe nods.
HUNTER: Any special plans?
TOM: Well, doin' a luau, sunset cruise and a horse ride. Wanda don't believe it but I aim to take a surfin' lesson.
CHLOE: Yay.
TOM: Seems like a good place to learn, assumin' I do manage to stand up. Figure worst can happen is I fall off. Got a feelin' it ain't as hard a landin' as comin' off a horse.
CHLOE: You've fallen off a horse?
TOM: Plenty a times.
HUNTER: When's the last time you were on a horse?
TOM: Couple months ago. We got friends with land horses near Sheridan, we'll get up there a couple times a year. Couple years go some of us in our square dance group rode in thwe Cheyenne Frontier Days parade.
CHLOE: How often do you square dance?
TOM: Every Thursday night. Y'ever do si do?
Chloe shakes her head.
CHLOE: Is that something you could show me how to do.
TOM: It sure is. Maybe in the mornin' before I leave.
Chloe nods. A lull.
TOM(CONT.) Well y'all, if you'll excuse me I think I'll give Wanda and Ruth a call, shower and get on to bed.
He stands, puts on hat.
HUNTER: I'm up with sunrise, Tom, and will be on the patio with coffee if you're up too.
TOM: I am too and I sure will. Chloe, just wanna thank y'again for a delicious supper. I'm gonna pass your recipe onto Wanda.
Chloe nods.
HUNTER: Goodnight, Tom.
TOM: Goodnight, y'all.
CHLOE: Goodnight.
They watch Tom walk to and open the kitchen door, turns to them and waves his hat. They wave back and watch him walk into kitchen and out of view.
HUNTER: Well.
CHLOE: Right?
HUNTER: Assuming Jackie's cousin can wrangle another horse and that Tom can and wants to, would you be okay -
CHLOE: Yes, and you read my mind, again. Does Jackie know he's here?
HUNTER: No.
He gets phone from pocket, speaks into it.
HUNTER (CONT): Jackie
Hi.
Yep, sitting on the patio.
Still on. In fact, that's why I'm calling. We have a surprise visitor and are wondering about the possibility of your cousin can find another horse, assuming surprise visitor can and wants to come along.
Tom Walker from Texas.
Yes, that Tom Walker.
Really?
I'll call ya back.
(He pockets phone.)
We have our horse.
CHLOE: But do we have our rider?
HUNTER: Let's ask.
They stand, walk to and enter the kitchen and out of view.
INT. PARLOR ROOM - DAY
Wall of books on shelves, piano, framed reproduction of an Ella Mewhinney Bluebonnets painting above a sofa bookended by lamps. Another lamp at chair in corner by window to front yard and street in which TWO TEN-YEAR-OLD GIRLS play catch with gloves and softball. In the driveway of house behind them a 40-YEAR-OLD MAN washes his early-70s Oldsmobile 98 with Texas plates. Turntable and speakers on stand near record shelf. FLOOR CREAK a moment before Ruth enters with the framed photograph of the picture she printed and places it on the shelf next to three hardcover books - Foglost, Water Feature and Too Short Stories - written, per the spine, by H.C. Hardyn. She looks at it, adjusts to satisfaction enough to smile and leave the room. FLOOR CREAK.
INT. HOME OFFICE - DAY
Cozy and warm in the light through the slats of the mostly-closed blinds. Whitetail deer mount. Printer on stand near desk Wanda sits at to print the picture that fills her computer's screen, a selfie Tom has taken of himself with Chloe and Hunter at the stone wall, mountains behind them at sunset. Computer shares desk with globe, picture frame in box, opened ream of glossy paper, and framed photograph of Tom and Wanda smiling at the camera from the saddles of their horses on a shallow stream's gravel bar, forest behind them and snowy mountains beyond. She gives the print a good look, smiles.
EXT. CAFE - DAY
A DOZEN DINERS in the shaded outside seating area across the street from the Downtown City Park.
BARBARA, 50ish - running shoes, fashionable track suit, ballcap - sits with JAN and JOHN, 70-somethings, at a shaded outside table with a view to the park. FAINT CLASSICAL MUSIC, murmur of conversation, clatter of dishware. Each with ice waters and near-empty glasses of white wine.
Jan is the picture of Martha Stewart casual featuring leather loafers that match her watch band. It's hard to not notice her wedding ring. Her designer sunglasses hang from her sweater collar. Her bag hangs from the back of her chair, like Barbara's. John's loafers match the belt that around his khaki slacks. Forest-green polo shirt, handsome watch and gold wedding band.
Jan and John lean in toward Barbara to see on her phone the picture Chloe has taken of Tom and Hunter in conversation on the patio. They are standing at the low stone wall, Tom's gaze aimed at whatever Hunter is pointing to in the direction of the mountains.
JAN: The Marlboro Man in winter.
JOHN: Do we know what line of work he was in when he and Olivia met.
BARBARA: Ranch hand.
JOHN: Oh you told me that.
BARBARA: Near a place called Grass Valley. On his way to meet a friend in Mexico for fishing.
JOHN: Sure wouldn't mind knowing more about him. Like a middle name.
BARBARA: She'll call tonight.
John and Jan shoot each other a glance. Barbara pockets phone when the WAITER, 20-something, arrives with John's tuna sandwich, Barbara's soup and Jan's salad. Each thanks the waiter.
WAITER: Wine refill.
JAN/JOHN: Yes.
BARBARA: Thank you.
WAITER: B-R-B.
Waiter leaves.
JAN: I wonder if Hunter has siblings.
BARBARA: I'll call as soon as I'm off with Chloe.
JOHN: Thank you
They eat.
EXT. HUNTER'S HOUSE - DAY
Tom's truck in the driveway. Cover of recycling bin is open. Hunter's Rover nears from the direction Tom had come. The garage door opens, Hunter arrives at the driveway.
INT. ROVER
Hunter pulls into the driveway, Chloe stares at the truck. Hunter turns off the engine, they unbuckle, the garage door closes.
HUNTER: Ready?
Chloe shakes her head.
CHLOE: What's your first question after how he found out?
HUNTER: Siblings.
Chloe nods. They open their doors.
INT. HUNTER'S KITCHEN - MOMENTS LATER
Tom, hat on, sitting at the patio, aimed at the mountains. We HEAR A DOOR OPENED AND CLOSED.
HUNTER (O.S.) Tom?
Hunter and Chloe enter, see Tom, stare.
CHLOE: You weren't kidding about cowboy. Buckle?
HUNTER: Silver with a turquoise horseshoe.
Chloe gets phone from pocket, aims camera at Tom, takes a picture. Tom turns to them as if he heard the quiet click, puts his hat on, stands, waves. Hunter waves back.
HUNTER (CONT.) Here we go.
He leads Chloe to the door.
EXT. PATIO
Tom watches them come out the house and approach, Chloe somewhat behind Hunter.
HUNTER: Hey there.
TOM: Howdy.
HUNTER: Sorry it took so long, there was an accident at the ten twenty-five split.
TOM: That's alright, I just been sittin' and enjoyin' the view. And I'm the one oughta be apologizin'.
HUNTER: No need. Tom, I'd like you to meet my daughter Chloe. Chloe, Tom Walker.
CHLOE: Hello.
HUNTER: Hi, Chloe. Sorry to interrupt your time with your dad.
CHLOE: No worries.
HUNTER: So Tom, Chloe's a vegetarian and dinner tonight is her casserole special.
CHLOE: If that's okay with you.
TOM: Well Chloe, peanut butter'n jelly'd be okay with me, thank y'all very much. Me and Wanda been eatin' less meat for awhile now and noticin' change for the better.
CHLOE: Cool.
HUNTER: Wanda your wife.
TOM: Yessir.
CHLOE: I'll get started on it, if you'll excuse me, Tom.
TOM: Yes ma'am.
Chloe looks to Hunter, who nods. Chloe goes into the kitchen, out of view.
HUNTER: She's a little shy.
TOM: How old is Chloe?
HUNTER: She'll be seventeen in March. She starts her junior year in a few weeks. She lives her mother in San Luis Obispo. How did you find out about me, Tom?
TOM: I was in a bookstore in Cheyenne taggin' along with my wife doin' some Christmas shoppin'. Seen Water Feature on a table a books just out in paperback. Was the cover that caught my eye, the trickle a water in the arroyo. I reckon ya know what the cover looks like. Anyway, that drew my eye to your name, Hardyn, and that me to thinkin' to see what I might be able to find out about your mother. Found her obituary in a Orange County Register archive. Seen she was survived ber son Hunter.
HUNTER: Did Wanda know about her?
TOM: Not til then. She keeps a family tree on one a them ancestry sites. Bein' curious, she did a search and found the tree Chloe keeps. Seen your date a birth. Did the math. I wrote a letter to you care of your publisher.
HUNTER: I never got it.
TOM: Never sent it. I didn't know what your mother mighta said, if anything.
HUNTER: Tom Walker, cowboy from the Texas Hill Country. On his way from ranch hand work in Grass Valley to meet a friend in Mexico for a fishing vacation.
TOM: Yessir.
HUNTER: Where in the hill country?
TOM: Me and my sister grew up in a town called Bandera.
Chloe appears at the center island in the window over the sink.
HUNTER: What's your sister's name?
TOM: Ruth. She lives in Kerrville.
HUNTER: Are your parents living?
TOM: No sir.
HUNTER: Do I have siblings?
TOM: No sir. Not that I know of anyway.
HUNTER: How long have you and Wanda been married?
TOM: It'll be twenty-five years the first a November.
HUNTER: Prior marriage or marriages?
TOM: No sir.
HUNTER: There were and still are a lot of Tom Walkers in Texas.
TOM: I've meet two others myself.
HUNTER: What's your middle name, Tom, if you don't mind me asking?
TOM: You can ask me anything ya want. Middle name's Travis.
HUNTER: For whom, if anyone.
TOM: My grandad. My mom's father.
HUNTER: Where in Texas is Ruth
TOM: Kerrville. Her, me and Wanda are goin' in on a house and just beginnin' the lookin' around. Normally Wanda's be along but she stayed back help a friend with some medical appointments.
HUNTER: They know you're here.
TOM: They do. And both mighty surprised.
HUNTER (CONT.) Water or lemonade?
TOM: I'll take a lemonade if it ain't too much trouble.
HUNTER: It ain't. B-R-B.
TOM: Pardon?
HUNTER: Be right back.
TOM: Oh. Right. B-R-H.
Hunter nods.
TOM (CONT.) What's your middle name, if ya don't mind me askin'.
HUNTER: Carson. For the city in Nevada.
Tom nods, Hunter walks to the house. Tom sits at the table.
INT. KITCHEN
Chloe at center island with casserole ingredients keeps her gaze on Tom as Hunter enters.
CHLOE: Well?
HUNTER: Saw Water Feature in a bookstore. Hardyn got him to look her up. Found her obituary and your ancestry page.
CHLOE: Really.
HUNTER: No siblings that he knows about. Middle name Travis.
He gets two glasses from cupboard, adds ice from dispenser, then lemonade from a pitcher in the refrigerator. He stands next to Chloe, looking at Tom.
CHLOE: He has kind eyes.
HUINTER: Yessirs and no sirs.
CHLOE: His hands have seen work.
HUNTER: Yep..Call mom?
CHLOE: Sent a picture. I'll catch her up tonight.
EXT. EL PASO INTERNATION AIRPORT SHORT TERM PARKING LOT - DAY
Hunter and CHLOE, 16, the girl in the soccer and surfing photographs, walk through the lot. Hunter, sunglasses on, totes a pink roller-case. Chloe in running shoes, tracksuit, with a backpack, keeps her gaze on the ground ahead of her, just like Hunter.
CHLOE: And I was nervous about meeting Jackie.
HUNTER: Well Jackie's nervous about meeting you.
CHLOE: Horse day still on?
HUNTER: Still on. She'll be by around ten.
CHLOE: Can I tell mom about Tom?
HUNTER: I already did.
CHLOE: Oh.
HUNTER: She was with grams and gramps so I'm sure they know too.
CHLOE: They came with to the airport. What's he driving?
HUNTER: Old pickup.
CHLOE: How old is old?
HUNTER: I'd place it early nineties.
CHLOE: A fossil.
HUNTER: A well-kept fossil.
He KEY-CHIRPS THE ROVER, puts roller-cart in back. Chloe puts her backpack in the seat behind front passenger, gets in front passenger seat, followed by Hunter behind the wheel.
HUNTER: Chloe, I'll understand if you'd rather I'd sent him along to come back later.
CHLOE: Which you would have done in a heartbeat if you felt anything was the least bit maybe not about the vibe. Right?
Hunter nods.
CHLOE (CONT.) Right. And mom signed off because she knows the same. Right?
HUNTER: I think so.
CHLOE: Right. And I'm the one who's always said I wish he'd show up were he alive.
HUNTER: He's alive.
CHLOE: And he's here. Wish come true, right?
HUNTER: I guess we'll see.
CHLOE: I guess we will. Besides, as grampa says, later isn't guaranteed. Is it?
HUNTER: It is not.
CHLOE: And too late can't be undone. Can it?
HUNTER: It cannot.
He starts the engine.
HUNTER (CONT.) Buckle up, sweetheart.
They buckle up. Hunter backs out of frame.
EXT. BENCH ALONGSIDE A RIVER - DAY
Wanda and DAISY, 70-something, sit on a bench under shade of trees alongside a calm stretch of river and bike path-like trail down from the Laramie River Historic Bridge. Both in running shoes, anklet socks, knee-length shorts, long-sleeve tees. Wanda's features an artsy cottonwood tree, Daisy's has Snowy Range, WY across the front. Both wear visors, their sunglasses propped on the bills. A JOGGER passes on the path behind them.
DAISY: Did you see in the newsletter that Jimmy Dixon passed?
WANDA: We did. It took him so fast. Poor Nadine.
DAISY: I wonder if she'll sell the ranch.
WANDA: Their son is in Bozeman?
DAISY: Billings.
WANDA: Billings.
DAISY: Billings? No, Bozeman. You're right. It's Claude and Mabel's son that's in Billings.
Wanda's phone plays TOM'S RINGTONE. She answers.
WANDA: Howdy, cowboy.
Sitting on the bench down from the river bridge.
Doctor had a family emergency, cast comes off tomorrow at two. Where are you?
(Her face expresses her perplexed surprise.)
I'm here. So what's the plan, Tom?
Okay.
Alright.
I'll be here.
I love you too. Oh Tom, if you can, maybe a picture?
Okay. Bye.
(Daisy stares at Wanda staring at the river.
DAISY: Wanda, is everything alright? Is Tom okay?
WANDA: (BEAT) Yes. Yes, he's fine. Everything is fine. He met someone he knows in Las Cruces and is staying the night.
DAISY: Someone you know?
WANDA: Know of.
Wanda stands, smiles, holds out a hand to Daisy.
WANDA (CONT'D) How about we turn around for ice cream at utter butter and see what's playing at the Fox.
Daisy nods, takes Wanda's hand, stands.
DAISY: You're a helluva date, girl. Let's.
They walk hand in hand toward the path.
INT. HUNTER'S GUEST ROOM - DAY
Navajo rug on hardwood. Tom's suitcase on the queen bed aimed at the wall-mounted TV above dresser drawers, hat on rack near door to hallway, Reproduction of Georgie O'Keeffe's Mesa and Road East on wall above sofa. Tom sitting at the desk facing window to back yard and mountains. Pencils and pens on yellow legal pad near leather-bound guest book (per the cover) share desk with etch-a-sketch and lamp, Tom, phone in hand, stares at the roadrunner seeming to stare at him from the stone wall. Roadrunner scurries away out of view. Tom speaks into phone.
TOM: Ruthie.
EXT. HOUSE - FRONT PORCH - DAY
Single-level home on a quiet leafy street lined on both sides by similar. Texas plates on the early-90's Porsche 911 in the driveway. RUTH and GIL, 70-somethings, in CREAKING ROCKERS on the front porch, glasses of lemonade in hand, the pitcher on a small table between them. Ruth in tennis shoes, knee-length jeans, Austin City Limits short-sleeve tee. Gil cowboy like Tom, boots to belt and buckle to the hat on the table. Sunglasses peek out from shirt pocket, Ruth's are propped on her head. Their phones on the table. Hanging and potted plants, hummingbird feeder, chimes.
RUTH: I just remembered Maria and the boys are coming up.
GIL: Tomorrow around noon.
RUTH: I'd bet they've grown since Christmas.
GIL: You'd win that bet.
RUTH: How's Maria?
GIL: She's good. Got an offer to be Executive Chef at Abalone.
RUTH: My goodness. She's going to take it isn't she?
GIL: Leaning toward. Only issue is the drive. She's going to ask for daily drive and back. If she gets it, yes, if not, to be considered.
Ruth's PHONE RINGTONES the Willie Nelson instrumental, Bandera. She picks up.
RUTH: Hey there.
With Gil on the porch just back from Fredericksburg with peaches. Guess who finally drove the Corvette.
Ninety on the straight this side of the nursery. Where are you?
(Her face expresses the perplexed surprise at what she has heard.)
I'm here. And utterly speechless, Tom. Did you know you were going to do this when you left this morning?
(Gil turns to her.)
Alright.
Okay.
I'll be waiting. Tom, take a picture, okay? If you can.
I love you.
Can't wait.
Bye.
(She sets down her phone as if a fragile object, looks at Gil looking baxck at her.)
GIL: Did he know he was going to do what before he left?
RUTH: Stop at Hunter's house. He's there. Spending the night and leaving in the morning. Hunter's daughter is on the way from the airport in El Paso.
Gil ponders.
GIL: HÃjole.
RUTH: Si.
INT. HUNTER'S GUEST ROOM - DAY
Tom looks out the window, taps phone on desk, finally stands, gets hat from rack, leaves into hallway, BOOTS CLICKING ON HARDWOOD then after a moment a DOOR OPENED AND CLOSED. A moment later Tom walks into view in the window, framed where he stops and stands at the wall, looking toward the mountains.
INT. FOYER - DAY
Navajo rug on hardwood. Curtain closed across the big window to the street. Hatless rack and closet near the door. One bench seat against a wall under three wooden tribal masks faces same bench seat against a wall that has been painted mural-style into a vast creosote desert, fiery sun above mountains in the far distance. Speck of a vulture in the sky. A jackrabbit low corner of frame. A steer skull.
Hallways in opposite directions from the back wall and piano against it. Mirror above piano.
SQUEAK OF SHOES before Hunter enters from one hall, crosses into the other just before the DOORBELL CHIMES.
A moment before Hunter re-enters, slowly approaches the door. He peeks through the peephole, pulls back, puzzled, peeks again.
EXT. FRONT DOOR LANDING
Tom stands under shade of awning, truck on the street near the bin. Hunter opens the door enough to see Tom.
HUNTER: Can I help you?
TOM: Howdy. My name is Tom Walker.
Hunter examines him. opens door a little wider. looks past Tom to the truck.
HUNTER: Tom Walker who was in Reno, Nevada fifty years ago last month?
TOM: Well, one of 'em anyway.
HUNTER: What was my mother's name?
TOM: Olivia, if the Olivia I'm thinkin' of was your mother.
Hunter opens door a little wider. looks past Tom to the truck.
HUNTER: What was she doing in Reno?
TOM: She was an actress. There to audition for a play at the Pioneer Theatre. *Streetcar Named Desire. Lookin' to play Stella.
Hunter opens the door for Tom to enter, motions him in. Tom removes hat, enters.
Hunter gives the truck a long before he closes the door.
INT. FOYER
HUNTER: How did you find my address?
TOM: Paid a few bucks and went online.
HUNTER: What if I didn't know who you are?
TOM: I'da been a little turned around and askin' for directions back to Drippin' Springs Road.
HUNTER: Just happen to be in the neighborhood.
TOM: Sorta. On my way to see my sister in Texas.
HUNTER: On the way from where?
TOM: Where I live in Laramie, Wyomin'.
HUNTER: I'm out the door to El Paso to pick up my daughter at the airport.
TOM: Yessir.
HUNTER: You'll be passing back through?
TOM: Yessir. I reckon in a week or so.
HUNTER: We won't be here.
TOM: Yessir.
*
INT. TOM'S TRUCK - DAY
Aviator sunglasses on, Tom drives slowly to a handsome home with garage door open, stops and idles, stares. A Land Rover Range Rover (referred to hereafter as "Rover") and older Honda Gold Wing motorcycle share garage space with two mountain bikes, snowboard and skis, tool shelf and working table along a wall, odds and ends. A green recycling bin on the hardpack dirt street, as with neighbors along it. Tom raises his phone to take a picture when Hunter walks into the garage through the door to the house with bag in hand. Nearing the driveway Hunter looks up, sees Tom. Tom takes the picture, drives away. Hunter walks the driveway to the bin, eyes on Tom's truck.
INT. TRUCK
REARVIEW MIRROR shows Hunter at the bin, looking at the truck.
AT THE BIN Hunter watches the truck turn onto the nextb street, drive out of view behind a house. He waits, finally drops the bag into the bin, walks back to the garage, all the while his eyes looking for the truck to emerge.
INT. TRUCK
Tom idling at the home that obscured Hunter's view. Drums fingers along the steering wheel, finally makes the U-Turn.
INT. WRITER'S HOME OFFICE - DAY
HUNTER, 50ish - running shoes, faded jeans, untucked dress shirt, glasses - types at the laptop on the old wooden desk aimed at the big window view to the up-close Organ Mountains. Blank whiteboard with markers in tray on wall behind him, near a hat rack loaded with baseball caps near open door to hall.
Navajo rug on hardwood. One wall is book shelves, across the room from an old leather sofa under a framed reproduction of an Ad Reinhardt Red Painting. Telescope and stool in one corner by the window, saguaro cactus sculpture in the other. Books share shelves with model sailing ship, white-new baseball, wood owl, solved Rubik's Cube, antique typewriter, and bronze Smiling Buddha.
Printer on stand next to desk. Laptop shares desk with NMSU coffee mug holding pens and pencils near a stack of yellow legal pads, a brown-old baseball, an etch-a-sketch, a hardcover of the Evan S. Connell book Son of the Morning Star, and a framed photograph of a 15-year-old girl smiling and flashing a peace sign at the up-close camera that has captured her "tubed" in the wave she is surfing, sandy beach and tropical foliage in the background.
We can see but not clearly discern the text reflected in his glasses and then the color of the image that replaces the text when he closes the file to show OVER HIS SHOULDER the screensaver that is the same surfer girl in a softball uniform, eyes-on-the-ball and in full extension of the swing that has the blur of the softball coming off the barrel of her bat. The home-plate umpire is crouched behind the catcher, mitt waiting for what won't reach it. Hunter smiles at the picture, powers down computer, leaves into hall, SHOES SQUEAKING.
INT. KITCHEN - MOMENT LATER
State of the art appliances and stone countertops. Bananas in a wooden bowl that shares the center island with a set of keys, stack of mail, Sunday New York Times. View into adjacent dining room. View through window over sink to grill, four chairs around table under shade on the patio that gives way to xeriscaping, bordered by a low stone wall. Door from kitchen to walkway to patio. SHOE QUEAK before Hunter enters, gets a plastic water bottle from the refrigerator, finishes it, crushes the bottle, puts it in the plastic bag in the bin he pulls from a closet, ties it off at the top, sets it down, lines the bin with a new bag, closes closet, leaves with full bag.
INT. TOM'S TRUCK - DAY
He is driving a two-lane road aimed at the Organ Mountains east of Las Cruces, New Mexico. We can see on the portable GPS DISPLAY that he is driving east on Soledad Canyon Road, nearing Lost Padre Mine Road. The high desert neighborhood features handsome southwest-style homes trending toward adobe.
GPS VOICE: Turn left on Lost Padre Mine Road
Tom makes that turn onto the hard-pack dirt road.
EXT. YUCCA BLOSSOM MOTEL - SUNRISE
A dozen vehicles in the puddled parking lot. Tom comes out of his room, suitcase in hand, walks to and gets in the truck, starts the engine, drives away onto the wet street and out of view.
INT. DINING ROOM/KITCHEN - SUNSET
Quaint and cozy. Calendar on refrigerator turned to August; the accompanying photograph captures a fly-fisherman mid-cast, knee-deep in waders in a mountain stream. Wanda, in jeans and Cheyenne Frontier Days tee, reading glasses, sits atb the table facing the window to the modest back yard and umbrella over a small table and two chairs in the middle of it. The sun sets on the cedar fence. Wanda turns a page of James Michener's Hawaii, her phone near a glass of milk. She smiles when the PHONE RINGTONES an instrumental version of the Townes Van Zandt song, If I Needed You. She lets it play, picks up.
WANDA: Hey there.
At the table with Michener. You in your room?
Raining yet?
INT. MOTEL ROOM - SUNSET
Basic room. Tom stands at the window aimed at monsoon clouds above the Albuquerque skyline, obscuring the Sandia Mountains. His shirt is unbuttoned and his boot are off. Suitcase on bed, hat on rack near door.
TOM: What'sat, sweetheart?
No, not yet but the monsoon clouds are gatherin'. I reckon it's time I get goin' on that hearin' aid?
Come again, hon'?
I seen a Chinese place down the street, fella at the front desk says they deliver, so I'll probly do that. Was lookin' forward to the book but I guess I left it on the nightstand.
I miss you too, angel.
Sunrise, I'll call when I'm leavin'.
Love you too, Wanda Pearl.
Sweet dreams.
(RAINDROPS TAP THE WINDOW. Tom speaks into phone.)
Ruthie.
Hey sis, in my room. Bout to run a bath, I'll call back. Love ya.
He sets phone on desk, leaves into bathroom. We hear the BATH STARTED. FAINT THUNDER, RAIN HARDER.
CREDITS OVER:
INT. TOM'S TRUCK - DAY
Tom driving a two-lane highway bending through wooded high country, behind a Jeep with New Mexico plates. He turns on the satellite radio to Glen Campbell's Galveston. He turns it up, sings along.
EXT. MANUFACTURED HOME - DAY
One of several mobile homes that line the quiet street. Two-tone late-80s Ford F-150 pickup truck in the driveway, backed to the port covering a Subaru wagon. Wyoming plates like every other vehicle in view. Two homes fly the United States flag. Tom - cowboy boots, jeans held up by belt with a silver buckle featuring a turquoise horseshoe, western shirt with pearl snap buttons, cowboy hat - comes out the front door to the porch with suitcase in hand, holds the door open for Wanda - slippers, robe over pajamas - and they walk hand in hand down the steps to the driveway and truck.
WANDA: Thought about lunch?
TOM: That Mexican place in Pueblo if it's still there.
WANDA: Cantina Azul.
TOM: That's it. Knew it was cantina somethin' or other.
WANDA: That was delicious. Twenty-five all the way?
TOM: Thinkin' I might cut over south a Raton and take the scenic route. Coffee up at that place in Cimarron, if it's still there
WANDA: Rio Roasters.
TOM: That's it.
Tom unlocks driver's door, slides the suitcase across the bench seat to the passenger side, puts his hat on top of it, puts the key in the ignition, steps back, hugs and kisses Wanda.
TOM: I'll call every hour on the hour.
WANDA: Thank you.
He gets in, Wanda pushes the door closed, Tom starts engine, lowers window, Wanda steps up onto the running board, leans in for a kiss.
TOM: Ready?
Wanda nods, Tom drives to the street, stops.
TOM/WANDA: Love you.
Tom blows her a kiss, she reciprocates, watches him drive the short distance to the stop sign where their street bisects another. The truck's left turn signal flashes. Tom lets a car pass, makes the turn, looks out the window at Wanda, waves, she waves back and watches the truck leave view behind the house at the corner. A breeze tousles her hair and RINGS THE CHIMES on the porch. She folds her arms across her chest, walks the steps to the porch, stops to water plants, looks to clouds, enters the house, closes door behind her.
INT. BEDROOM - NIGHT
TOM and WANDA, 70-somethings, sit up in bed in pajamas and reading glasses; phones, lamps and eyeglass cases on their respective nightstands. Both wear modest wedding bands. Clock radio on Tom's shows 9:30, small vase of flowers on Wanda's. Curtains closed across the window above the headboard. Wanda peruses a Hawaiian Islands travel brochure, Tom turns a page of a grey hardcover book we know from the darker grey type is called Foglost, by H.C. Hardyn.
WANDA: So should we do a luau?
TOM: Well, what is it they say about when in Rome.
WANDA: Do as the Romans do.
TOM: Heck, I'm halfway thinkin' about takin' a surfin' lesson.
WANDA: Well that's some halfway thinking alright.
TOM: You think this ol' dog ain't got one more trick left?
WANDA: I'd pay to see it.
TOM: Won't have to, got lessons down the beach from our hotel. You just pull up under an umbrella, stick your toes in the sand and sip your Mai Tai while I hang ten.
Wanda smiles, shakes her head. A lull.
TOM (CONT.) So d'ya reckon we'll get lei'd while we're there?
Wanda's eyes go big in surprise, she looks at Tom.
WANDA: Thomas Travis Walker, my goodness.
Tom looks at her.
TOM: What? Ain't that what they call them flower necklaces they give ya when ya get off the plane.
WANDA (BEAT): Yes it is. I'm not so sure our airline does that.
TOM: Oh.
WANDA: But I think there's a very good chance we'll get lei'd when we get to our hotel.
He looks at her, she winks. He closes his book and sets on his nightstand, Wanda does the same with her brochure. They put their glasses in their cases, look at each other as they TURN OFF THEIR LAMPS TO BLACK. CREAK OF BED SPRINGS.
