scene 48

Previous.

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. 

scene 47

Previous.

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.

scene 46

Previously.

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.

silly interlude re Rene watching Honda Knot/Boots near completion

 

Other titles: Already Completed, Settled, Mission Accomplished, Tasks Completed

"The Completion hexagram ䷾ is the sixty-third in the I-Ching, symbolizing a perfect balance between water and fire. It indicates that a task or phase is nearing its end, but changes might follow." 

.

Me: And indeed Completion of Honda Knot (Boots when I begin Finally Final) is the ending of one phase of The Work to be done. It is an entirely different Next Step to bring screenplay to screen.

silly interlude re the vehicles

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 

silly interlude re title change back to Boots

Yep. Back to Boots when I begin the Finally Final blog. 

For the record.

silly interlude re location scouting re Hunter driving

 You Are Here, west then east of the Pecos.

silly interlude re letting the next scene (46) come to me

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.

Oracle

'Following.

From the source, creating success, constancy bears fruit.

No mistake.'

Hilary Barrett re 17, "Following: Energy flows strongly into life's landscapes, bringing a great creative drive, from the source through towards fulfilment. Following it means a willingness to honor the flow and align actions with it. You can know your ideal, and then allow it to meld with the natural current, following signs and nudges and allowing them to draw you onward.

Then, you may experience Following as an effortless flow of supportive synchronicities – or you may experience it as events unfolding in accordance with their own schedule, and failing to keep to yours. It can seem as if simply allowing yourself to be guided by the current is not enough, and you ought to be 'doing something'. But moving with the creative process is not a mistake."

scene 45

Previous.

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. 

scene 44

Previous.

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.  

scene 43

Previous.

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. 

scene 42

Previous.

EXT COUNTRY STORE - DAY

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.

scene 41

Previous.

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.

scene 40

Previous.

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.

scene 39

Previous.

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.

scene 38

Previously.

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. 

remaining beats

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. 

scene 37

Previous.

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.

Timeout, resume Saturday, a couple thoughts, Wakpa as follow-up

 

A pause on the banks of where this river bends into the third and final act. Back in boat Saturday.

Other titles: Calculated Inaction, Biding One's Time, Nourishment Through Inaction 

a couple thoughts:

One more edit re dotting i's, crossing t's, continuity.  A new opening, Tom and Wanda sunset, THEN the bedroom. Opening credits over Tom driving from Wyoming into Colorado. I'm actually going to finally finish this thing . Then, I've finally decided, onto Wakpa, which I will complete by end of summer. Maybe throw some notes at that over the next couple days. 

Bingo. Radical Change re form and story is absolutely the Right Move and pretty much exactly why I'm choosing it over Baseball Movie as follow-up.

.

scene 36

Previous.

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.

scene 35

Previous.

INT. HUNTER'S HOME OFFICE - MOMENTS LATER

The light comes on as Hunter enters. He opens a desk drawer, gets a letter-sized envelope from a hanging file, leaves, light goes out.  

INT. HUNTER'S FOYER - MOMENT LATER

Tom and Chloe standing.

CHLOE: Do you have any idea what this photograph might be?

TOM: Well, Chloe, I'll tell ya. I remember that me and your grandmother took a drive around Lake Tahoe.

Hunter enters.

CHLOE: Tom's remembers their drive around the lake.

HUNTER: Don't let me interrupt.

TOM: Well, Chloe asked if the photograph rings a bell and the only one I can remember bein' in was an old school selfie your mother took of us at a sandy beach, our pants rolled up and us knee deep in the lake. She had one a them compact instamatic type cameras, held it out with her right hand. I remember that she took a few but can't remember bein' in another one.  

HUNTER: I don't suppose you remember the kind of pants she had rolled up to her knees.

TOM: Light blue corduroy bell-bottoms. Same color as her eyes.        

HUNTER: Anything else?

TOM: A brown cashmere sweater that matched her suede floppy hat and the moccasins she left on the beach next to my black boots. She had them mirror-type reflective sunglasses that were popular at the time, took 'em off and hung 'em from the neck of the sweater. A sunny day, lake as flat as glass and mountains on the other side.

CHLOE: What were you wearing, besides your black boots?

TOM: Well, Chloe don't change much and never really has. Jeans, pearl snap button shirt. Wanna say that my hat that day was black felt and that I mighta been sportin' a bolo tie.

Hunter opens the envelope and hands the 3 x 5 photograph to Tom, who stares at the picture he has decribed exactly.

TOM (CONT.): Olivia.

Hunter and Chloe look at each other. 

TOM (CONT): Funny.

HUNTER/CHLOE: What's funny?

TOM: Pretty sure I've read or heard somethin' to the effect of smell bein' your strongest sense where mem'ry's concerned. Maybe olfactory's the word for it. Anyway, what's funny is that soon as I seen the picture I got a whiff of her lavender perfume, like on a breeze. If I'm rememberin' lavender correctly.

HUNTER: You are. Good memory, Tom.

TOM: Ya mind if I take a picture a this?

HUNTER: Of course not.

TOM: Ya mind holdin' it?

Hunter nods, Tom hands him the picture, gets his phone, takes the picture

TOM (CONT.): Thank you.

HUNTER/CHLOE: Thank you.

Tom pockets phone.

CHLOE: Will you show that to Wanda?

TOM: I sure will. And Ruthie. Ya can describe somethin' til yer outta breath but ain't nothin' like seein' for yourself. 

Hunter puts the picture in the envelope, puts envelope on piano.    

HUNTER: Will they be surprised at your power of recollection?

TOM: No. Memory ain't what it used to be but there's still some left.

CHLOE: Obviously.

TOM: Who plays the piano?

HUNTER: Neither of us. I picked it up at an estate sale in Silver City. It's been played by a couple guests. I'll sit down and make some racket now and then. Do you play?

TOM: No. I mean I can find a chord or two here and there just from growin' up with my mom and Ruthie playin' the piano that's at Ruthie's.

CHLOE: Would you mind finding a chord or two?

Hunter pulls out the bench, opens the fallboard.

TOM: Well. I reckon I can look for 'em.

Tom puts his hat on, sits, pulls bench to piano. Hunter gets phone.from pocket.

HUNTER: Do you mind if I record?

TOM: I don't mind. Can't say it'll be worth much.

HUNTER: I can.

Tom nods.

CHLOE: Do you have a ringtone for Wanda?

TOM: I do. Same as hers for me.

CHLOE: Is it a song you can play?

TOM: Well, let's find out.

Tom plays and fiddles with  the beginning of the Townes Van Zandt song, If I Needed You.

CHLOE: Are there words?

TOM: There's words but I'll spare ya my singin'.

CHLOE: I'd rather you subject me to it. If you wouldn't mind.

HUNTER: Please.

Tom nods, continues to fiddle with the song.

TOM: Don't say I didn't warn ya.

CHLOE/HUNTER: We won't. 

TOM (SINGS):

If I needed you, would you come to me?

Would you come to me for to ease my pain?

If you needed me, I would come to you.

I would swim the sea for to ease your pain.

Well the night's forlorn and the morning's born

And the morning's born with the lights of love.

And you'll miss sunrise if you close your eyes,

And that would break my heart in two.

Tom stops. Chloe puts up a high-five that Tom meets. Hunter stops recording, pockets phone, claps.

HUNTER: Townes Van Zandt.

TOM: Yessir .That's about half of it but you get the idea.

HUNTER: Thank you, Tom.

CHLOE:  Very much.

TOM: My pleasure.

Tom closes the fallboard, stands.

TOM (CONT.) And on them notes I reckon I'll call my girls and tell 'em about what a wonderful day I had.

CHLOE: We had.

Tom nods.

TOM: Goodnight, y'all.

HUNTER: Sunrise coffee sequel?

TOM: I'll be there.

He tips his hat, leaves into hall, BOOTS CLICKING, then silence.

HUNTER: What a day.

CHLOE: I'm gonna call mom.

Hunter nods, Chloe leaves into the other hall. Hunter gets his phone, plays the video he just recorded.

36. INT. TOM AND WANDA'S BEDROOM - NIGHT

scene 34

Previous

EXT. HUNTER'S DRIVEWAY - NIGHT

Starry sky. Garage door open, light on. Chloe and Tom stand and watch Hunter leaning in to Jackie at the wheel of her car on the street, headlights aimed in the direction she'd come from, engine running.

HUNTER: Call me when you get home?

JACKIE: Will do.

They kiss, Jackie drives away, waves at Tom and Chloe who wave back. Hunter walks to them, looks to the sky.

HUNTER: Got a few stars out tonight. 

Chloe and Tom look up in time to see the meteor streak its arc and disappear.

CHLOE: Whoa! Great timing, dad.

TOM: Well how 'bout that?

Tom closes his eyes.

HUNTER: That was cool. 

Tom opens his eyes.

CHLOE: Did you make a wish?

TOM: Matter a fact I did. You?

Chloe closes her eyes briefly, opens them.

CHLOE: Just now.

A lull.

HUNTER: So I'm thinking maybe a movie and popcorn?

CHLOE: In.

HUNTER: Tom?

TOM: Well, I'd love to but the truth a the matter is I'm a little tuckered and I know I'd just fall asleep on y'all. I'm thinkin' I'll call Wanda and Ruth and catch 'em up 'cause I know they're eager to hear about the day, then shower and get on to bed. Sorry to be party pooper.

HUNTER: No apology necessary, Tom.

He leads them to the garage.

CHLOE: And today was a wonderful party.

TOM: And a day I ain't ever gonna forget.

HUNTER: Neither will we.  And plenty of pictures to jog the memories. And speaking of forget, before I do, I'm hoping you can tell me a little bit about a photograph I have in my possession. A photograph you're in.

They enter garage. The garage door closes.

INT. GARAGE

TOM: A photograph I'm in.

HUNTER: Yessir. I'll show you.

Hunter opens the door to the house, Chloe enters followed by Tom, removing his hat. Hunter enters house, closes door behind him.

scene 33

Previous.

EXT. DUNE IN WHITE SANDS NATIONAL MONUMENT - SUNSET  

Hunter, Tom,  Jackie and Chloe with backpack sit at the base of a dune, aimed at the sun setting on the San Andres Mountains. Their pants legs are rolled up, their footprints lead to their shoes at the top of the dune. 

CHLOE: Do you remember the last time you watched the sun go down behind a mountain range?

TOM: Three sunsets ago. Me and Wanda drove out to a spot off highway one thirty, also called Snowy Range Road. The turnout is at a marker for the Overland Trail. Anyway, we'll drive out sometimes and watch the sun go down behind the Snowy Range, which is a section of the Medicine Bow Mountains. Last time was three nights ago. How 'bout you?

CHLOE: Night before last. I have a mountain out my bedroom window. Cerro San Luis Obispo. One thousand two hundred and ninety-two feet. So maybe more like a big hill.

HUNTER: Do you get to the Medicine Bow Mountains?

TOM: Used to plenty, with a friend who recently passed. We'd head up and fish.

HUNTER: For what?

TOM: Trout.

HUNTER: Fly fishing.

TOM: Yessir.

HUNTER: Who taught you to tie a fly?

TOM: Fella I'm talkin' about. Clem Everett. His wife Daisy is who Wanda stayed back to help with a couple medical appointments. Y'ever do any fishin'?

HUNTER: Once when I was a kid with a friend and his dad at a place called Santa Ana River Lakes, basically a fish farm. I caught a catfish and hooked my right ear. Do you fish when you're in Kerrville?

TOM: I do. Got a friend with a boat we'll take out on Medina Lake. Which is a reservoir. And sometimes we'll set up on a spot on the north prong of the Medina River. Fishin' somethin' ya think you'd consider doin' again?

HUNTER (BEAT): Yeah. 

TOM: Well, when we get all moved and settled in, there'll be an open door, a guest room and a fishin' pole with your name on it.

HUNTER: I'll be taking you up on that, Tom.

TOM: Wanda and Ruth'll be happy to hear it.     

The top of the sun drops behind the mountain. Finally:

HUNTER: Shall we while there's light enough to do so comfortably?

They stand and climb the dune, retrieve shoes, leave view over the other side.

scene 32

Previous.

EXT. HOUSE DECK - DAY

John and Jan in adjacent chaise lounge chairs on the deck with a view to rolling hills and oak trees. Their phones share the small table between them with the bottle and their glasses of white wine. Sections of the Sunday New York Times below the table. Add grill, table and chairs, jacuzzi. John is reading Foglost, near the end. Jan is solving The New York Times Sunday crossword with a pencil.

JAN: Heavy lifter out of the back nine sand. 

John looks up from the book.

JAN(CONT.) Seven letters. Starts with N, ends with K.

JOHN: Niblick.

JAN: Doh. Niblick. Right. 

She writes it in. 

JAN (CONT.): Speaking of golf, did we learn anything about Brian's game?

JOHN: That he played in high school.

JAN: As in on the team, I'm assuming.

JOHN: As am I. We'll learn more tomorrow.

JAN: And niblick makes makes Babe Ruth's weapon of choice a club. I think.

JOHN: Speaking of baseball, we learned that Brian's son will be playing at Cuesta. 

JAN: Eric.

JOHN: Eric.

JAN: Do we know what position?

JOHN: Pitcher. He's moving into his apartment today. Barb's nervous about meeting him next week. They're going horseback riding.

JAN: Do we know where?

JOHN: Brian has a cousin with land and horses outside Templeton.

JAN: Everybody saddling up all of a sudden.

JOHN: All of a sudden indeed. 

Jan's' PHONE TONES AN OLD-SCHOOL FLASHBULB SOUND. Jan picks up, stares at the screen. 

JOHN: Drumroll.

Jan hands him the phone. John stares at the selfie Chloe has taken that includes Tom sitting next to her on a log bench, their backs against a log cabin. They smile at the camera, Tom's chocolate ice cream cone against Chloe's vanilla.

JOHN (CONT.)  Handsome fella. Isn't he?   

JAN: I reckon he's got a twinkle to him.

John smiles.

JOHN: You reckon, huh? 

JAN: Kind eyes. 

Kind eyes.

JOHN:  Yes. Funny.

He hands the phone back.

JAN: What?

JOHN: I just dropped fifty pounds of worry.

Jan smiles, takes his hand. 

JAN: Has the fog lifted?

JOHN: Lifting just now.. A form suggesting a small island dead ahead and sound suggesting crashing waves. I'll finish it tonight.

A lull.

JAN: Have you ever owned a pair of cowboy boots?

JOHN: Roy Rogers signature with Trigger on the sides for Christmas when I was five. If that counts.  

JAN: Shoot howdy it counts. And had I not asked.

JOHN: You?

JAN: No. Closest was a pair of yellow leather go-go boots when I was at Cal.

JOHN: Had I not asked. Did you ever go go-going?  

JAN: Yes. There was a club called the Keystone on University.

JOHN (SINGS): Getting to know you.

JAN (SINGS): Getting to know all about you.

JOHN: Still.

JAN: Still.

Jan stands, extends hand to John, who takes it, stands. She leads to the house.

JAN (SINGS): Getting to like you.

JOHN (SINGS): Getting to hope you like me.

He puts an arm around her, she puts an arm around him. John opens the door, Jan enters, John follows, closes door behind him. They walk out of view.

scene 31

Previous.

INT. ROVER - DAY

Hunter driving southwest on Highway 70, White Sands and the sun over the San Andres Mountains dead-ahead.  Tom's hat in his lap.  The lariat remains on Chloe’s shoulders, the remainder of the rope wrapped around herb torso like a snake.

TOM: Hunter, who taught you to drive?

HUNTER: My grandfather. Is my driving okay?

TOM: Drivin's great. Jusscurious. How old were ya, what were ya drivin' and where?

HUNTER: His nineteen seventy-five M G. We started in the parking lot of the baseball stadium where the then-called California Angels team played.

TOM: The big A.

HUNTER: That's right. 

TOM: Seen it on TV plenty a times watchin’ Rangers games.

HUNTER: Fan?

TOM: Not so much. When we’re at Ruth’s and they’re playin’  She can tell ya the startin’ lineup. Manual transmission?

HUNTER: Five-speed.  Ever drive a stick?

TOM: My best friend Gil’s gotta seventy-four Stingray with a four-speed. We’ll usually take it for a spin when we’re down. So, from the big A to where?

HUNTER: Chapman Avenue to the canyons at the base of the Santa Ana mountains where he took the wheel for the ride to Laguna and back up the coast on P C H.

TOM: Sounds like a nice drive.

HUNTER; It was. That land is nothing now like it was then.

TOM: I’d sure like to hear more about that drive sometime. 

CHLOE/JACKIE: Me too.

Chloe and Jackie high five each other.

HUNTER: I’d be happy to revisit the day.

CHLOE: Yay.

Lull

CHLOE: Who taught you?

TOM: My dad. In the Impala.I mentioned. Did a couple laps around the block then took one seventy-three down to a town called Hondo.

CHLOE: Named after John Wayne, right?

Tom smiles.

TOM: You seen the movie?

CHLOE: Miss Evans's U.S. Culture and Entertainment class last year. I'm sorry, I'm interrupting.

TOM: Ah, nah y'aint. I'd love to hear more about it.

CHLOE: It was extra credit elective. Back to one seventy-three, please.

TOM: Yep. Half-hour straight shot. Had lunch at the D Q, came back home.

CHLOE: D Q?

TOM: Dairy Queen. 

CHLOE: Ah, right. Doh.  

HUNTER: How old were you?

TOM: Thirteenth birthday.

CHLOE: That's young.

TOM: Different time and place. 

CHLOE: When is your birthday?

TOM: March eleven.

CHLOE (BEAT): I'm March sixth.

TOM: We're fish accordin' to the horoscope stuff.

Chloe nods.

CHLOE: Jackie?

JACKIE: Birthday or who taught me to drive?

CHLOE/HUNTER/TOM: Yes. (BEAT.) Jinx.

All smile.

scene 30

Previous.

INT. BARN - DAY

A rudimentary stable. The horses in their stalls, eating hay from feeders. Saddles on stands, tack area, mechanical bucking bull in a corner, open doors view to home and vehicles.

SESS: Straight back to Cruces?

JACKIE: No. Ice cream in town and a white sands sunset.

SESS: Nice. Send a picture.

JACKIE: Will do.  

SESS: So Tom, before I see you next time, rumor is you did some tie-down roping back in the day.

TOM: A little. Way back, far as rodeo goes. Plenty after that on the ranch. 

SESS: When's the last time you tied a honda knot?

TOM: I'd round it off to several years.

SESS: If you had rope do you think you could turn it into a lariat?

TOM: I think it might come back to me. If I had rope.

Claire produces the coiled rope, presents it to Tom. Chloe and Hunter reach for their phones, Chloe nods to Hunter, pockets phone. Hunter records Tom running the rope through his hands 

TOM: Rollin'?

CHLOE: Rolling.

TOM: Alrighty then.

Tom quickly fashions the rope into a lariat, widens the loop enough to lay it over Chloe's head onto her shoulders.

All except Tom and Hunter clap.

CHLOE: Think you can lasso the bull?

Tom looks at the bull.

TOM: I can give it a go.

He lifts the lariat from Chloe's shoulders, approaches the bull, all follow, Hunter positions himself for a good recording angle. Tom widens the lariat, swings it above his head. The horses add their attention to the display, or seem to. From fifteen feet Tom lets the lariat fly and lassos the bulls horns.

Louder and longer applause as Tom walks to the bull, removes the lariat, returns it to Chloe's shoulders. The applause ends.

CLAIRE: So who's going to say it?

Chloe raises her hand.

CLAIRE (CONT.) Say it.

CHLOE: Now that's taking the bull by the horns.

More applause. Hunter pockets phone, adds to it.

SESS: Anyone want a coffee for the road.

HUNTER: That would be great.

SESS: Coming right up.

They proceed out of the barn. 

scene 29

Previous.

INT. BEDROOM - DAY

Wall to wall carpet. Stuffed seal on queen bed near second-floor window to grassy hill and peak that is the small mountain Cerro San Luis Obispo. Lamp and old-school pink princess phone on nightstand. Dresser drawers with mirror. Surfboard, snowboard and swim fins in a corner. Dumbbells and weighted softball bat in another.

Bookshelf with trophies on top and three plaques above them on the wall. Surf poster (tbd), P.J. Harvey poster (tbd), framed Mammoth Mountain trail map, framed poster-sized umpire's POV photograph of Chloe in softball uniform, on the mound and ready to pitch. GO SLO street sign in mustard and forest-green.

Open doors to hallway, bathroom, walk-in closet. Two-seat couch. Computer shares desk with printer, headphones, lamp, and three framed photographs aimed at the swivel chair. 

In one, Chloe, Jan and John, smile at the camera from where they sit on the rail of a sailboat on a calm sea, tropical island behind them. Between the boat and the island a pod of dolphins are captured in their crossing.

In another, Hunter and Chloe smile at the camera from where they stand in a hot-air balloon high above the Albuquerque area, Sandia Mountains behind them.

In the last, Barbara and Chloe smile at the camera from where they stand near two kayaks on the beach where it meets a calm stretch of green river. The canyon wall on the other side rises out of frame.

Barbara - running shoes, knee-length shorts, UCSB SWIM tee - enters with a framed photograph she sets on the desk, arranging it with the other three. She stands back to look at the photograph of Tom and Chloe smiling at the camera from where they sit on their horses on a ridgeline, Sierra Blanca Peak large behind them. She leaves the room after closing the walk-in closet door. 

scene 28

Previous.

EXT. CREEK IN WOODS - DAY

The GURGLE-WHISPER OF THE MODEST RUN OF WATER in a narrow course is muted by the CUH-LIP CUH-LOP of approaching horses. Jackie first to ride into frame, followed in a line by Hunter, Chloe, Claire, Sess and Tom, recording the crossing with his phone, the last to ride out of frame. The GURGLE-WHISPER OF THE CREEK resumes after the last faint CUH-LOP..  

scene 27

Previous.

INT. RUTH'S PARLOR ROOM - DAY

FLOOR CREAK before Ruth enters with the framed selfie of the same Tom-and-Hunter-on-horseback that pulled a tear from Wanda. She sets it just so with the previous picture, on the shelf near Hunter's books, steps back, smiles, shaking her head, finally leaves. FLOOR CREAK. 

scene 26

Previous.

EXT. PINE FOREST - DAY

Tom, Hunter and Chloe stroll among the tall ponderosas. In the background Jackie, Sess and Claire set up lunch at a picnic table bathed in a shaft of sunlight. The horses are tied to a rudimentary post, nibbling at the grass.

TOM: Any idea why they call 'em ponderosa pines?

CHLOE: Because they're ponderous. Pinus ponderosa. Heavy.

TOM: Ah. Unlike, say, balsa.

CHLOE: Unlike indeed. 

TOM: Given the name Paso Robles, I'm guessin' ya got an oak or two in your neck a the woods. 

CHLOE: No pun intended.

Tom winks. Hunter smiles.

TOM: Ain't gettin' nothin' past you.

CHLOE: Yes re an oak or two. Hablas Español?

TOM: Poquito. Y tú?

CHLOE, Si, senor. 

TOM: Escuela?

CHLOE: Tres años. De dónde sacaste esa hebilla?

Tom looks at his buckle.

TOM: Te gusta?

CHLOE: Si, señor

HUNTER: Translacion, por favor.

Chloe nods to Tom to go.

TOM: Chloe asked where I got the buckle. 

CHLOE: Poquito, mi burro.

Tom smiles. Chloe winks.

TOM: Grew up around it. Some of it stuck. This buckle was my grandad's. My mother's father Randolph  Bridger. Grandad Randy. 

THE RINGING OF THE TRIANGLE BELL in Jackie's hands turns their attention to the picnic table. 

TOM (CONT.): Chuckwagon. How 'bout I tell ya more about the buckle over lunch.

Chloe nods. They walk toward the picnic.

EXT. PICNIC TABLE 

Jackie, Chloe and Sess watch Tom, Hunter and Chloe approach. Lunch is a pasta salad, cheese and crackers. Water bottles all around. The triangle bell hangs from a hook under the table.

SESS: Has anyone else noticed that Hunter and Tom have the same laugh?

CLAIRE: Yes.

Sess looks at Jackie, who nods.

CLAIRE (CONT.): Their walk is notably similar, too. In my assessment.

SESS: I see it. Do you, cuz?

Jackie nods. She gets phone, takes a picture of Tom, Hunter and Chloe, each with their heads down, gaze aimed at the ground ahead of them. She pockets phone.

Sess and Claire fix the same stare at Jackie, who finally nods. Sess and Claire return their attention to Tom, Hunter and Chloe.

CLAIRE (SINGING the Sly and the Family Stone song): It's a family affair.

SESS: (SINGING) It's a family affair.

Jackie smiles, wipes away the tear that falls. 

scene 25

Previous

EXT. TOM AND WANDA'S HOUSE - DAY

There Subaru comes into view from the direction Tom had departed. It's Wanda who drives it into port, turns off the engine, unbuckles.

INT. SUBARU

She's in a dress. She opens her purse, gets her phone, turns it on, smiles at the selfie Tom has taken that includes Hunter. They're on their horses in the meadow, Tom in Hunter's ballcap, Hunter in Tom's hat, both smiling. Wanda gives it a good going-over, puts her phone in her purse after wiping the tear that falls, gets out, shuts the door, walks out of view, HEELS CLICKING. 

scene 24

Previous.

INT. GREAT ROOM - DAY

Limestone construction. Leather seating arrangement faces the fireplace and longhorn steer horns above the framed photographs on its mantle. Two whitetail buck trophy mounts on each side of the chimney. Similar seating faces the wall-mounted TV at the other end of the room. Framed reproduction of William Hahn's painting, Mexican Cattle Drive in Southern California, on a wall above an old leather sofa attended by a stone and wood coffee table with a few books on it. 

Oaxacan rugs on hardwood between this wall and its opposite, mostly window with a view of oak trees as far as the eye can see, neither fence nor neighbor in sight. Rifles in a case in a corner down from the TV, minibar in the opposite corner. Sombrero and cowboy hats on rack near doorway down from fireplace. Down from fireplace in corner near window Gil sits in a rocker near a lamp on a table, hatless and bootless in socks, glasses on, reading the book open in his lap. He turns a page a moment before MARIA, 40ish - sandals, faded jeans, mustard tee with BROWNSVILLE GYRL in brown across the front - arrives in the doorway.

She watches Gil and a moment later the soccer ball that rolls into view, followed by RODRIGO 14, and slightly taller ROBERTO, 16, in cleats, shorts, Mexican National Team soccer jerseys, racing to the ball.  Gil looks up at them, watches Roberto get to the ball first and kick it out of view. He chases after it, racing Rodrigo to get to the ball again. Gil and Maria watch Rodrigo overtake Roberto before they leave view. Gil smiles, shakes his head, stares out in as if in reverie, returns his attention to the book. 

MARIA: Knock knock.

GIL: Who's there?

MARIA: Ida.

GIL: Ida who? 

MARIA: Ida forgotten Tom and Wanda arrived yesterday had I not seen it on the calendar.

Gil marks the page near the end of the book we see is Foglost, removes glasses, turns to her.

GIL: Change in plans. Tom arrives tomorrow and Wanda stayed back to help a friend with some medical appointments.

MARIA: Oh. Okay. 

GIL: Tom and Ruth will be over day after tomorrow. Dinner will be the fish the boys and I catch that morning.

MARIA: River or lake.

GIL: We'll take the boat out. Speaking of which, I thought I'd let Robby drive the nine-eleven tomorrow.

MARIA: Oh boy. Does he know?

GIL: No.

MARIA: Well tell me when you're going to tell him because I want to see his face.

GIL: You know I will.

MARIA: Have a drive in mind?

GIL: Vanderpool loop.

MARIA: Shoot a little video.

GIL: You know I will.

MARIA: Almost to the end of Foglost. .

GIL: Probably finish it tonight.

MARIA: Fast read for a fat book.

GIL: Page turner. 

MARIA: Has the fog lifted?

GIL: Not yet.

MARIA: Think it will?

GIL: No telling. I sure didn't see the end of Water Feature coming.

The soccer ball enters the picture as previously, from the direction it had been kicked. The boys pursue the ball as previously. This time it is Rodrigo who reaches the ball first, barely, kicks it out of view, pursues it as previously, but is overtaken by Roberto before they leave view.

GIL (CONT.):  Rodrigo's caught him. 

MARIA: Yep. The pass is not far off. 

GIL:  Yep.

MARIA:  Tamales in half an hour.

GIL:  Thank you, sweetheart.

Maria leaves. Gil puts on his glasses, opens book to the page-mark, resumes reading.

scene 23

Previous.

EXT. MOUNTAIN MEADOW - DAY

Blue sky above the lush clearing surrounded by forest, one edge from which the riders emerge in three pairs led by Sess and Claire, followed by Jackie and Chloe. Tom and Hunter lag at the same fourty or fifty feet Chloe and Jackie are behind Sess and Claire, aimed the woods at the far edge of the meadow., proceeding at a leisurely pace.

WITH TOM AND HUNTER

TOM: How often do you get to see her?

HUNTER: The last few weeks of her summer vacation, every spring break, every other Christmas and whenever I'm in Los Angeles or the bay area. 

TOM: You and Barbara get along?

HUNTER: We do. Email or call at least once a week.

TOM:  Does she work?

HUNTER: Photographer.  

TOM: Are her parents living?

HUNTER: John  and Jan. Alive and well in Paso Robles.

TOM: Well that ain't too far from San Luis Obispo.

HUNTER: Just up the road or by a nice train ride.

TOM: Good health?

HUNTER: Very good. They walk and or swim everyday.  

TOM: Retired. 

HUNTER: Retired. They were attorneys in San Francisco. Ever been anywhere in California?

TOM: Once, a few years ago. Flew to Sacramento to see a friend's son who was competin' in the rodeo in Auburn.

HUNTER: Nice town.

TOM: I thought so. Pretty country.  

HUNTER: Ever do any rodeo yourself?

TOM: Some. When I was a kikd.

HUNTER: What event or events?

TOM: I did what's called tie-down ropin'.

HUNTER: I know what that is. Win any belt buckles?

TOM: Couple.

HUNTER: Still have them?

TOM: Pretty sure Ruthie's got 'em in a box in her garage.

HUNTER: No pro rodeo?

TOM: Well, that was a part a the plan but Uncle Sam had a different one.

HUNTER: Vietnam.

TOM: Yessir.    

HUNTER: Would you mind talking about that sometime?

TOM: We can do that. 

HUNTER: Thank you.

TOM: Got some pictures somewhere.

HUNTER: I'd love to see them sometime.

TOM: Maybe next time.

HUNTER: Next time would be a good time.

WITH JACKIE AND CHLOE

JACKIE: Starting to think about where you want to go or is it too early?

CHLOE: Starting to. 

JACKIE: Your dad says you're getting letters about softball.

CHLOE: Yeah. He probably told you we're taking a motorcycle tour that includes a layover in Tucson to check out the campus.

JACKIE: U of A.

CHLOE: Yeah.

JACKIE: Not much surfing.

CHLOE: Right? 

JACKIE: Something you would miss?

CHLOE: Yeah, a little. 

JACKIE: Is it a magnet that might keep you in southern California?

CHLOE: Well, that's a part of it. I feel like things will trend away from staying home, so to speak. But, you know, it is early in that things can change. Things will change.

A lull.

CHLOE(CONT.): Where did you go to school?

JACKIE: Stayed home for undergrad at U-N-M, University of Washington for my master's.

CHLOE: Albuquerque and Seattle.

JACKIE: Yes.

CHLOE: You grew up in Albuquerque?

JACKIE: I grew up like Sess did on the Mescalero Apache Reservation we drove through.

CHLOE (BEAT): Oh. 

A lull.

CHLOE (CONT.)  Could I ask you about that sometime?

JACKIE: Of course. Maybe we can talk when you're back from your trip.

CHLOE: Cool. Thanks.

JACKIE: My pleasure.     

WITH SESS AND CLAIRE

They near where meadow meets forest.

SESS: What does your dad say Foglost is about?

CLAIRE: A sailor of a small boat on a big lake gets lost in a fog that won't lift. End quote. He'll finish it tonight and go pick up the other two books tomorrow.

SESS: I looked him up. Not much there. His small headshot with the two sentences on his publisher's website. 

CLAIRE: What two sentences?  

SESS: H C Hardyn is the author of two novels, Foglost and Water Feature, and a book of short stories, Too Short Stories. The too spelled T O O.

CLAIRE: He lives with his dog west of the Pecos.

SESS: Yes.

CLAIRE: Same as on the author flap. And the dog over his shoulder in the background.

SESS: Samoyed.

CLAIRE: Check. Any idea what Water Feature's about?

SESS: A man going blind trying to construct what he calls the creek on his plot of land in the desert. To paraphrase from the brief description on the publisher's site. There are reviews but I'm putting off reading them until after I read the book. 

CLAIRE: Will you read Foglost?

SESS: Aftar Jack finishes it. She's starting it tomorrow.

They stop at the edge of the woods through which we see the base of a hill, turns the horses around to face the nearing riders.  

CLAIRE: She seems happy.

SESS: She does. She was very nervous about meeting Chloe.

CLAIRE: Seems to be going well.

SESS: Yep.

Jackie and Chloe arrive.

SESS: How we doin', Chloe?

CHLOE: Only absolutely loving it.

SESS: That's all?

CHLOE: That's it.

CLAIRE: Lunch around the corner.

CHLOE: Cool.

Hunter and Tom arrive.

SESS: Gang's all here. How we doin', guys?

HUNTER: Merely wonderfully.

SESS: Only that.

TOM: Bout the same here.

SESS: Well, let's see what lunch and a bit of a view can do to make things better. Bit of a climb and watch out for the view. Claire?

CLAIRE: Like, hyah. 

Claire turns her horse to the woods, leads the way into them and out of view as they ascend the base of the hill ahead.

scene 22

Previous.

EXT. RURAL RESIDENTIAL ROAD - DAY

John and John walk uphill on a sidewalk along a street lined by handsome homes on large lots shaded by trees. Both in running shoes, khaki shorts and polo shirts. John sports a Stanford ballcap, Jan's is Cal Berkeley. They move at a brisk pace with 5-pound dumbbells in each hand. Their breathing and perspiration reflect their effort. 

JAN: I keep seeing this image of Chloe's family tree growing another branch.

JOHN: Branches.

JAN: Branches. 

JOHN: And Hunter's.

JAN: And ours.

JOHN: And ours.

JAN: Gut feelings?

JOHN: Initial concern considerably alleviated by seeing that photo. 

JAN: Same. He has kind eyes.

JOHN: Agreed. 

JAN: Hunter's girlfriend is pretty.

JOHN: She is.

JAN: And Chloe's smile.

JOHN: That smile.

A lull before they stop at the steps that climb to the California Ranch home with the immaculate late-80s Mercedes-Benz 560SL in the driveway and cat in a window. John checks his watch. 

JOHN (CONT.) New record.

JAN: It felt quick.

JOHN: Twenty-nine and small change.

Jan presents a high-five that John meets. JAN'S PHONE CHIRPS. She pulls it from pocket, stares at the screen.

JOHN (CONT.) Barb forwarded another Chloe selfie.

She hands phone to John, who stares at the picture that Chloe has taken of herself on her horse in the woods, Tom and Carson on their horses behind her, looking at each other.

JOHN (CONT.) Great picture.

He hands phone back to her, she pockets it. They hold hands and proceed up the steps.

JAN: Speaking of branches.

JOHN: Yes.

JAN: Do we know anything about Brian's golf game?

JOHN: No. Only that he has his own clubs. Another branch?

JAN: Maybe.

JOHN: Maybe. I like Brian.

JAN: I do too. 

JOHN: And I love you 

JAN: I love you, too.

The cat leaves the window, they enter the house, John closes the door.