scene 11

Previously.

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. 

scene 10

Previously.

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: Híjole.

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.