scene 56

scene 55

INT. DINING ROOM - NIGHT

Ruth, Wanda and Hunter seated at the table of the same wood as the old hutch buffet. Chandelier, Curtains closed across window, view into dark kitchen, framed oil on canvas still life featuring peaches in a wooden bowl on a wooden table lit from light through window. Bottle of red wine and photo album on table, they each have a glass less than half-empty. Hunter swirls his, sips.

RUTH: Is the wine alright, Hunter?

HUNTER: It's great. I've never had a Texas wine. What's the grape?

RUTH: Tempranillo, native to Spain. Used here because it does well in heat.

HUNTER: Are you an oenophile?

RUTH: Oh my, I haven't been called that before. But yes, I guess a little. You?

HUNTER: Not so much. I'll have a glass with dinner now and then but I'm pretty much a beer guy. Barb's folks are oenophiles with a well stocked cellar.

RUTH: Well living in Paso Robles puts them close to some great wines.

HUNTER: They've got a well stocked cellar. Have either of you been to California? 

Wand and Ruth look at each other, Ruth nods.

WANDA: Disneyland when I was eleven. We stayed at the hotel and spent a day in San Diego. Coronado Island specifically.

RUTH: Disneyland and the hotel also, for Charlie's tenth birthday. We spent a day in Newport.

HUNTER: Doing what?

RUTH: Well, the pier, the peninsula, the ferry to Balboa Island where we had lunch, the ferry back and rides at a place I think was called the fun zone.

HUNTER: Still is.

WANDA: How many times have you been to Disneyland?

HUNTER: Twice when I was a kid. We could see the top of the Matterhorn from the roof. And the day before Christmas when Chloe was twelve.

WANDA: Do you know what her eighteenth birthday present will be?

HUNTER: A car.

RUTH: Does she know this?

HUNTER: She does not.

Ruth and Wanda look at each other, Wanda nods.

RUTH: She probably wouldn't want anything to do with an old pickup truck. 

Hunter stares at Ruth and Wanda staring at him.

scene 55

scene 54

EXT. BRICK HOUSE - FRONT PORCH - DAY

Ruth and Wanda in rockers on the porch with view to modest grass front yard and leafy street lined by similar homes. Texas plates on the mid-70s Pontiac Bonneville in the driveway across the street. Potted plants, WIND CHIMES SOFTLY RINGING, FAINT CALL OF NORTHERN MOCKINGBIRD. Awhile before Ruth speaks.

RUTH: Storm on the way.

WANDA: Saw that on the weather channel. Galveston's already battening down the hatches. Looks like we'll miss the brunt of it. 

RUTH: Probably a good idea to leave Gil's before it gets here.

WANDA: A very good idea.  

RUTH: How's Daisy doing?

WANDA: Better. After she dropped me off at the airport she went on to Elk Mountain to stay with her niece for a couple days. Clem's birthday is next week.

RUTH: That'll be hard. 

WANDA: I think so.

RUTH: Maybe she'd like to come down for awhile.

Wanda looks at Ruth.

WANDA: That had crossed my mind.

The SOUND OF TRUCK ENGINE arrests their attention. They stand, wait for, watch Hunter drive into view, turn into driveway.

INT. TRUCK

Hunter drives to the garage, Ruth and Wanda walk to porch steps, Hunter turns off engine, looks at Ruth and Wanda, waves, they wave back.

EXT. PORCH/DRIVEWAY

Hunter gets out, walks steps to Ruth and Wanda, hugs them both. Ruth takes one of his hands, Wanda the other, walk to door, enter house.

scene 54

scene 53

edit 9/1 ADD honda knot re Chloe’s float rope.

EXT. RUNABOUT BOAT IN LAKE COVE - DAY

John, Jan and Barbara under shade of bimini top. Chloe on float rope-tethered to boat, twenty feet away.

John in deck shoes, khaki shorts, Hawaiian shirt. Jan in sandals, knee-length shorts, unbuttoned long-sleeve blouse over tee, sunglasses hang from collar. Barbara barefoot, unbuttoned short-sleeve over one-piece swimsuit. Chloe in bikini, lying on her back.

Cove surrounded by hills opens to lake and distant SAILBOAT. Water skis, slalom ski, rescue buoy onboard. Scrabble box on ice chest.

JAN: What if anything do we know about Ruth? 

BARBARA: We know she was a high school English teacher in Johnson City when she me married a petroleum engineer named Dan, moved to Tulsa, had a son named Charles who died at fourteen with Dan when the Cessna they were in crashed on the runway of the ranch they were going to for a deer hunt. After that she traveled Europe for a year before returning and buying a house in Maine. Lived there for a few years until their mother got sick, sold Maine, moved back to Bandera and the house they grew up in to take care of her, sold when she died, bought a place in a town called Comfort for herself and their father, sold that when he died from a heart attack a year and day after their mother, moved to Anchorage, lived there for a couple years, moved back to Bandera into the house she's in now, that she was planning to sell to buy in Kerrville with Tom and Wanda.

Chloe turns over, sits up, uses rope to reel herself to the boat.

JOHN/JAN: Have you talked to Hunter?

BARBARA: He facetimed us this morning before he left. Sad eyes. I'm going to call when he gets home.

They watch Chloe near and board. Jan hands her a towel she drapes over her shoulders.

JOHN: Get enough sun. 

Chloe nods, picks up phone from console when it RINGTONES WIND CHIMES.

CHLOE: Dad.

She looks at screen, smiles, hands phone to Jan.

CHLOE (CONT.) East of the Pecos.

Barbara and John get close to see the selfie Hunter has taken where he stands, sunglasses on, calm stretch of narrow river behind him, West Texas desert on the other side of the rugged bank.

BARBARA: Great picture.

JAN: Yes it is.

Jan hands phone back, Chloe stares at the picture, puts phone back in console. 

CHLOE: Ski time?

Jan, John and Barbara nod. 

JOHN: You mind driving?

Chloe shakes head, John hands off the captain's hat, she puts it on, gets in driver's seat, Barbara and Jan in back, John brings in and secures anchor, sits in front passenger seat, Chloe starts engine, steers the boat out of cove to lake, turns out of view.

scene 53

scene 52

edit 9/1 change location to feed and tack store.

EXT. RANCH HOUSE FRONT PORCH -DAY

Describe. Hill country cabin, abundant Ashe Juniper, dirt driveway from remote ranch road.  

ENGINE SOUND before Gil's truck appears. Dale comes through screen door, walks to where Gil parks in driveway, Gil gets out, approaches Dale. walks to porch. Rodrigo in front passenger seat, Roberto in back, their windows down. 

DALE: Mornin', sir.

GIL: Good morning.

They shake hands. Dale waves at the boys, the boys wave back. 

DALE: Pleasant surprise.

GIL: Got some rough news.

DALE (BEAT): Alright. 

GIL: Tom passed. Night before last.

DALE: Where and how?

GIL: Won't know how til after the autopsy. Tom had a son. They were meeting for the first time. Tom was staying at his house in Las Cruces. His name is Hunter. On his way to Ruth's in the truck. Wanda flew in yesterday. He'll be down for a couple days then back next week with Tom's ashes. Maybe you'd like to meet him.

DALE: I would, if ya think he'd like to meet me. 

GIL: I'd bet yes.

DALE: Have ya talked to him?

GIL: No. He'll be over with the girls tomorrow.

SUSAN, 70ish, - describe - comes out through screen, down porch steps, to Dale and Gil.

SUSAN: I thought I heard your voice.

GIL: Hey, sweetheart.

They embrace. Susan waves to the boys, the boys wave back.

SUSAN: Where y'all headin'?

GIL: Maples, get a little lost.

SUSAN: Good place for it.

DALE: Tom passed.

SUSAN: Oh no.

Dale puts arm around her.

DALE: Wanda's at Ruth's. We'll call later.

Susan nod, puts arm around Dale.  

GIL: Gonna get on.

Dale and Susan nod. Dale and Gil embrace, then Gil and Susan. Gil goes to truck, gets in, drives away around bend, out of view. Dale and Susan, arms around each other, walk to house, enter, screen closes behind them. WHIR OF CICADAS.

timeout 2

 

timeout 1

recent related

remaining beats from Hunter leaves Las Cruces

52. Hunter leaves.

53. Gil and Dale.

54. Lake Nacimiento. What do we know about Ruth?

55. Ruth and Wanda, Hunter arrive.

56. Brian, his father and son.

57. Table talk. Wine.

58. Chloe, her room, sunset, Hunter ringtone, calling from Ruth's guest room, re Guillermo "tomorrow." Enter Ruth and Wanda "about the truck."

59. Next day. In truck re Gil, arrive gate. 

60. Gil, deck, truck arrive, Maria and boys watch intros through window. 

61. John and Chloe, driving. Re Vietnam.

62. Fort Park.

63. Ruth, Wanda, Maria, kitchen, ATVs.

64. Jan and Barbara.

65. Ruth, Wanda, Hunter, ice cream, Hunter backstory.

66. Gil, den, tattoo, tequila, Bangkok photos, enter boys.

67. Next day. Hunter leaves in truck. Ruth, Wanda re calling Daisy.

68. Hunter driving, music, flat, manual.

69. Daisy at home, photo album, Wanda ringtone, facetime includes Ruth. 

70. Doc at home finishes Foglost.

71. Hunter, flat fixed, Tom Triumph.

72. Hunter's guest room, Tom's hat and boots, enter Hunter, guestbook tear stain.

73. Doc, Hunter cowboy, Hawaii, new fish in aquarium.

72. Hawaii.

73. Chloe birthday truck.

timeout 1

 

Hilary Barrett:

"To still yourself is to come to rest in your own right place. It's not the opposite of motion, but of being pushed into motion by outside influences. Whether you move or stop is determined inwardly, by your sense of the nature of the time."

Other titles: Keeping Still, The Symbol of Checking and Stopping, Desisting, Stilling, Stillness, Stoppage, Reposing, Resting, Non-action, Stopping, Arresting Movement

.

scene 52

scene 51

EXT. HUNTER'S DRIVEWAY/TOM'S TRUCK - SUNRISE

Driver's door open, keys in ignition. Tom's suitcase in passenger footwell. 

Hunter comes out through front door, suitcase in hand, sunglasses atop head, puts suitcase on passenger side of seat, gets in, closes door, opens glove compartment, finds small flashlight, road flare, owner's manual for truck, envelope marked "insurance/registration," and another marked "fish" that he opens to find fishing licenses for Wyoming, Montana and Texas

He puts them back in envelope, envelope in glove compartment, closes glove compartment, starts engine, lowers sunglasses to eyes, drives to street, turns in direction Tom and Jackie had come, drives away.

scene 51 in progress

scene 50

EXT. JACKIE'S FRONT PORCH - SUNSET

Adobe. View to Las Cruces and Organ Mountains from Picacho Hills. Dog. Jackie calls Sess.

INT. TBD

Sess and Claire, legs entwined on couch under window to woods. Sess finishing Foglost, Claire with laptop. Sess gets Jackie's call - RINGTONE TBD - re Tom's passing. 

EXT. FRONT PORCH

SOUND OF ENGINE, Hunter arrives, embrace, into house.

scene 50

scene 49

INT. TALK THERAPY SPACE - DAY

Adobe, earthen floor. Lit candles and lavender plants on floating shelves. Hat rack near opening to hallway. Print of Mark Rothko painting, Orange and Yellow, on wall above sofa. Hunter in recliner aimed at aquarium teeming with tropical fish. Doc sits behind him in adult-sized old-time school desk, writes on a yellow legal pad. The only window in the room is above and behind, framing blue sky.

DOC: Now what?

HUNTER: I'll drive his truck down tomorrow, be there for a couple days, come back for his ashes, back down for a week or so. I know we're way over time, Doc.

DOC: Now worries. My two-thirty cancelled. 

HUNTER: And thanks again for sacrificing your lunch hour.

DOC: This was much more filling, Hunter. How is Chloe handling it?

HUNTER: We had a good talk on the way to the airport that helped both of us.

Hunter raises the recliner.. 

HUNTER (CONT.): His cologne is all over the house. Weird.

DOC: What cologne?

HUNTER: Stetson. Citrus and sage.

Hunter stands, Doc stands.

DOC: Kind of a big deal here.

Hunter nods.

HUNTER: Probably won't but okay if I call?

DOC: Of course, Hunter. Anytime. 

Hunter nods, approaches Doc with open arms. Doc takes him in brief embrace. They shake hands.  

HUNTER:  Thank you.

DOC: So much for running out of things to talk about.

HUNTER: See you in a couple weeks.

DOC: I'll be looking forward to it.

Another handshake. Hunter leaves into hallway, takes SQUEAK OF RUNNING SHOES with him , Doc sits at desk, writes. FAINT DOOR OPENING AND CLOSING.

scene 49

scene 48

EXT. HUNTER’S DRIVEWAY - DAY

Hunter’s arm around Chloe as they watch from near Tom’s truck as TWO MEDICAL EXAMINER ATTENDANTS load Tom’s  body - under sheet, on gurney - into back of WHITE UNMARKED VAN, close the doors, nod to Hunter, get in van, drive away. Hunter and Chloe finally walk into house via garage door.

scene 48

scene 47

EXT. 8TH HOLE TEE AREA, HUNTER RANCH GOLF COURSE - DAY

Three-par with two tee boxes, one several yards in front of the other. A foursome putting out on the green guarded by sand bunker when Jan and Barbara in golf cart, then Brian and John in theirs, arrive on the path that meanders among oak trees and rolling hills. Jan parks cart near forward tee, John at the rear.

Each in tour-level warm weather attire. Barbara and Jan in visors and knee length shorts. Brian in Cuesta College ballcap, John's advertises Hunter Ranch. Jan and Barbara leave cart, get clubs from their respective bags. Jan with driver goes to forward tee area, places tee and ball, steps away for two practice swings as the foursome on the green get in their carts, drive away. Barbara stands by with four-wood, phone in back pocket..

BRIAN: Does that four-wood mean you're going for it?

BARBARA: Doesn't mean I'm laying up.

BRIAN: Well alright.

The last of the foursome on the green putts out, gets ball, the group get in their carts, drive away. Jan steps to her ball.

BARBARA:  Go get it, mom.

Jan waggles, looks at the green, swings and flies the ball straight down the fairway.

BARBARA: Nice, mom.

BRIAN: Dead center.

JOHN: Way to go, hon'.

The ball lands, rolls to a few yards short of the bunker. John, Jan and Barbara applaud, Jan raises driver, bows. She and Barbara exchange a high-five on Jan's way to cart, Barbara's to tee. John gives a thumbs-up that Jan reciprocates.

BRIAN: Helluva shot, Jan.

JAN: Thank you, Brian. You're about to see it get one-upped.

Jan puts driver in bag, turns to Barbara taking practice swings. Barbara steps to ball, waggles, looks down fairway exactly as Jan had, swings. The ball flies in a higher arc than Jan's and will clearly be longer.

JAN: Toldja so..

BRIAN: Damn.

JOHN: Get in the hole!

The ball lands on the green, rolls to within two feet of the  hole.

All applaud, Barbara's subtle fist pump, She walks to cart. John gives a thumbs-up that Jan reciprocates.

BRIAN: Helluva shot, Jan.

JAN: Thank you, Brian. You're about to see it get one-upped.

Jan puts driver in bag, turns to Barbara taking practice swings. Barbara steps to ball, waggles, looks down fairway exactly as Jan had, swings. The ball flies in a higher arc than Jan's and will clearly be longer.

JAN: Told ya.

BRIAN: Damn.

JOHN: Get in the hole!

The ball lands on the green, rolls to within two feet of the hole.

All applaud, Barbara's subtle fist pump as she walks to cart. John and Brian get out of cart, John gets fairway wood from bag, goes to tee box. Brian bows to Jan, who reciprocates. John gets seven-iron, stands by. 

JOHN: Talk about tough act to follow.  

BARBARA: Says the man with two holes-in-one from that tee.

BRIAN: No shit.

John plants tee and ball.

JOHN: Lucky shots both.

JAN/BARBARA: Oh stop it. 

John addresses ball, looks to fairway, back to ball, waggle, backswing interrupted with club over head when Barbara's PHONE RINGTONES FOG HORN.

BARBARA: Doh.

BRIAN: Who's a Fog horn?

BARBARA: Hunter, Foglost.

BRIAN: Oh.

Barbara picks up.

BARBARA: Hey.

Her face expresses the news of Tom's death. John's and Jan's express concern, they look at each other.

BARBARA: Alright, Hunter. Let's talk later, okay?

I love you too.

(She pockets phone.)

JOHN/JAN: What is it?

BARBARA: Tom died in bed at Hunter's. Chloe's coming home. She lands at four-thirty. 

All are stunned. to stillness. John finally walks to cart, Brian assumes driver's seat, John bags his club. Jan and Barbara get in cart, Jan in driver's seat, leads the way on the path away from the tees.

silly interlude: i'm going to finish this

 

.

scene 47

scene 46 

EXT. DIRT PARKING AREA NEAR RIVER - DAY

Gil, three fishing poles in one hand, tackle box in the other, leads Roberto, 16, and Rodrigo, 14, each with a hand on a handle of a plastic fish container, away from the shallow stretch of river lined by pecan trees near a concrete bridge crossing, to the newish Chevrolet Silverado crew cab parked under tree shade near a narrow road  as seven bicyclists in jerseys, lycra, helmets, ride toward them in single file at a Tour de France rate of speed.

Gil stores the poles in the bed of the truck, helps the boys load the container. They watch the riders zoom by, cross the bridge, ride out of view. The boys get in back, Gil in driver's seat.

INT. TRUCK

As soon as Gil transfers phone from pocket to console it RINGTONES (TBD). 

ROBERTO: Who's that?

GIL: Aunt Ruthie.

(He picks up.)

Good morning.

(His face expresses the news he is hearing. The boys notice, look at each other.)

I'm here.

Ruth, I'll come by and pick you up. I need to get the boys home, then I'll be there.

Okay, sweetheart.

(He sets phone down, bows his head, crosses himself with right hand, whispers a prayer we cannot discern. He finally turns to the boys, his eyes welling up.)

RODRIGO: What's wrong, grampa?

GIL: Uncle Tommy is dead. 

The boys bow their heads, cross themselves, whisper a prayer, raise their heads, eyes welling up. Rodrigo begins to whimper, Rodrigo puts an arm over his shoulder, scoots closer. Gil puts on sunglasses, starts engine, drives to road. A tear rolls down a cheek.

EXT. TRUCK

As Gil turns toward the bridge, crosses it, drives around bend out of view.

scene 46

scene 45

EXT. BANDERA CEMETERY - BANDERA, TX - DAY

We are on the other side of three adjacent headstones that Ruth is facing, three flower bouquets in her hands, purse in crook of elbow . Awhile before she bends to place a bouquet at each headstone. She stands, looks at A MAN and WOMAN, both 30-something, with A BOY and GIRL, both 10-12 years old, laying flowers at a gravesite on the other side of the cemetery. She is startled when her PHONE RINGTONES the instrumental opening to the Wanda Jackson song, Everybody's Had the Blues. She gets phone from purse.

RUTH: Mornin' sweetheart.

(Her face expresses the news of Toms death.) 

I'm here. Can Daisy get you to the airport?

Find a flight and let me know.

Okay. And text me Hunter's number or give him mine.

I love you too.

(She puts phone in purse, wobbles, falls to her knees, begins to sob, lays on ground. The man with the woman, boy and girl notices and runs to her.)

scene 45

scene 44

INT. HUNTER'S GUEST ROOM - DAY

Chloe in the doorway stares at Tom. Tom's Wyoming driver's license and a few cards near his wallet, phone and Hunter's open laptop on the desk where Hunter stands, phone in hand, watching Chloe. Keen eyes can see the laptop is opened to a White Pages site and the entry for Wanda Walker in Laramie, Wyoming, with a phone number (307) 672-9084, all other text too small to discern. Hunter finally brings phone to mouth.

HUNTER: Nine one one.

I'm calling to report a death in my house.

scene 44

scene 43

INT. DINING ROOM/KITCHEN - SUNRISE

Quaint and cozy. Window over sink and from table to modest back yard fenced by cedar. Table with two chairs under umbrella. Calendar on the fridge turned to July, with a picture of a flyfisherman casting in a mountain stream. Daisy and Wanda in pajamas and slippers at the table, each with a mug of steaming coffee. Wanda's phone at hand.

WANDA: Feel like doing anything in particular today?

DAISY: Not really. Would you be up for a drive?

WANDA: I would. How 'bout one that includes Elk Mountain and dinner at the hotel?

DAISY: Brilliant.

WANDA: Through Centennial or Medicine Bow?

DAISY: Well, Centennial's prettier but that's some twisty-turny driving.

WANDA: I'm up for it. We'll stop at the corral for coffee, linger along the river before dinner.

DAISY: It's a date.

Both are startled when WANDA'S PHONE RINGS. She picks up, looks at it.

WANDA: Five oh five area code.

DAISY: New Mexico.

Wanda nods, picks up.

WANDA: Hello?

This is Wanda.

Hello, Hunter. Is everything alright?

(Her face expresses the news she is hearing.)

I'm here. Hunter, can I call you in...in fifteen minutes.

Thank you.

(She sets down phone, stares through the window.)

DAISY: Talk to me.

Long pause. 

WANDA: Tom died in bed at Hunter's.

Daisy puts her hands on Wanda's, bows her head.

FAINT WESTERN MEADOWLARK SONG. 

edits, talkinamyself

In the Subaru, not truck, to open. And truck is 1985 GMC Sierra Classic.  

Tom';s arrival at Hunters's coincides wityh the release of Foglost, NOT (per John) when it becomes a bestseller. That's for DOC 2.

Scene 17, Barbara and Brian, is way too long (but easier to cut than add).

And Daisy knows about Tom re Hunter, NOT knowledge she's kept from Wanda.

scene 42 and 43

scene 41

42. EXT. SMALL FIREPIT - NIGHT

CRACKLING FIRE burning twigs and small sections of branches, encircled by rocks. RIVER WHISPER interrupted by occasional CATTLE LOWING.

TOM (O.S.) Remember the way back?

CAMERA TILT UP to Tom across the fire, eyes shaded by the brim of the weathered cowboy hat. Leather gloves, his hair is on his shoulders, a beard coming in. White bandana around his neck. Dirty denim shirt. He exhales steam.

CAMERA TILT UP AND DOWN.

He looks up to stare us in the eye, his own reflect the fire.

TOM: You afraid?

CAMERA PAN LEFT AND RIGHT.

TOM: Tricky crossin', wadn't it?

CAMERA TILT UP AND DOWN.

TOM: Ya earned yer spurs.

Nearby HORSE SNORT.

Tom turns his gaze upward, we follow to the starry sky and crescent moon gradually replaced by falling snow becoming fat and fatter flakes, black of night turning grey.

We return to the fire extinguished by snow. Tom is gone, the sunrise on nearby mountains lights the river coursing through gravel bed, and Tom's boot prints and horse's hoofmarks in the snow, leading to the river. FAINT LOWING of the last few BEEF CATTLE following the herd out of view around a small hill on the other side of the river. 

TOM (O.S. LOUDISH): Hunter.

43. INT. HUNTER'S BEDROOM - SUNRISE

Describe.

He's in bed, navy blue silk pajamas, his eyes suddenly open, he lingers a moment, sits up, activates and speaks into the phone (on nightstand).

HUNTER: Tom, campfire, cattle river crossing, starry skies replaced by snow extinguishing fire. Sunrise on mountains reveal river through gravel bars. Last of the herd out of view.

He sits on edge of bed, ponders, stands, slips into slippers, leaves into hall. 

INT. CHLOE'S ROOM - MOMENT LATER

Describe. Chloe in bed asleep.

Hunter passes by in hallway, stops to look in at Chloe, continues out of view.

INT. HUNTER'S KITCHEN - MOMENT LATER

Clock on stove at 6:26. Hunter enters, commences coffee prep, watches through window over sink at a ROADRUNNER ALIGHT on the stone wall. Coffee in mug in hand, he takes steps toward the dining room, stops, returns to hall, sips, looks down the hallway.

INT. HALLWAY - CONTINUOUS

At the end, near the open door to the guest room, the object of Hunter's attention, made clear when he approaches. 

HUNTER (LOW): Tom.

He arrives in doorway looks in.

INT. GUEST ROOM

Hunter in doorway, looks at Tom in bed, eyes closed, hands together over his chest. His sleeveless tee reveals the FIRST CAVALRY PATCH TATTOO on his right shoulder. Hunter stares, finally enters, goes to bed, stands over Tom.

HUNTER: Tom.

He sits on edge of bed, puts finger to Tom's mouth, then nose, to check for breathing. Checks Tom's wrist to check for pulse. He stares at Tom, finally rises, leaves into hall.

INT. CHLOE'S ROOM - MOMENT LATER

Chloe asleep, Hunter arrives in doorway, lingers, finally enters, sits on edge of bed Chloe is turned to. He strokes her hair, a tear runs down his check. Chloe finally opens her eyes, looks at Hunter, does the math, sits up, another tear down Hunter's cheek. Chloe shakes her head.

CHLOE: No. No.

She places her head on Hunter's chest, he wraps her in his arms, she begins to sob.

CHLOE: It's not fair.

scene 41

scene 40

INT. FOYER - MOMENTS LATER

CHLOE: Do you have any idea what picture he's talking about?

TOM: Well. Chloe. What comes to mind are a couple that your grandmother took the day we drove around Lake Tahoe. 

CHLOE: What do you remember about them?

TOM: They were old school selfies she took with the instamatic she picked up in South Lake Tahoe 'cause she'd left hers at her hotel.

Hunter enters with letter envelope.

HUNTER: What hotel?

TOM: The Eldorado. Pretty much brand new.

CHLOE: Tom remembers that gramma took two selfies.

HUNTER: I heard. Do you mind telling us what you remember about them?

TOM: Happy to. First one she took we're at a sandy beach near Zephyr Cove. Other one we're parked at a turnout on highway fifty that gives ya a view of the Carson Valley. We'd taken fifty instead a continuin' on to Mount Rose Highway on account of a fire near Spooner Lake that closed the road. She took the picture, I handed her the keys to drive the rest a the way.

CHLOE: I have the Corvette picture framed on my desk.

TOM: Maybe you could take a picture and send it to me sometime.

Chloe nods. 

TOM (CONT.) Tried to describe her to Wanda and Ruth but a picture'd sure help.

HUNTER: How have you described her? 

TOM: Five-foot eight, auburn hair, brown eyes. She wore, from top to bottom, a suede floppy hat with a thin band a silver and turquoise. 

CHLOE: I have the hat and band.

TOM: Happy to hear that.

CHLOE: Please continue.

TOM: Cream-colored cashmere sweater, light blue corduroy tucked into suede moccasin-style boots up to above her calves. Complemented her hat. Mirror lens sunglasses and a leather saddlebag-style purse.

CHLOE: Do you remember what you wore?

TOM: What I been wearin' for awhile, jeans, boots, hat. Shirt I wore that day was a little on the festive side, red and gray plaid.

CHLOE: I know the buckle's asking a lot.

TOM: And only reason I remember it was 'cause I won it playin' poker two nights before. Silver with a gold ring around jasper. 

CHLOE: Jasper's a stone?

TOM: Yes it is. 

HUNTER: Do you remember the hand you won with?

TOM: Four twos. Fella I took the buckle from had a full house. Three queens, two tens. The look on his face. 

HUNTER: What did you have on the table? 

TOM: Hundred bucks. He'd come up low on cash and was playin' his last hand.

CHLOE: Do you still have the buckle?

TOM: At home in a shoebox with other buckles.     

CHLOE: The envelope, please.

Hunter hands the envelope to Tom, who hesitates before opening it, finally does, stares at the 3" x 5" picture that corroborates exactly Tom's description of attire and location, the lake and mountains on the other side behind Tom and Olivia next to each other, his right arm around her waist, her left arm around his, her right arm clearly extending the camera away from them. 

HUNTER: Good memory, Tom.

TOM: Whatcha don't see is that we're about up to our knees in the lake. Took off our boots, rolled up our pants, stepped out a little off the beach. Cold water. 

Tom shakes his head.

CHLOE: What shakes your head?

TOM: I think I read or heard somewhere that smell is your strongest sense memory. 

CHLOE: And?

TOM: Just lookin' at, first glance, smelled her lilac perfume.

Hunter and Chloe exchange a look.

TOM (CONT.) Said it was a sixteenth birthday gift from her mother.

CHLOE: I have the bottle.

Tom nods, hands Hunter the photo.

TOM: You mind if I take a picture a that before I leave?

HUNTER: Of course not.

Hunter sets photo and envelope on piano. 

TOM: Either y'all play piano?

HUNTER: No. Picked it up a few months ago at an estate sale in Silver City just to have in the house. I'll sit and make some racket once in awhile but it's in the house in case a guest can and wants to play. A few have. Jackie can play a little.

TOM: So could Olivia.

HUNTER: Yes she could. 

TOM: Her mother taught her.

HUNTER: Yes she did. 

TOM: Your mother as adopted.

HUNTER: Yes she was. Any musical inclination in your family?

TOM: My grandmother got Ruthie started on the piano that's in what Ruth calls her parlor. I can make some racket on a harmonica and can find a few chords on the piano just from payin' a little attention to Granny and Ruthie.

Hunter opens the fallboard, Chloe pulls bench out for Tom to sit. Tom somewhat begrudgingly does.

CHLOE: Do you know who taught your granny to play?

TOM: Seems to remember hearin' it was a Sunday school teacher got her started. 

Chloe aims her phone to record. Tom stares at the keys a moment before his fingers find the keys to ease into a very respectable rendering of "If I needed you."

HUNTER: Townes.

TOM: Yessir. It's the ringtone me and Wanda share.

CHLOE: Are there words.

TOM (SINGS):

The lady's with me now 

since I showed her how

To lay her lily hand in mine

Loop and Lil agree, she's a sight to see

A treasure for the poor to find

Well, if I needed you, would you come to me?

Would you come to me and ease my pain?

If you needed me, I would come to you

I would swim the seas for to ease your pain. 

(Tom stops, closes fallboard. Chloe stops recording.)

HUNTER/CHLOE: Thank you, Tom.

Tom nods, stands, tucks in bench under piano. 

TOM: Thank y'all. Chloe, do ya think you could help me figure out how to use my phone's facetime feature to facetime Wanda and Ruth at the same time.

CHLOE: Happy to. Where do ya wanna be?

TOM: I reckon maybe the patio.

CHLOE: Let's go.

She extends hand, Tom hesitates, takes it, they leave into hall out of view, taking Tom's BOOT KNOCK with them. She extends hand, Tom hesitates, takes it, they leave into hall out of view, taking Tom's BOOT KNOCK with them. Hunter stares at the Tahoe selfie, finally puts it in envelope, and envelope on piano, leaves into opposite hall.

[end Act 2]

scene 40

scene 39

EXT. HUNTER'S DRIVEWAY - NIGHT

Garage door open, Rover in its spot. Tom and Chloe, wearing Tom's hat, near Hunter at Jackie inn her driver's seat, engine running, lights on.

HUNTER: Call when you're home?

JACKIE: From my driveway.

HUNTER: Thanks.

Quick kiss. 

JACKIE: Chloe and Tom, until next time.

CHLOE/TOM: Already lookin' forward to it.

CHLOE: Thanks for an unforgettable day.

JACKIE: Thank you both. Goodnight.

TOM/CHLOE: Goodnight.

Jackie drives away.

HUNTER: Agreed on unforgettable. Tom, I'm really happy you came along.

TOM: I'm blessed to be able to. 

HUNTER: Up for a movie?

TOM: I sure would like that but to be honest I'm feelin' a little tuckered. Thinkin' I'll call Wanda and Ruth who're waitin' to hear all about the day, then take a shower and get on to bed. Sorry to be a party-pooper.   

HUNTER: Not at all, Tom.  

Hunter leads to garage  

CHLOE: Maybe it's the elevation effect.

TOM: Well, Laramie's at seven-thousand so I ain't sure it's that. Just part a gettin' older and already bein' old. 

HUNTER: Tom, are you too tuckered to take a look at a photograph and tell me a little about what you remember about the day it was taken. Or it can wait until tomorrow morning.

TOM: Well, a little less tuckered now that ya got my curiosity on the hook.

HUNTER: Great.

Hunter closes the garage door. 

scene 39

scene 38

EXT. WHITE SANDS NATIONAL PARK - IN THE DUNES - SUNSET

Hunter, Jackie, Chloe and Tom, each barefoot, gaze at the sun setting on the San Andres Mountains, shoes/boots arranged behind them where their foot tracks mark their descent from the top of a dune. 

TOM: Am I correct in thinkin' that we're standin' where a sea used to be awhile back.

CHLOE: You are correct, sir. The Permian Sea. Two-hundred and eighty-million years ago.

TOM: That prob'ly puts it before dinosaurs.

CHLOE: By about thirty millions years.

TOM: Give or take.

CHLOE: Give or take.

Pause as the sun meets the tallest peak.  

TOM You ever been to a black sand beach?

CHLOE: Yes. Playa Negra in Costa Rica.

TOM: Were ya surfin'?

CHLOE: Yes.

HUNTER: How 'bout you?

JACKIE: Yes.

HUNTER: Where?

JACKIE: Iceland.

HUNTER: Vacation.

JACKIE: Honeymoon.

HUNTER: Oh.

Tom and Chloe exchange slight smiles. 

CHLOE: One more selfie?

They gather together, backs to the sunset. Chloe uses selfie stick to take the picture. They gather their boots, retrace their steps up the dune, over the top out of view.

scene 38

scene 37

INT. HORSE BARN/TACK ROOM - DAY

Rudimentary and clean. The six horses in their respective stalls, eating hay. Saddles on their respective racks. Mechanical bull in a corner. View through open doors to corral.  Chloe, Tom, Jackie, Sess and Claire watch Hunter using a pen to write a note on the front endsheet of Foglost then hand the book to Claire, the pen to Sess..

CLAIRE: Thank you so much, Hunter.

HUNTER:  Very happy to, Claire. 

CLAIRE: I can already see his smile.

HUNTER:  I have a three-hour layover in Oklahoma City October six if your dad might like to meet for lunch.

CLAIRE: Oh my God I know he would.

HUNTER: I'll forward the details through Jack.

Claire nods happily.

SESS: Straight home to Cruces?

JACKIE:  No. River walk in Rui, dinner in gordo, White Sands sunset.

SESS: Send a pic.

JACKIE: Will do.

SESS: Anybody want a coffee for the road.

HUNTER: I'll take one.

TOM: I'll second that.

SESS: Alright then.

All except Hunter walk to the door. Hunter gets a rope coiled on a hook in the tack area, walks it to the group at the door. 

HUNTER (TO TOM): When's the last time you tied a honda knot?

TOM: Well, couldn't tell ya exactly but it's been awhile.

HUNTER: So long that you might've forgotten how?

TOM: I reckon not quite that long.

Hunter presents the rope, Tom takes it.

Jackie, Chloe, Sess and Claire aim their phones to record. Tom looks at the rope as he runs it through his hands, then quickly creates a honda knot and lasso that he hangs on a post. Hunter claps, CHORAL YAY from the group.

CHLOE: Now lasso something, cowboy.

Tom gets the lasso from the post, leads the group toward the mechanical bull, widening the lasso, then swinging it above his head. The group hurries ahead of him for better camera angles. Jackie and Hunter look at each other, Jackie winks, Hunter gives a subtle thumbs-up. 

TOM: Now like I said, it's been awhile.

Tom stops fifteen feet away from the bull, lets the lasso fly. It lands like a bullseye around the bulls horns. CHORAL WHOOP AND HOLLER. Hunter nods vigorously, claps his hands loudly above his head. Tom smiles, tips his hat. All except Chloe pocket their phones to applaud. Chloe continues to record, using optical zoom to close in on Tom's growing smile and the tear that escapes to roll down a cheek. 

silly interlude 1: Yi 1: what does the pool scene add

 

The Pool Scene.

.

scene 37

scene 36

EXT. JOHN AND JAN'S POOL - DAY

John in Hawaiian-print trunks and Jan in one-piece swimsuit, both with sunglasses, on their backs on their respective floats. Occasional FAINT SPARROW SONG throughout..

JAN: Did you tell me where they're staying?

JOHN: I don't remember doing so. The Teton club.

JAN: Nice. Do we know where the wedding is?

JOHN: Wilson.

JAN: And the bride is who to Eldredge?

JOHN: Grandniece. Did I tell you they're selling and leaving Chicago?

JAN: If you did, I don't recall. I hope I would remember something like that.

JOHN: I'm sure I didn't. 

JAN: Selling and moving where?

JOHN: Capistrano or San Clemente.

JAN: Really?

JOHN: They're tired of the winters.

JAN: Well, I'm a little surprised it took so long.

JOHN: Waiting for his grandson to finish high school.

JAN: Ah. That rings a bell. Time frame?

JOHN: ASAP but no rush. 

JAN: Train visits.

JOHN: Yep.

A long pause.

JAN/JOHN: Have you visited Wanda's blog?

They smile.

JAN/JOHN: You first.

JAN: The most recent, about their friend Clem's passing. And I clicked on a random date in May and found an entry about a visit to friends with horses near Sheridan. I'm going to stop there for now. I feel like I'm eavesdropping somehow, as silly as that sounds.

JOHN: The same. And with the random clicks on two entries. One a year ago about Ruth's visit to Laramie, and another about members of their square dance group in the Cheyenne Days parade.

JAN: Square dance.

JOHN: Replete with festive attire.

JAN: Have you ever do-si-doed?

A puase.

JOHN: Junior high Sadie Hawkins Day.

JAN: Who asked you to dance?

JOHN (TWO BEATS): Maureen Doyle.

JAN: Can you describe Maureen Doyle?

JOHN: Two inches taller than me, slender. Auburn hair in a ponytail tied by a red ribbon. Green eyes, slight overbite, and a smile she held her hand over to hide her prominent two front teeth.  Blue jeans, cowgirl boots, gingham blouse. We'd been in school together since fourth grade.

JAN: And talked?

JOHN: Never. Infrequent nods in passing in the hallway. 

JAN: How did the evening end?

A long pause.

JOHN: We talked over ice cream at a picnic table near hay bales. We set a date to meet at a basketball game the following week.

JAN: And.

JOHN: Her dad picked her up after the dance. Her dad picked her up after the dance and they were both killed on the way home when a drunk driver hit them head on trying to pass a car on a blind curve.

She looks at John, sees the tears, takes his hand.

scene 36

scene 35

INT. HIGH-RISE APARTMENT DINING AREA - LAKEFRONT CHICAGO - DAY

RACHEL, 70ish - canvas deck shows, khaki slacks, light sweater over blouse, grey hair in short shag - stares at her laptop screen from where she sits at one of four chairs at table with window to boats on Lake Michigan and neighboring tall buildings with the same expansive and expensive view. She is fit and trim, her resemblance to John hard to miss, like her wedding ring's diamond.   

Laptop shares table with bowl of peaches and bananas, scrabble box, copy of Foglost near chair across from her, and phone at hand. China hutch, framed painting of red barn on horizon of vast sea of golden wheat. Elegant cabinetry, stone countertops and state of the art appliances in adjacent kitchen. 

MAN'S VOICE (O.S.) Rachel? 

RACHEL: Eldredge?

FOOTFALL ON STAIRS before ELDREDGE, 70ish - loafers that match belt holding up new jeans, polo shirt - enters. Rachel's attention remains fixed on the laptop screen. 

ELDREDGE: Ride here in ten.

RACHEL: Okay. Come look at this.

He approaches, looks over her shoulder at a photograph of Hunter, Chloe and Tom (TBD).

ELDREDGE: I've been there.

RACHEL: Where's there?

ELDREDGE: (He tells her, and re the circumstances.) Who's the cowboy?

RACHEL: Chloe's new grandfather. Hunter's dad.

She closes laptop, looks at him. 

RACHEL (CONT.): More on the way to the airport.

ELDREDGE: Okay.

She stands, pockets phone, grabs laptop, Eldredge grabs Foglost, they enter kitchen. 

RACHEL: But first, I'd like to hear more about (re the circumstances re "where there" is)..

They exit kitchen, out of view.

ELDREDGE (O.S.): Well, it was a dark and stormy night.

FOOTFALL ON STAIRCASE.

Rachel chuckles.

ELDREDGE (O.S.): No, really.

Rachel laughs.

ELDREDGE (O.S.): So there I was.

Rachel laughs louder. END FOOTFALL. Moment before SOUND OF DOOR OPENED, A MOMENT LATER CLOSED. 

scene 35

scene 34

EXT. CREEK IN WOODS - DAY

A WHISPERING WATERCOURSE winding through mixed conifer forest. The CUH-LIP CUH-LOP OF NEARIMG HORSES before the riders enter frame in single file - Jackie first followed in succession by Hunter, Chloe, Tom, Claire and Sess - to cross creek and ride out of frame.  

scene 34 in progress

scene 33

INT. BEDROOM - DAY

Still life animated when Barbara enters to place framed photo of Hunter, Chloe and Tom with a carved wooden bear.

Throw pillows on queen bed and coach under window to nearby Cerro San Luis Obispo and neighbors above the leafy street. A palm tree.

Desk, bookshelf, candles, conches and other on floating shelves.

Partly open door to walk-in closet, open door to hallway from which Barbara enters.

Margo Oberg and P.J. Harvey posters. Framed photo of Pismo pier and surf at sunset.  

Barb's will add to the framed photos on desk with computer, globe, pink princess phone. Old surfboard in one corner, hanging chair and lamp in another. 

Details later.