Friday, April 17, 2026
Tuesday, April 14, 2026
Final Beats 1-20
1. Night. Tom and Wanda in bed, Hawaii and Foglost.
2. Sunrise. The truck and Wyoming plates, Tom leaving, lunch in Cimarron. Re Daisy.
3. Gil with Dale, Bandera VFW, Wanda staying back, Tom Angel Fire Huey selfie.
4. Sunset. Wanda with Daisy gets Tom's call - meet ringtone - from ABQ motel room. Tom leave Ruth VM, start bath.
5. Sunrise. Tom to truck, drive out of ABQ motel lot.
6. John driving Benzwagon with Jan, Barbara and Chloe re Jackie and Horse Day.
7. Hunter home office, Organ Mountains, Chloe photos and screensaver. Watch alarm, he leaves.
8. Tom driving in Hunter's 'hood, aviator glasses, makes turn toward Organ Mountains per GPS instruction.
9. Hunter, kitchen/dining, view to back yard, water, bag, recycle bag, leaves.
10. Tom arrives at Hunter's, open garage to Rover and Gold Wing. Phone camera, Hunter into garage from house, bag in hand, Tom snaps picture, drives away, hides behind neighbor's house. Hunter into house through garage.
11. Tom U-turn.
12. Hunter foyer, doorbell, Tom on porch, Howdy, Tom enters.
13. John, Jan and Barbara, roadside stand, Hunter's call. John re middle name. A man on a horse.
14. Wanda with Daisy at tracks gets Tom's call from Hunter's guest room. Tom calls Ruth (with Gil - Hijole) at roadside peach stand, leaves room, framed in window over desk when he arrives in back yard, lights cigarette.
15. Hunter and Chloe, El Paso airport parking lot. Chloe re Doc.
16. Barbara tells Brian about Tom and Olivia.
17. Sunset. John and Jan at home. And we were worried about Brian. Call Kate?
18. Hunter and Chloe arrive Hunter's, Tom's truck in driveway. Into house, Tom and intros. Chloe excuses self to begin casserole. Hunter's inquisition. Chloe takes picture of Hunter and Tom.
19. Kate, with Cedric (reading Foglost), gets call from John re Tom Walker.
20. Night. Tom, Hunter, Chloe re T/W 25h, Hawaii, surfing, Pismo, Cali, Tom USMC. Tom excuses self, Hunter, per Chloe, calls Jackie.
beats: one more edit needed
The more I come to understand Story, the clearer it becomes beats - scenes in order - requires at least one more edit.
Akin to solving Rubik's Cube.
Back to square one today, progress as able, set beats in wet cement to end this blog.
motor vehicles
Tom's old GMC Sierra pickup.
Wanda's Subaru wagon. At the train tracks when Tom calls from Hunter's.
John's/Benz wagon. Taking Chloe to airport.
Hunter's Range Rover and Honda Gold Wing in garage.
Brian's old 911, Barbara driving.
Barbara's Tesla, arriving home, Chloe selfie on phone.
Gil's Chevy Silverado and Corvette and...
Rickie's old Husqvarna dirt bike in garage.
Maria's KIA SUV, Gil's garage.
Sess's Dodge Super-Duty and...
Claire's Jeep CK-7 in carport.
Jackie's Alfa Romeo Spider, arrive and leave Hunter's.
Ruth's Volvo wagon, at peach stand.
Jan's Jag, in driveway.
Ford F-150 and old Cadillac in driveways in Claie's parents scene.
Medical Examiner van taking Tom's body.
Two Triumph motorcycles in Gil's (with Tom in) Bangkok photos.
Gil's (dad's) ancient Ford Ranchero at Fort Park.
Kate and Cedric's Toyota Land Cruiser, arrive home, and BMW E30 M3 in garage.
Monday, April 13, 2026
Sunday, April 12, 2026
occupations
Tom, retired cattle ranch foreman.
Wanda, retired USPS.
Gil, retired general contractor.
John, retired securities attorney.
Jan, retired corporate litigator.
Barbara, photographer and teaches a course at Cal Poly.
Hunter, novelist.
Brian, residential architect.
Ruth, retired high school teacher and administrator. Now paints.
Daisy, retired librarian.
Kate, retired pediatrician.
Cedric, retired pilot.
Doc, psychotherapist
Chloe, high school student.
Maria, restaurant manager.
Friday, April 10, 2026
beats 51-60
51. Next day, Hunter - guest room/book? - leaves in Tom's truck.
52. Chloe, Barbara, Jan and John, boat on Lake Nacimiento, about Ruth.
53. Sess and Claire (on phone with parents), call from Jackie re Tom.
54. Ruth and Wanda, Hunter arrive.
55. Night. Hunter, Wanda and Ruth, wine, photo albums and re Gil, Maria, Boys.
56. Chloe with Barbara gets Hunter's call from Ruth's guest room.
57. Next day. Gil on deck, sound of engine before truck. Maria and Boys observe from inside.
58. Kate and Cedric.
59. Fort Park.
60. Wanda, Ruth, Maria in kitchen.
Thursday, April 9, 2026
silly interlude re the Challenge God gives me in writing Honda Knot
Wednesday, April 8, 2026
revised beats 41-50
41. Hunter's dream. Kitchen for coffee, Tom reveal.
42. Hunter tell Chloe.
43. Wanda with Daisy gets Hunter's call.
44. Ruth gets Wanda's call.
45. Gil with boys gets Ruth's call.
46. Barbara with Brian, John and Jan gets Hunter's call.
47. Hunter and Chloe watch Medical Examiner van drive away.
48. Hunter with Doc, re itinerary.
49. Sunset. Hunter arrive Jackie's.
50. Night. Daisy home alone, call from Wanda with Ruth and Daisy.
silly interlude re how i've best written this screenplay
prolly gonna get beats set (more or less) here, take a break, begin a Final Draft blog next week.
revised beats 31-40
31. Riders through pines.
32. Wanda with Daisy, facetime Ruth.
33. Mountain Meadow.
34. Kate with Cedric, facetime John with Jan.
35. Pinus Ponderosa. Belt buckle story. Rodeo buckles at home. Jackie, Sess, Claire picnic.
36. Barbara with Brian, finishing Foglost. Read Honda Knot.
37. Horse barn, Honda knot.
38. White Sands sunset.
39. Jackie leaves, Tom's Tahoe story.
40. Tom facetime Wanda with Daisy and Ruth. Chloe, who set it up, hello. Guest book.
scene 31
EXT. PONDEROSA PINE FOREST - DAY
WHISPER OF CREEK trickling through, lit by shafts of high-noon sun. WOODPECKER PECKING silenced by CUH-LIP CUH-LOP OF APPROACHING HORSES.
Sess leads the riders into and through frame, followed in single file by Claire, Jackie, Hunter, Chloe and Tom, caboose with phone camera aimed at the train ahead of him. Chloe turns to him, waves, Tom waves back, ends recording, pockets camera, rides out of frame.
CUH-LIP CUH-LOP FADES AWAY, replaced by WOODPECKER PECKING.
Tuesday, April 7, 2026
scene 30
INT. LIVING ROOM - DAY
Recliner with lampstand on each side of couch aimed at TV. Field and Stream magazines on coffee table. Cowboy hat, Camouflage ballcap and University of Oklahoma football helmet on rack near door. FAINT TIK-TOK OF GRANDFATHER CLOCK near opening to hallway, hands at 11:22.
Big window above couch to water tower above neighbors' simple homes across the leafy street. The lettering on the tank tells us we're in Ardmore. The Oklahoma plates on the Toyota Tundra in one driveway and Honda Odyssey tell us where Ardmore is.
A MAN, 60-something - socks, overalls and tee, glasses - in recliner, turns a page of Foglost. Phone and page-marked bible on lampstand. He sets book in lap, picks up when PHONE BUZZES. He stares at screen.
MAN: Well I'll be damned.
A WOMAN, 60-something - tennis shoes, jeans, Leon Russell tee - arrives in doorway.
WOMAN: Pardon me?
MAN: Come here.
She approaches, she hands him phone. She stares at photo of Claire and Hunter, saddled on horses side by side in the barn.
WOMAN: Well shit howdy. The book.
He hands her Foglost, she opens to the author flap where Hunter looks at the camera from where he stands in the desert, distant mountains in the background above the blurb:
H.C. Hardyn is the author of two other novels, Isleton and Abrasions, and Trabuco: Short Stories.
WOMAN (CONT.): That's him. Right?
MAN: Or his doppelganger.
WOMAN: Either way, I guess he's Jackie's new boyfriend.
She hands him phone and book. He compares the pictures.
MAN: I guess we'll hear more later.
He sets phone on table, opens Foglost.
WOMAN: Quite the page turner. .
MAN: I'll finish tonight. (BEAT.) Wait.
WOMAN: Bingo tonight.
MAN: That's right. Then on the train. Lunch?
WOMAN: (BEAT) Tuna melt and tomato soup?
He smiles.
MAN: Sounds good, sweetheart. Thank you. But I mean tomorrow in Fort Worth.
WOMAN: Oh. Thanks for reminding me. Betty suggested Laredo.
MAN: I like that suggestion.
WOMAN: I have another one but it would mean putting your book down. Or you could just read my mind.
They stare at each other., she winks, he puts book on lampstand, glasses in case, follows her to hall. She extends hand, he takes it, follows woman into hall out of view.
Monday, April 6, 2026
silly interlude re when i learn Honda Knt has sold
silly interlude re restructure,. re-revisited
revised beats 21-30
21. Next day. About the truck, Heere's Jackie, intros, re cousin's partner another surprise guest. The more the merrier. Re pictures and Chloe's selfie-stick. Intro Rover and away.
22. Wanda with Daisy gets group picture from San Augustin Pass, recognized by Daisy, having stopped there with Clem.
23. Ruth at home saves picture as screensaver.
24. John and Jan stare at picture, re John's Roy Rogers Christmas boots.
25. Kate shows picture to Cedric, who thinks he's met Tom before.
26. Barbara places picture, framed, on Chloe's desk.
27. Int. Rover, last time on a horse. San Diego, USMC.
28. Maria knock knock Izzy. Gil re Tom's Las Cruces layover.
29. Sess and Claire.Rover arrive, intros and rodeo. Re tie-down ropin' and calves being branded.
Into barn. Woodpecker.
30. Claire's dad at home (edit) reading Foglost, gets Claire's selfie with Hunter.. "Holy shit" draws Claire's mom in. "Well shit howdy."
revised beats 11-20
11. Barbara with John and Jan gets Hunter's call re Tom Walker. John re a middle name. Check. A picture.
12. Wanda with Daisy gets Tom's call from Hunter's guest room. Wanda hands key to Daisy.
13. Tom calls Ruth at Fredericksburg peach stand.
14. Gil with Boys gets Tom selfie. Hijole.
15. Chloe and Hunter El Paso airport. Chloe re Doc. Buckle up.
16. Barbara with Brian tells him about Tom and Olivia. Brian re Tom showing up in conjunction with release of Foglost.
17. Hunter, Chloe arrive, truck in driveway, intros, Chloe to kitchen, Hunter's questions. Chloe takes picture.
18. Kate with Cedric (reading Foglost) gets John's call. Retired cattle ranch foreman in Laramie.
19. Jan and John at home, sunset, looking at street view of Tom's/Wanda's house. Patches of snow.
20. Patio night, Tom re anniversary, Hawaii, surfing lesson, having met Wanda at AA meeting in Boise., excuses self, Hunter calls Jackie.
revised beats 1-10
1. Tom and Wanda, night, Hawaii and Foglost.
2. Next day, sunrise. Tom leaves in truck. Re Daisy and Maria/Boys.
3. Gil, Maria, Great Room, The Boys, Knock Knock Ida re Tom. Tomorrow. Just Tom. Re Foglost.
4. Tom arrive ABQ motel. Monsoon clouds. Call Ruth/Sis, start bath.
5. Next day, sunrise. Wanda gets call from Tom - meet ringtone - in truck, ABQ motel lot. He drives away.
6. John, Jan, Barbara and Chloe, roadside cafe. Re Jackie, Horse Day, motorcycle ride/helmet.
7. Hunter, home office, Chloe photos. Time to go.
8. Tom in truck, nearing Hunter's house, aviator sunglasses. Recycle/trash bins at each curb. Stops, idles, raises phone to take picture. Garage door opens automatically to reveal Rover, motorcycle and Hunter with filled bag in hand. He looks up at Tom, Tom takes picture, drives away. Hunter watches truck disappear behind neighbors' house.
9. Tom's U-turn.
10. Hunter foyer, doorbell. Howdy Tom Walker. Into house.
Wednesday, April 1, 2026
silly interlude re restructure timeout
a break for some rubik's cubing, related to hex. 57 and how subtle penetration reshapes previous notions.
Tuesday, March 31, 2026
scene 29
EXT. DECK OF AIRSTREAM TRAILER IN PINE FOREST - DAY
SESS and CLAIRE, mid-40s cowgirls from boots to hats, belt buckles and bandanas in-between, sit on log bench on pine deck aimed at dirt road coming out of the woods and leading to a car port near airstream. Two heavy-duty pickup trucks with dually tires - one a Chevrolet with New Mexico plates, the other a Ford with Oklahoma plates - share the port with two “dirt bike” motorcycles. Solar panels, two six-horse trailers and Jeep CJ-7 near barn, corral and hitching post in clearing behind the airstream. Three tents pitched in the nearby woods.
As Sess and Claire speak, TWO 15-YEAR-OLDS walk an unsaddled HORSE into view from out of the woods, toward the barn. An AUSTRALIAN SHEPHERD DOG comes out of the barn to accompany the teens and horse into the barn.
CLAIRE: How did they meet?
SESS: Sat next to each other on a flight from Denver to A-B-Q.
CLAIRE: What does Hunter do?
SESS: He's a writer.
CLAIRE: Of what?
SESS: Two novels and a book of short stories.
CLAIRE: Really?
SESS: What's his last name?
CLAIRE: Hardyn. With a Y.
Sess, surprised, turns to Claire.
ENGINE SOUND before Rover arrives out of woods. Sess and Claire stand, walk to car port, where Hunter parks. The four out to meet the two.
CLAIRE: That's him.
SESS: Yep.
CLAIRE: My dad's gonna shit. Think he'll be okay with a selfie?
SESS: I asked. Yes.
CLAIRE: His daughter is beautiful.
SESS: Yep.
CLAIRE: How is the cowboy related?
SESS: Surprise visitor's all I know.
JACKIE: Cuz.
SESS: Cuz.
Sess and Jackie embrace.
SESS (CONT.): You made it.
JACKIE: Brush fire delay at the service road. Tried to call, no reception.
SESS: We heard it about on the radio.
Jackie and Claire embrace.
JACKIE: So happy to see you.
CLAIRE: You're glowing, Jack.
JACKIE: It's the high country light. How are the folks?
CLAIRE: Good. Taking the train to Fort Worth tomorrow for a week with friends in Dallas.
JACKIE: Ready to meet your dad's favorite author?
CLAIRE: Sess says a selfie might be alright.
JACKIE: All clear for picture taking and video. Hunter's only request is that Hardyn not be included in name tagging.
CLAIRE: Understood.
JACKIE: So, to introductions. Cecilia and Claire, it's my pleasure to introduce you to Hunter, Chloe and Tom. Tom, Chloe and Hunter, my cousin Cecilia and her partner Claire.
All exchange handshakes and variations of hello nice to meet you.
SESS: That out of the way, Sess is fine, thanks. So Jack's told you about what we're doing here with the horses and kids, who are saddling the horses now.
TOM: It's a wonderful thing you're doin'?
SESS: We're early into it but so far so good. Tom, I'm going to take a wild guess that this is not your first rodeo.
TOM: I been to a couple.
SESS: Maybe closer to a couple few?
TOM: That might be a little more accurate.
TOM: That might be a little more accurate.
JACKIE: Tom is a retired cattle ranch foreman.
SESS: Well then I guess a couple few thousand is closer to the actual number.
TOM: Prob'ly ain't inaccurate.
SESS: Whaddaya say we meet the kids and horses and get to moseying?
JACKIE: Let's.
Sess, Jackie and Claire lead to the barn. Tom, Chloe and Jackie follow them in.
Friday, March 27, 2026
scene 28
INT. PSYCHOTHERAPIST'S OFFICE - DAY
Adobe, hardwood floor, windows frame blue sky. Doc sits and types at laptop that shares the desk with landline phone, lamp, crystal ball, large heart-shaped rock, yellow legal pad near pens and pencils in Cal-Berkeley bear coffee mug, smartphone. The light from the computer screen reflected in his glasses. The Framed University of Berkeley PhD in Psychology diploma above a framed University of Texas Bachelor's in Psychology diploma on wall behind him show his name is Leonard Roberts. Fedora on rack near open door to Saltillo tile hallway.
He stops typing when his SMARTPHONE RINGTONES A FOGHORN. He picks up, stares at the selfie Hunter has taken that includes Tom, Chloe in Tom's hat, and Jackie with a wood carved Smokey the Bear. We hear the CLICKING OF BOOTS ON TILE before GLORIA, 30-something - boots, corduroy pants, blouse - arrives in doorway. Doc sets phone down, removes glasses, looks at her.
GLORIA:Mister Ward cancelled.
DOC: His dog died.
GLORIA nods.
GLORIA: He’s going to his sister’s for a few days.
DOC (CONT.) I'll give him a call.
GLORIA: No Hunter tomorrow.
DOC: His daughter is visiting through the end of her summer.
GLORIA: Chloe.
DOC: Chloe.
GLORIA: Ordering Chinese, request?
DOC: Tofu vegetable usual. Thanks.
Gloria leaves with her BOOTS CLICKING.
DOC (CONTD.) Gloria?
GLORIA (OS.): Lenny?
DOC: Add a side of rice?
GLORIA ( O.S.) Comes with. Brown?
DOC: Brown. Thanks,
Resume HEEL-CLICK FAINTER into silence.
Doc ponders, returns his attention to the selfie, stares, sets phone down, puts on glasses, resumes typing.
Tuesday, March 24, 2026
scene 27
INT. ROVER - DAY
Hunter driving U.S, Hwy 70 northeast through the woods of the Mescalero Apache reservation, Sierra Blanca Peak framed in the windshield.
TOM: When's the last time you were on a horse?
CHLOE: Does a mule count?
TOM: Sure it counts.
CHLOE: Then two years ago at the Grand Canyon.
* Add John/Jan/Barb/Chloe mule ride Grand Canyon framed photo to Chloe's desk.
TOM: Good time?
Chloe nods.
TOM (CONT.) Before that?
CHLOE: Pony ride at the state fair when I was a kid. When's the last time you were on a horse?
TOM: Few months ago. We got friends with land and horses up near Sheridan. We'll get up for some ridin' a couple times a year. How 'bout you, Hunter?
HUNTER: Last time on a horse?
TOM: Yessir.
HUNTER: It'll be twenty years in November.
TOM: Where were ya, if ya don't mind me askin'?
HUNTER: Costa Rica. My honeymoon. A sunset ride on the beach.
TOM: Me and Wanda are thinkin' about doin' that on the northern part of the island.
CHLOE: Are you doing a luau?
TOM: We are. Wanda don't believe it but I'm takin' a surfin' lesson at Waikiki.
CHLOE: That's cool. And it's a great place to learn.
TOM: You been?
CHLOE: That's where my mom taught me.
TOM: Well how 'bout that? How old were ya?
CHLOE: Ten.
TOM: Well you must be Pretty good by now.
Chloe shrugs.
CHLOE: I think it's great you're doing it.
TOM: Figure I'll be fallin' all over the plae but the landin's gotta be softer than comin' off a horse.
CHLOE: And it's warm water.
TOM: Where do ya surf outta San Luis Obispo?
CHLOE: Different places but usually Pismo.
TOM: I reckon the water's a little colder than Hawaii.
CHLOE: Always a wetsuit. Have you ever been to California?
TOM: I have. San Diego.
CHLOE: What were you doing there?
TOM: Boot camp United States Marine Corps.
Pause.
CHLOE: Did you join?
TOM: I did not.
Pause.
CHLOE: Drafted and on the way to Vietnam?
TOM: Yes ma'am.
Pause.
CHLOE: Is that something you'd be willing to talk about sometime.
TOM: We can do that.
Silence but for hum of wheels on road.
Friday, March 20, 2026
scene 26 in progress
INT. CHLOE'S BEDROOM - DAY
Describe. Window frames Cerro San Luis Obispo.
FAINT SONG OF LESSER GOLDFINCH.
Barbara enters with DOG, places the framed Chloe with Tom selfie on desk, leaves.
Thursday, March 19, 2026
scene 25
EXT. CAFE PATIO - DAY
MURMUR OF PATRONS at tables and JOHN COLTRANE THROUGH SPEAKERS.
Jan and John at their tables with a view to train and tracks at Paso Robles depot remnants of their waffles and eggs benedict brunch on plates near a pitcher of ice water. Mimosas in champagne flutes. They stare at the San Augustin Pass photo on Jan's phone. John's on table.
VOICE ON LOUDSPEAKER: This is to inform passengers waiting for the delayed southbound Coast Starlight that your train is scheduled to arrive in twenty minutes, at two-thirty. Again, the southbound Coast Starlight is scheduled to arrive at two-thirty. We apologize for the delay and thank you for your patience.
John and Jan are so focused on the image they don't notice their 20-something WAITRESS, PAIGE by her name tag, arrive behind them and look over their shoulders at the picture.
PAIGE: What a great picture.
Startled, John and Jan turn to her.
PAIGE (CONT.): I'm so sorry.
JOHN: Paige, could you please wear a bell?
He winks, Paige smiles.
JAN: We were a little locked in.
PAIGE: Who's with her and where are they, to be really nosey.
JOHN: That's her father, his father's girlfriend, and a someone her father knows, somewhere between Las Cruces and Ruidoso, New Mexico.
PAIGE: Finally a face for dad. Who, by the way, looks a lot like the writer of the book my uncle is reading. Fog something, I think.
JOHN: Foglost?
PAIGE: That's it. By H-C something or other.
JAN: Hardyn with a Y?
PAIGE: Yes! Don't tell me that's Chloe's dad.
JOHN/JAN: We won't.
PAIGE: Can I tell my uncle?
Jan and John nod.
PAIGE (CONT.): Can I refill your mimosas
John and Jan look at each other, then at Paige, nod. Paige leaves into cafe. John and Jan finish their mimosas. return their attention to the picture.
JAN: They both lean on their left leg.
JOHN: Yep.
JAN: Jackie is beautiful. Isn't she?
JOHN: She is.
JAN: Did you look into the Spider blog Chloe mentioned?
JOHN: Cursory glance. Hers is red.
JAN: Like Benjamin Braddock's.
John smiles.
JOHN: Let's watch that tonight.
JAN: You have a date on your hands, mister.
JOHN: Promise?
JAN: You just show up.
JOHN: I'll be there.
JAN: Do you think we'll get a picture not forwarded by Barb?
Both their PHONES RINGTONE TBD. They look at each other. John gets phone looks at what Jan opens to: a selfie Chloe has taken with Tom in the back seats of the Rover. Tom's window frames the dunes of White Sands National Park
JAN: Barbara meets Brian, Kate meets Cedric, Tom Walker arrives on the scene. Within a month-and-a-half.
JOHN: Enough to keep you on your toes.
JAN: I'm on mine.
They pocket phones when Paige arrives with fresh mimosas.
PAIGE: Round two.
She sets them on table.
JOHN/JAN: Thank you, Paige.
JOHN: How's the band thing going?
PAIGE: The band thing's going okay. We're closing the concerts in the park Thursday night.
John and Jan, look at each other, shrug and nod.
JOHN: Paige, we're going to treat that like an invitation and accept it.
PAIGE: Really? That would be so cool.
SAME VOICE OVER LOUDSPEAKER: Attention Amtrak travelers waiting for the southbound Coast Starlight.
(Paige waves, leaves.)
Your train will be arriving in ten minutes so you might want to begin making your way to the platform.
(John and Jan sip, return their attention to the Chloe with Tom selfie, hold hands.)
Once again, southbound Coast Starlight will be here in ten minutes.
SO G OF LESSER GOLDFINCH.
scene 24
EXT. DECK - CABIN IN THE WOODS - DAY
KATE and CEDRIC, 70-somethings, at repose in their respective chaises, their phones and bottled waters on the table between them. Kate in running shoes, jeans, unbuttoned denim blouse over tee, sleeves rolled to elbows, silver watch. We can't see what on her laptop has her attention. Cedric is reading Foglost. Tan work boots, new jeans, untucked long-sleeve, gold watch.
Cabin surrounded by lodgepole pines. The chaises share the deck with a grill and fire pit near where the deck meets a small meadow. View through big window behind them to room with fireplace and TWO CATS looking out from different levels of cat tree. Intermittent SONG OF WILSON'S WARBLER.
CEDRIC: Do you know if Hunter does or did drink?
KATE: I know that he did. Last I heard he's been clean and sober for a few years. He looked great when I saw him in at Jan's birthday. Like he works out. Why do you ask, unless it gives too much away.
CEDRIC: Well, the protagonist drinks. And Hunter writes about it in such a way that only personal experience can inform. He's poetically poignant. When will I meet him?
KATE: Well, at Chloe's graduation for sure, and I'd bet Chloe's birthday. Both of which we need to talk about as far as where to stay.
CEDRIC: I'm not tired of Pismo.
KATE: It's Pismo. Same or something different.
CEDRIC: Same works for me.
KATE: Settled. Doh.
CEDRIC: A deer.
KATE: I just remembered Chloe's at Hunter's now. They're going on a road trip on a rental motorcycle.
CEDRIC: Eighteenth birthday.
KATE: Yes.
CEDRIC: Do we know what we're getting her?
Kate smiles.
KATE: Your first do we know.
CEDRIC: Been saving it for the right occasion.
KATE: We do not, yet.
CEDRIC: John and Jan?
KATE: They, Hunter and Barbara are talking about a car.
Kate's PHONE RINGTONES MAN'S VOICE CALLING "FORE!"
KATE (CONT.): John's new ringtone.
Cedric chuckles, Kate picks up. Cedric turns page.
KATE: We were just talking about Chloe's birthday after I just remembered she's at Hunter's.
(Her face expresses her surprise.)
I'm here.
(Cedric looks at her.)
Well what a turn. Do we have a middle name?
Do we have as picture?
Can't wait.
I'll be here.
(She sets down phone.)
CEDRIC: Picture of what and whose middle name?
KATE: Do you remember the cowboy in Hunter's short story Honda Knot.
CEDRIC. Vividly. Loyd Landers.
KATE: Loyd Landers is based on Hunter's father. Thomas Travis Walker. Whom, as you might recall, Hunter has never heard from.
CEDRIC: I do.
KATE: He's a retired ranch foreman who lives with his wife in Laramie.
CEDRIC: Which is new information?
KATE: Yes. He showed up at Hunter's yesterday. I should be getting a picture any - there it is. The woman is Hunter's new girlfriend.
(She stares, hands laptop to Cedric, who stares at the San Augustin Pass selfie Wanda showed Daisy.)
CEDRIC: I'll tell ya, Kate. Thomas Travis Walker looks a helluva lot like a Tom I met at a funeral in Casper a couple years ago.
KATE: Who was the deceased to you?
CEDRIC: Frank Baxter. We were in First Infantry together.
KATE: And Tom looks like someone you met at his funeral.
CEDRIC: Damn near a doppelganger.
KATE: You spoke?
CEDRIC: Briefly, over a beer. First Cav. He'd been in boot camp with Frank. Both from Texas.
KATE: Tom Walker is from Texas, though we don't where. Yet. He has a sister who also maintains an ancestry site.
CEDRIC: Well how about that.
KATE: How about it.
He hands back laptop.
CEDRIC (CONT.): I may pause here and re-read Honda Knot. Any chance Hunter was conceived in a Carson City.
KATE: Carson is his middle name.
CEDRIC: And I was about to ask.
CAR HORN HONK. Tom marks page, sets book on table, picks up phone. Kate closes laptop, gets phone. They walk to and through gate out of view.
Tuesday, March 17, 2026
scene 23
INT. CAFE - DOWNTOWN LARAMIE - DAY
Wanda and Daisy at alcove table with a window to PEDESTRIAN TRAFFIC on the sidewalk and shops across the street, including Snowy Range Brewing Co. PATRONS at every table.
MURMUR OF CONVERSATION and INSTRUMENTAL COWBOY/WESTERN MUSIC.
Framed black and white photograph of alpine lake on wall behind Wanda, framed color photograph of river through gravel bar surrounded by forest on wall behind Daisy. They lean into each other looking at the Chloe, Tom and Hunter selfie Barbara showed Brian, and Jan and John were looking at. Muffin crumbs on their small plates, swallow of coffee in their mugs.
DAISY: How long will he be there?
WANDA: He'll leave tomorrow morning.
She pockets phone.
WANDA: We should probably get going unless we want to be in the front row.
DAISY: We do not.
They finish their coffee, stand, Wanda pockets phone, gets a five-dollar bill from purse, puts it on table, they leave, framed by window as they walk by. A 20-something WAITER pockets the five, clears table, leaves.
Friday, March 13, 2026
scene 22
[begin act 2]
EXT. HUNTER'S DRIVEWAY - DAY
Cirrus clouds, blue sky.
Garage door opens to reveal Tom and Chloe, who leads Tom to truck, and Hunter, who gets in Rover, backs it to street.
Tom in old jeans, old boots, white western style shirt, hat.
Chloe in hiking boots, cargo pants, long-sleeve tee with GO SLO across the front, ballcap TBD, sunglasses propped on head.
Hunter in hiking boots, old jeans, sunglasses hang from collar of raglan long-sleeve, ballcap TBD.
CHLOE: Cool truck.
TOM: Like it?
CHLOE: Dig the two-tone.
TOM: This was my dad's last truck.
CHLOE: Really.
TOM: Yes ma'am.
CHLOE: That's cool.
TOM: Seen it on the lot comin' home with friends from an Oilers game.
CHLOE: Oilers who?
TOM: Football team that don't exist anymore. Played in Houston.
CHLOE: Rings a bell. I interrupted.
TOM: Ya didn't. I was digressin' anyway.
CHLOE: You weren't. He bought it new?
TOM: Brand shiny spankin'.
CHLOE: What year?
TOM: This is an eighty-five.
CHLOE: Can I see inside?
TOM: Course ya can.
Tom gets key, opens driver's door. Hunter parks Rover, gets out, approaches.
CHLOE: That is a baaad bench seat. And I mean bad as in good. As in bitchen. Is that a particular style?
TOM: Well, you'll hear saddle blanket sometimes. Friend a mine did it when I put in a new seat a couple years ago. Center folds down into a console.
CHLOE: Sporty dash.
TOM: Ain't original a course. Like the radio. Other things.
Hunter arrives.
HUNTER: How 'bout the engine?
TOM: Rebuilt five-seven three-fifty vee-eight.
HUNTER: Eighty-five?
TOM: Yessir.
CHLOE: This was Tom's dad's truck.
HUNTER: Really?
Something down the road captures Chloe's attention.
CHLOE: Yonder comes a spider.
Tom and Henry turn to the 1992 red Alfa Romeo Spider, top down, approaching.
HUNTER: Heeere's Jackie.
Hunter walks toward the street. Tom closes the door, watches with Chloe as JACKIE - 50ish, long hair in a tail under ballcap - follows Hunter's aircraft marshaller guidance into the garage, parks, gets out, grabs backpack from passenger seat, puts keys in compartment, meets Hunter's kiss. She's in cowgirl boots, jeans, unbuttoned and untucked long-sleeve over tee.
JAC,KIE: And I was nervous about meeting Chloe.
Thursday, March 12, 2026
scene 21
EXT HUNTER'S PATIO - NIGHT
Hunter, Chloe, Tom around the table, remnants of dinner on plates pushed to center. Pitcher of ice water and their glasses half-empty. Tom's hat hangs from empty chair's shoulder.
THUNDER, LIGHT RAIN, BREEZE strong enough to jostle the umbrella over the table, THROUGHOUT. Moon obscured by clouds.
CHLOE: Does Laramie get summer monsoons?
TOM: We do, but not like down here. Nothin' like what I got in Albuquerque last night.
CHLOE: Are you and Wanda going to miss your balmy winters?
Tom smiles.
TOM: No we will not.
CHLOE: How cold does it get?
TOM: I'd round off average winter lows to ten to twenty, but plenty enough days it'll be that below zero. Add wind and it'll keep ya inside.
CHLOE: And you'll have your cool and breezy Texas summers.
Tom smiles again.
TOM: Hundred two on Ruthie's porch thermometer.
CHLOE: But at least it's a dry heat.
TOM: I got a feelin' you know it ain't.
CHLOE: Only rumor. Sticky?
TOM: Stickier than pine tar pants.
Chloe smiles.
HUNTER: So Tom what are you looking for in Kerrville? Any prerequisites?
TOM: Well, brick for starters. We'd like that. Four bedrooms, one for guests, another as a home office. Single level 'cause ain't none of us lookin' to be goin' up and down stairs. And while it ain't a prerequisite, I'd like it if we could find a place with enough property that I could have a horse who might need a good home.
CHLOE: Like a rescue.
TOM: Somethin' like that. Got a friend runs a program outta Bandera, where me and Ruth grew up, by the way. I'll be talkin' to her when I'm there.
CHLOE: That's cool.
TOM: So folks, I hate to be a party-pooper but much as I'd like to stay up and keep this conversation goin', it's a little past our bedtime and my wife and sister are both waitin' for my phone call, so I hope you'll excuse me.
HUNTER: To be continued.
TOM: I'd sure like that.
CHLOE: Me too.
Tom puts on hat, stands, pushes chair in.
TOM: Chloe, that was a delicious casserole.
CHLOE: I'm glad you liked it. Thank you.
TOM: Any chance I could get the recipe from ya before I leave?
Chloe nods.
HUNTER: I'm right here at sunrise with coffee, Tom, in case you're up early.
TOM: I will be and I'll see ya then. Goodnight, y'all.
He tips his hat.
HUNTER/CHLOE: Goodnight, Tom.
Hunter and Chloe watch Tom walk away, enter kitchen, leave view.
CHLOE: Dad?
HUNTER: Daughter.
CHLOE: If.
HUNTER: If.
CHLOE: If Tom were able and wants to, and Jackie could wrangle another horse.
HUNTER: Mind reader.
Hunter gets phone from pocket, speaks into it.
HUNTER (CONT.) Jackie.
[END Act 1
[CUT TO. 22:
HUNTER'S DRIVEWAY - NEXT DAY]
Wednesday, March 11, 2026
scene 20
*EXT. RESIDENTIAL DECK - SUNSET
John and Jan in terry cloth robes, slippers at umbrella-shaded table with view to Lake Nacimiento, California. Sliding glass door to master bedroom. We can see art TBD on wall above bed headboard. Their phones, bottle of white wine and their half-empty glasses. They stare at Jan's laptop and the Chloe selfie Barb showed Brian that fills the screen.
*[ OR backyard and (lap?) pool]
JOHN: Looks like it's going well.
JAN: Seeing that smile is such a relief.
JOHN: It is. And Hunter's and Tom Walker's the same lips sealed grin.
JAN: And lean on left leg.
JOHN: Yep.
JAN: Have you ever set foot in a cowboy boot?
JOHN (BEAT): Yes. If you'll accept the Roy Rogers signature model Santa put under the tree our first Christmas in San Anselmo. Snow on Mount Tam.
Jan looks at him, a new piece of information gained and pleasantly surprising.
JAN: Had I not asked.
JOHN: And a holster with a six-shooter cap gun. I wouldn't be surprised if Kate has a photo somewhere in an album in their storage shed.
JAN: Have you told her?
JOHN: Tomorrow after we hear more from Barb.
JAN: Closing window.
JOHN: That's plenty for now.
JAN: There'll be more.
JOHN: Can't wait.
She closes laptop, they finish their wine, John pours more, they sit back, hold hands, watch the last of the sun set.
DISTANT THUNDER.
[CUT TO: Hunter patio night monsoon season.]
Sunday, March 8, 2026
scene 19
INT. MASTER BEDROOM - SUNSET
Sliding glass door view to deck, Pismo Beach, Pacific Ocean.
Ceiling fan spins slowly above the king bed in which Barbara and BRIAN, 50ish, lie intertwined under a sweat-spotted sheet, Both glisten. Phones and lamps on nightstands. Women's one-piece swimsuit and men's boardshorts on floor near bed. Chair and desk, dresser with mirror, old surfboard in corner, framed print of Evert Jan Ligtelijn's painting, Sailing yacht in a regatta.
BRIAN: So what can you tell me about Tom and Olivia?
BARBARA: What I remember Hunter telling me what he remembered Olivia telling him. What time do we need to go?
BRIAN: Probably get moving in fifteen.
BARBARA: Cliffsnotes then more on the way.
BRIAN: Did Olivia have siblings?
BARBARA: Only child, adopted.
BRIAN: Okay.
BARBARA: More on what I know of that later, if you're interested.
BRIAN: Of course.
BARBARA: They met in Reno. Olivia was there to see Elvis, Tom as in town a few days before a flight to L-A to meet a friend for a trip to Mexico at the end of a job on a cattle ranch in a place called Grass Valley. They bumped into and spilled their drinks on each other at the slots in Harrah's, where Olivia was staying. Tom was at a place called Fitzgeralds. Conversation led to her acceptance of his invitation to take a drive around Lake Tahoe the next day. He picked her up in his rental Corvette, they had breakfast at I-hop, took Mount Rose Highway to Incline Village, turned right for the counter-clockwise route diverted to Highway fifty and the Carson City route to Reno by a car crash near Spooner Summit. A stop to play the slots at the Carson City Nugget led to a night spent at the Pony Express Hotel. Which led to Hunter.
BRIAN: Birth control?
BARBARA: Olivia used as diaphragm. Ninety-four percent success rate. Hunter has a great story about the day he told her why he wore number six on his high school baseball team.
BRIAN (BEAT) Doh. A little slow there. How old were they?
BARBARA: Both twenty-six. They drove to Reno the next day, had brunch, saw a matinee showing of Rocky, Tom dropped her off, drove away. The next day she drove her seventy-two Mercury Comet home, Tom caught his flight. Presumably, anyway. No exchange of phone numbers or mailing addresses.
BRIAN: Where was home?
BARBARA: Outside Auburn, California. She taught high school English. She was renting a house a couple blocks from where her parents had retired. Nine months later Hunter was born. Seventeen years later she died from lung cancer. More on the in-between time on the way.
They move to leave bed as BARBARA'S PHONE BUZZES. She picks up, stares, hands phone to Brian, who looks at the selfie Chloe has taken with Hunter and Tom, at the stone wall, Organ Mountains behind them. Hunter wears Tom's hat.
BRIAN: Handsome fella. Like his son.
He hands her phone, she stares at picture, looks at him. She sets phone down.
BARBARFA: Ready.
They leave bed and frame, naked.
Friday, March 6, 2026
scene 18
EXT. SOUTHWEST-STYLE COURTYARD - DAY
Adobe, Talavera tiles, fountain in a small square suggesting professional offices. DOC, mid-60s - moccasin-style slippers, new jeans, dress shirt, bolo tie, long silver hair in a tail - sits on a bench facing the fountain, reading Foglost. When his PHONE RINGTONES FOGHORN he gets it from shirt pocket, stares at a selfie Hunter has taken that includes Tom on one side, Chloe the other, looking at the camera from where they sit at Hunter's patio table. Awhile before he pockets phone, marks page, closes book, leaves courtyard.
scene 17
EXT. HUNTER'S HOUSE - DAY
Tom's truck in driveway, the Rover approaches from the direction Tom had.
Garage door opens.
INT. ROVER
Chloe's eyes on the truck until the garage door closes behind them. Hunter turns off engine. They unbuckle, look at each other.
HUNTER: Ready?
Chloe shakes her head. Hunter smiles, kisses Chloe's forehead. They leave frame when they exit Rover.
INT. KITCHEN - MOMENTS LATER
Tom sitting at the patio table, hat off, smoking a cigarette, turned toward the house.
HUNTER (OFF): Tom?
We HEAR THEIR APPROACH before Hunter and Chloe enter, see Tom, stop and stare from the center island.
CHLOE: The Marlboro Man in winter.
She gets phone, aims at Tom, takes picture. As if he's heard it, Tom turns to them.
HUNTER: Now you've done it.
EXT. PATIO
Tom puts cigarette butt in shirt pocket, stands as Hunter and Chloe come out, approach, Chloe somewhat behind Hunter, a partial shield.
HUNTER: Sorry so long, Tom, we got stuck behind a wreck at the ten twenty-five split.
TOM: Ain't no late to it. Just been enjoyin' the view and fresh air. And I'm the one oughta apologizin' for bein' an intrusion.
HUNTER: You're not an intrusion. Did you show yourself around the house.
TOM: I did. Ya got a real nice place in a real nice spot.
HUNTER: Tom, meet Chloe, my daughter.
TOM: My pleasure to meet ya, Chloe.
CHLOE: Hello.
TOM: Sorry to be buttin' on your time with your dad.
CHLOE: It's okay.
HUNTER: You're probably thirsty.
CHLOE: I'll make lemonade.
Hunter looks at her, knowing she's using making lemonade as an escape.
HUNTER: Lemonade okay, Tom?
TOM: Sure, but I don't wanna make ya go to the trouble of making some.
CHLOE: No trouble. Just squeezing lemons.
TOM: Well thank you very much.
CHLOE: Sugarless but I'll bring some for you to add if you like.
TOM: Sugarless is just fine, thank you.
CHLOE: K. If you'll excuse me.
TOM: Yes ma'am.
She looks to Hunter, who nods. Chloe leaves. They watch her enter kitchen, leave view.
HUNTER: She's a little nervous.
TOM: Course she is. And she ain't the only one.
HUNTER: But she'll hang on every word you can tell her about your time with my mom.
TOM: I can do that. I'll answer questions y'all got.
HUNTER: We've got some. Shall we sit?
They sit, Chloe comes into view in window over sink, watching from center island.
HUNTER: Wedding band?
TOM: Yessir. My wife Wanda would be with me but she stayed back with a friend whose husband just passed.
HUNTER: How long have you been married?
TOM: It'll be twenty-five years November eleven.
HUNTER: Were you married previously?
TOM: No sir. Wanda was.
HUNTER: Do I have any siblings?
TOM: Not by me that I know of.
HUNTER: How long have you known about me?
TOM: Little over five years. Me and Wanda were talkin' about where to go for our twentieth. She brought up Lake Tahoe, she'd never been. Asked if I had. Told her about my time with your mom.
HUNTER: Did she know about her?
TOM: No sir. And she sure was curious. We went online to see what we could find. Found the obituary.
HUNTER: Where?
TOM: Newspaper archive.
HUNTER: The Register.
TOM: Yessir.
HUNTER: Wanda knows you're here.
TOM: Yessir. And mighty surprised.
HUNTER: You didn't tell her.
TOM: Told her I was gonna drive by and take a picture of your house. Then when ya seen me I didn't want ya thinkin' I was some sorta stalker.
HUNTER: What if I didn't know who you are?
TOM: I'da been a little turned around and askin' for directions back to Drippin' Springs Road.
HUNTER: What's in Texas?
TOM: My sister Ruth.
HUNTER: She knows you're here.
TOM: Yessir. And just as shocked as Wanda.
HUNTER: Other siblings?
TOM: No sir.
HUNTER: Parents living.
TOM: No sir.
HUNTER: Hunter is fine, if you don't mind.
TOM: Yessir. Hunter.
INT. KITCHEN
Chloe at center island, eyes on Tom and Hunter, adds ice cubes to a pitcher of lemonade, Peels in a bowl near the squeezer. She refills the ice cube tray with water, puts it in freezer, gets three glasses from one cupboard, wooden tray from another, puts glasses and pitcher on tray, opens door to patio, closes it behind her, walks to table. A WHITE CAT jumps onto center island, aims its gaze at Chloe arriving at the table, filling the glasses with lemonade, sitting. After a moment of Hunte speaking, he, Tom and Chloe bring their glasses together in the style of a toast, and drink.
Wednesday, March 4, 2026
scene 16
EXT. EL PASO INT'L AIRPORT - SHORT-TERM PARKING LOT - DAY
Hunter pulls roller-bag, Chloe totes backpack through lot toward the Rover.
CHLOE: Do we know how he found out?
HUNTER: Looked up gramma, found her obituary, found me in the survived-by, did a search, found my wiki page, did a search, found my date of birth. Quote, did the math, end quote.
CHLOE: When?
HUNTER: Didn't ask. Left it at that, for now. Are you upset that I assumed you'd be okay with this?
CHLOE: No. I trust your instincts and intuition. It says something that you'd leave your house to a stranger.
HUNTER: Stranger with a pickup truck.
CHLOE: And you know I've always wondered. Does he look like a cowboy?
HUNTER: From boots to Stetson.
CHLOE: Belt buckle?
HUNTER: Two interlinked turquoise horseshoes on silver.
CHLOE And I was nervous about meeting Jackie.
HUNTER: Well Jackie's nervous about meeting you.
CHLOE: Does this change horse day?
HUNTER: It does not. She'll be by around ten.
Hunter CHIRPS the Rover. Chloe's roller-bag and backpack into the hatch. Hunter to driver's seat, Chloe front passenger.
CHLOE: First question?
HUNTER: Do I have siblings comes to mind.
CHLOE: Right.
HUNTER: You?
CHLOE: Not there yet. Gonna play it as it lays. Dad.
HUNTER: Daughter.
CHLOE: You seem utterly unfazed.
HUNTER: A side effect of sheer stupefaction.
CHLOE: In case you were running out of things to talk to Doc about.
Hunter smiles.
HUNTER: Buckle up, sweetheart.
They buckle up, Hunter starts engine, backs Rover out of frame.
Tuesday, March 3, 2026
scene 15
INT. GREAT ROOM - DAY
Limestone rancho, windows to Live Oak Forest.
Fireplace, two whitetail buck mounts on each side of chimney, longhorn steer horns above the mantel lined with framed family photographs.
Leather furniture, pool table, wall-mounted big-screen TV, framed print of José MarÃa Velasco Valley of Mexico painting.
Minibar in a corner, neon Victoria beer sign, off, Mexico flag. Opening to hallway.
GIL, 70-something - huaraches, old jeans, unbuttoned plaid over tee - in a rocker near a lampstand in a corner near the big window a couch and two recliners face over a knee-high table. He's reading Foglost through glasses propped on the bridge of his nose. Phone on lampstand.
MARIA, early-40s - socks, corduroy bellbottoms, mustard-colored long-sleeve tee with BROWNSVILLE GRL in brown across the front - appears in hallway in stealth mode, slowly approaching. She stops at the entrance, watches Gil. He turns a page.
MARIA: Knock knock.
GIL: Who's there?
MARIA: Ida?
GIL: Ida who?
MARIA: Ida forgotten Tom and Wanda arrive today had I not seen it on the calendar.
Gil marks pages, closes Foglost.
GIL: Just Tom. Wanda stayed back to be with a friend whose husband just passed.
MARIA: Oh. Whatcha readin’?
Gil holds up the book for her to see. She approaches.
MARIA: Your guy, finally. How long's it been?
GIL: A little over four years.
MARIA: What's Foglost about?
Gil: Alcoholism.
MARIA: He seems to stick to the cheery stuff. What's H C looking like these days?
Gil opens to author blurb and photo flap. The photo captures Hunter looking back at the camera with the Organ Mountains in the background.
The blurb reads: Foglost is H.C. Hardyn's third novel, following Trabuco and Balboa. His first book is Nicks and Scrapes, a collection of short stories.
MARIA: He just gets handsomer. Those sure look like the Organ Mountains. Right?
GIL: They do.
MARIA: Does he live in Las Cruces?
GIL: His wiki page doesn't say where he lives.
GIL'S PHONE RINGTONES TOM'S HELICOPTER WHOM-WHOMP.
MARIA: Tom?
GIL: Tom.
He picks up, stares at Tom's Organ Mountains selfie. Noting the surprise on his face, Maria looks over her shoulder at the selfie we saw Tom taking in Hunter's back yard, framing himself and the Organ Mountains in almost the same way as Hunter's author photo.
MARIA: Dad?
GIL: Yeah.
MARIA: That's a little weird, right?
GIL: Uncanny.
MARIA: It's like he's in the same spot.
We HEAR THEIR APPROACH a moment before Roberto, 15, and Rodrigo, 13, enter, in shorts and t-shirts.
MARIA: I'll take this as you're ready.
The boys nod.
GIL: Ready for what?
MARIA: That's what I came to tell you. We're tubing with the Bufords. Spur of the moment thing.
GIL: Where are you putting in?
MARIA: Ranger crossing. Wanna come?
GIL: Pass, thanks. Who of the Bufords.
MARIA: The kids and Katy. Dan's doing pick up
GIL: Pass along my hello.
MARIA: Will do. Tom and Ruth coming over?
GIL: Sunday.
MARIA: Maybe Tom will tell me more about that selfie.
GIL: I'm curious as well.
ROBERTO/RODRIGO: Abuelito?
GIL: Yessirs.
Rodrigo and Roberto look at each other. Roberto nods to Rodrigo.
RODRIGO: Can we drive one day?
GIL: It's on the schedule.
Roberto and Rodrigo exchange a high-five.
GIL (CONT.: Let's talk about where when you get back.
They run to him, hug him, kiss him on the cheek.
RODRIGO/ROBERTO: Thank you
GIL: Take a few pictures.
The boys nod, leave, Maria follows, stops at entrance, turns to Gil.
MARIA: There is a story, isn't there?
Gil smiles. Maria nods, leaves. Gil opens the book to the author flap, looks at it awhile, opens the book, resumes reading.
Friday, February 20, 2026
scene 14
INT. HUNTER'S GUEST ROOM - DAY
Tom's suitcase on queen bed aimed at wall-mounted TV. Art TBD on wall above headboard. Lamp and remote on one nightstand, lamp, clock (at 12:01), and electronic charger on the other. Dresser with mirror. Navajo rug on hardwood. Tom's hat on rack near open door to hallway. Recliner and floor lamp in corner, potted plant TBD in another.
Tom in chair at desk at window to back yard and Organ Mountains. Lamp, pen and pencil on guestbook, and etch-a-sketch on desk. Tom stares out window, taps phone on desk, stops, speaks into phone.
TOM: Ruth.
EXT. ROADSIDE PEACH STAND - DAY
RUTH, 70-something - tennis shoes, shorts to knees, Willie Nelson tour tee-shirt, visor - walks with a bag of peaches to an older Volvo wagon with Texas plates, one of several vehicles with Texas plates in the makeshift dirt lot next to the stand at which SEVERAL CUSTOMERS are picking or paying. PHONE in a shorts pocket RINGTONES TBD. She arrives at Volvo, sets down peaches, gets phone.
RUTH: Hey, big brother.
Peach stand in Fredericksburg. Where are you?
(Ruth listens, her face expresses her shock. She sets down peaches, sits on nearby desk.)
I'm here. Speechless. Goodness gracious, did you have this planned?
Alright. Well call me tonight.
I love you too. Oh Tommy? Get a picture.
I'll be waiting.
(She pockets phone, sits, stunned. WHIR OF CICADAS.)
INT. HUNTER'S GUEST ROOM - DAY
Tom taps phone on desk, stares out the window, then at guest book, finally gets up, gets hat, leaves into hallway, BOOTS KNOCKING ON HARDWOOD FADING AWAY moments before Tom is framed by window when he arrives at the stone wall, gets phone, raises it to take a picture, Organ Mountains behind him. He pockets phone, turns to face the mountains.
silly interlude 1: tom's tour of hunter's
Thursday, February 19, 2026
scene 13
INT. WANDA'S SUBARU - DAY
Wanda driving, Daisy in the front passenger seat, nearing the lowering guard arms at a remote train crossing including a short section of bridge over a narrow stretch of the Laramie River.
TRAIN HORN a moment before Wanda's PHONE RINGTONES an instrumental of Townes Van Zandt's song, If I Needed You. Wanda picks up as a moment before the train enters frame, plugs her free ear..
WANDA: Hey there. I was just starting to worry a little.
Stopped at the Two Rivers Road crossing with Daisy watching the train you hear roll by. Where are you?
(Daisy notes Wanda's face express surprise at what she is hearing. Finally:)
W: I'm here. Call me tonight. And get a picture, Tom.
(The train passes out of frame.)
I love you too.
(Wanda puts phone in console, the guard arms raise, she stares ahead at the open land.)
DAISY: Wanda?
Wanda turns to her, gathers herself from shock.
DAISY (CONT.) Are you alright? Is Tom okay?
She nods.
WANDA: Everything's fine.
DAISY: B-F-F, everything is fine is not what's on your face or in your voice.
WANDA: It's surprise. Tom met someone he knows in Las Cruces and is spending the night.
Daisy looks at Wanda as if for the truth. She nods.
DAISY: Someone you know?
WANDA: Know of.
Daisy nods.
HORN OF TRACTOR behind them. Wanda sees in the REARVIEW MIRROR the MAN IN JOHN DEER CAP at the wheel. Wanda drives ahead and pulls over. The tractor rolls past, the man waves.
WANDA: Daisy, would you mind driving just a little while.
DAISY: Of course not.
They leave the car and frame. DISTANT TRAIN HORN.
Wednesday, February 18, 2026
scene 12
EXT. ROADSIDE CAFE - DAY
Jan, John and Barbara at table with their coffees in shaded outdoor seating area of rustic cafe on a quiet road surrounded by oak trees and rolling hills. The Cayenne and four other vehicles in the dirt lot. MURMUR OF ACTIVITY from inside the cafe.
JOHN: Did Brian get his new driver?
BARBARA: Yesterday. Unless plans changed he's at the range right now.
JAN: Are you playing in Cabo?
BARBARA: Booked del Sol yesterday.
JAN/JOHN: Jealous.
She gets phone from bag when it RINGTONES TYPEWRITER CLATTER. She picks up on DING OF MARGIN BELL
BARBARA: Hey there.
They're right here. What's up?
(Barbara's face expresses the surprise in what she's hearing.)
What's the plan
Well, Hunter. I'm going to defer to you. I trust your instinct.
I wish I could see her face when you tell her.
Is he a cowboy?
(John and Jan look at each other.)
I - we - will be awaiting her report with bated breath.
Okay. Oh, Hunter. A picture or two?
Alright.
Love you too.
(She sets down phone, looks at John and Jan, anxious for the nes.)
JAN/JOHN: Cue drumroll.
Long pause.
BARBARA: Tom Walker is at Hunter's house. He's spending the night.
SOUND CUE as they consider this development.
JOHN: A middle name would be good.
BARBARA: Roger that.
They sit in silence with their respective consideration of this development. Jan reaches for John's hand, he holds it, they look at each other. Barbara looks off to the side.
BARBARA (CONT.) Wow.
JAN/JOHN: Roger that.
scene 11
INT. HUNTER'S GREETING AREA - MINUTES LATER
Glass block windows on each side of the door with a peep-hole. Hat rack in corner. Porcelain tile.
One enters through door to face mirror on "back wall," above piano. Tribal masks on "left" wall, above padded bench. Art TBD on "right" wall above couch.
Hallways where left and right walls near back wall.
Hunter enters from left hall, crosses through to right. DOORBELL a beat after he leaves view. Two beats before he returns and, curious-puzzled, goes to the door, looks into peep-hole. He pulls away, considers what he's seen, looks into peep-hole again.
EXT. HUNTER'S FRONT PORCH/DOOR - MOMENT LATER
Tom waits, hat on, truck at the curb near the bins. He finally turns to leave, stops when Hunter opens the door, peers out over the latch-lock chain. Tom turns to face him.
HUNTER: Can I help you?
TOM: Howdy, sir. My name is Tom Walker.
Hunter surveys Tom as if a map
HUNTER: Should that mean something to me?
TOM: Well, maybe. If your mother’s name was Olivia and was in Reno to see Elvis November twenty-four of 'seventy-six. Dove tattoo on her left shoulder blade. From Grass Valley, California.
Hunter stares as if at a ghost.
HUNTER: How did you find my address?
TOM: Online.
HUNTER: For free?
TOM: No sir.
Hunter looks past him to the truck.
HUNTER: Just happen to be in the neighborhood.
TOM: Well, sorta. On my way to Texas.
HUNTER: From?
TOM: Laramie, Wyomin’, where I live.
HUNTER: I’m about to leave.
TOM: Yessir.
HUNTER: You’ll be back through on your way home?
TOM: Yessir. Reckon in a week or so.
HUNTER: I won’t be here.
TOM: Yessir.
BREEZE RATTLES SEASHELL CHIMES. Hunter unlatches lock, opens door, motions for Tom to enter. Tom removes his hat, enters, leaves view. Hunter stares at the truck, closes door.
Tuesday, February 17, 2026
scene 10
EXT. HUNTER'S HOUSE - MOMENTS LATER
Handsome home in Southwest motif, like the others that line the wide street, each with a green bin and brown bin near where driveways meet curbs. The open garage door features a newish Range Rover. Tom's truck comes into view, approaching slowly.
INT. TOM'S TRUCK
As Tom approaches, he takes in the houses he passes. He arrives at Hunter's, bins near the mailbox near the driveway.
GPS VOICE: You have arrived at your destination.
Tom stops, idles, stares at Hunter's house, finally gets phone from console, raises it in camera mode to take a picture of the house a second before Hunter enters garage from door to house with recycle bag. He takes a few steps toward the driveway, looks up, sees the truck. Tom takes the picture, accelerates away.
WITH CARSON as he walks the bag to the bin, keeping his eyes on the truck. He watches it turn onto the next street, obscured by a house near that corner. He arrives at the bins, puts bag in the green one, waits a few moments for the truck to reappear but it does not. He walks to the garage, eyes up the road for the truck, stops at garage, waits, continues into garage and house through the door.
INT. TOM'S TRUCK
Tom idles in front of the house he is hiding behind, hands on the wheel, staring dead-ahead. Finally, he makes the U-turn.
EXT. TOM'S TRUCK
He makes the left turn toward Hunter's, leaves view when obscured by the hiding-behind house.
scene 9
INT. KITCHEN/DINING AREA - DAY
High end appliances, cabinetry, countertops, porcelain tile. Door from kitchen to patio and shaded grill and table, xeriscaped yard bordered by low stone wall. Land, neighbors and mountains beyond. Window to same in dining room and over kitchen sink.
Calendar on refrigerator turned to July features an accompanying image a 35-year-old man and 10-year-old boy playing catch with a baseball in a backyard. A 35-year-old woman on a chaise under umbrella on patio observes over her laptop. Bananas and peaches in a wooden bowl on the center island, with keys and a stack of mail.
Oak dining room table with candle in the middle seats eight under minimalist chandelier, handsome hutch.
SQUEAK OF SHOES before Hunter enters, pockets keys, gets half-empty plastic bottled water from fridge, finishes it in three gulps, puts it in plastic bag of recyclables in bin in broom closet, ties off bag is about to exit where he entered but stops when his PHONE RINGTONES the late Chicago Cubs broadcaster Harry Caray in his signature "Cubs Win” style. He gets phone from pants pocket.
HUNTER: About out the door to pick up Chloe.
You know I fucking hate L-A. but I get and expected it. And it’s probably poor form to complain about meeting people who want to give me that much money.
Sure. Downtown. The Biltmore.
Also, Bev, and we can talk about it this tonight, I’m going to write it or it's not going to happen.
K. What’s too late?
Eleven?
Talk to ya then.
Horseback riding tomorrow, a day in Taos, then a motorcycle tour.
I’m renting a Harley.
Flagstaff loop to include a ride through Tucson to check the campus.
Til then.
Oh, Bev. I also want complete control over casting Dave.
Yes, I'm kidding. Talk to you later.
(Pockets phone, gets bag, exits where he entered.)
scene 8
click on map to enlarge.
red marks the fire department.
INT. TOM'S TRUCK - DAY
Per the portable GPS in the console, Tom, sporting aviator sunglasses, ia driving south on Soledad Canyon Road on the western end of the Talavera neighborhood at the eastern edge of Las Cruces, New Mexico, where high desert meets the Organ Mountains, up close out the driver's window. Tom is nearing the Talavera Fire Department station on the right, where the road bends left or continues straight as a dirt road.
GPS VOICE: In one hundred yards stay left on Soledad Canyon Road.
Tom makes that turn and continues dead=ahead toward the mountains.
Thursday, February 12, 2026
scene 7
EXT. DECK - CABIN IN THE WOODS - DAY
KATE and CEDRIC, fit 70-somethings, at repose in their respective chaises, varnished tree trunk table between them, sliding glass door to handsome mountain home behind them. The chaises share the deck with a grill near where the deck meets a meadow with a WHISPERING CREEK.
Kate in running shoes, jeans, unbuttoned denim blouse over tee, sleeves rolled to elbows, attention on her laptop. Cedric - new tan work boots jeans, untucked plaid flannel - is reading Foglost.
KATE: Where are you?
CEDRIC: He's on a bender in a bar at the marina.
KATE: Wanna know what happens next?
CEDRIC: Want me to throw you in the creek?
KATE: Yes please.
CEDRIC: When we get home you're getting wet.
KATE: Oh boy.
CEDRIC: His description of falling into the pit of alcoholism is almost poetic.
KATE: Wait until you get to the part where he -
CEDRIC: Kathryn.
Cedric marks the page, closes the book.
CEDRIC (CONT.) Do you know if he drank or drinks?
KATE: Drank. Clean and sober for a few years. When I saw him at Barb's birthday he looked great. Like he works out.
CEDRIC: Will I ever meet him?
KATE: He'll be at her graduation and there's a very good chance he'll show up for her birthday.
CEDRIC: Which is when, again?
KATE: December nineteen.
CEDRIC: What are we getting her?
KATE: We don't know yet. Flying miles?
CEDRIC: Good call.
KATE: Actually, I think she's flying today to finish her summer at Hunter's.
CEDRIC: Flies into.
KATE: El Paso.
CEDRIC: Out of.
KATE: Usually San Jose, sometimes San Francisco.
CEDRIC: Left field.
KATE: Bring it.
CEDRIC: Chloe doesn't resemble anyone.
KATE: She does. Hunter's mother.
THREE CAR HONKS.
They rise, take laptop and book to house.
CEDRIC: A story?
KATE: The one I know on the way.
They enter house, leave view. SONG OF WESTERN WARNBLER.
Wednesday, February 11, 2026
scene 6
INT. PORSCHE CAYENNE - DAY
JOHN and JAN, both mid-70s, in the front seat, John driving. Barbara, 50-ish and Chloe, 17, in back, entering Moss Landing, California, heading north on Highway 1.
John in polo shirt, khaki slacks. Left hand on the wheel shows his gold watch and marriage band. He is tan and fit. As is Jan in Martha Stewart casual. Her silver hair styled short enough to show the silver earrings that complement her necklace, bracelet and wedding ring. Her left hand is over her right on the purse in her lap.
Barbara in jeans, running shows, PARK CITY long-sleeve tee, fashionable sunglasses propped on her head. Fashionable saddle-like bag at her feet. She is fit enough to suggest athlete. As is Chloe in track suit, running shoes, long hair in a tail under ballcap with SLO embroidered above the bill. Phone in her hands.
JAN: So what do we know about Jackie?
CHLOE: History professor at New Mexico State. Undergrad U-N-M, Masters University of Washington, Doctorate at Claremont.
JOHN: Nice pedigree.
BARBARA: And beautiful per her department photograph.
JAN: I'll have to take a look.
JOHN: Do we know how she has access to horses and you'll be riding?
CHLOE: She has a cousin who manages one of the stables in the area, the area being northwest of Ruidoso.
JAN: isn't that were the Millers retired?
JOHN: Cloudcroft.
JAN: That's it.
JOHN: Junior just made partner at Sawyer Buford.
JAN: How do we know that?
JOHN: Mike Davis called about a word on Darlene Dunlap who's being considered for Of Counsel. I took a look at their website and there he was, even more of a dead ringer for senior.
JAN: Have we heard anything more about Hunter's screenplay negotiations?
CHLOE: Yes. He has a conference call with his agent and two Hollywood suits Thursday. I'll keep you posted. By the way and speaking of Cloudcroft, I think he's trending toward a move in that direction.
BARBARA: Really?
CHLOE: He's noticing more traffic around his house, people pulling, lingering, finally moving on.
JOHN: Goodbye comfortable anonymity.
JAN: Wait until Foglost becomes a bestseller.
BARBARA: So Cloudcroft.
CHLOE: East of there, closer to a town called Mayhill. Buying land and building a cabin.
BARBARA: His dream come true.
CHLOE: Early stages, nothing certain. He met a realtor when he was in Taos last week, seed planted.
JAN/JOHN: Good for Hunter.
Chloe picks up when her PHONE RINGTONES (TBD).
CHLOE: Are your ears ringing?
Talking about yourgoing Hollyweird and buying and building big in the hills.
I added that caveat.
Rolling into Tres Pinos, about to coffee up at Tumbleweed. What's up?
INT. NOVELIST'S HOME OFFICE -DAY
HUNTER, 50ish, hiking shoes, jeans, unbuttoned and untucked long-sleeve over tee, phone to ear where sits in the swivel chair at the old wooden desk aimed at the big window up-close view of the Organ Mountains east of Las Cruces, New Mexico.
If the window is the front of the room, the desk is at the back, near open door to hall. TBD on the hat rack near the door. Whiteboard on the wall behind the desk, markers in tray. Printer on stand next to desk.
Loaded bookshelf against wall to left of desk faces framed print of Ad Reinhardt Red Painting on wall to right of desk, above old leather sofa. Navajo rug on hardwood. Stool and telescope in one corner near window, wooden Great Horned Owl on cactus sculpture in the other.
The laptop on the desk is open to a text file we cannot discern other than "WAKPA" in bold in the top left corner of the page. A baseball is the paper weight atop a short stack of yellow legal pads near a coffee mug filled with pens, pencils, letter opener and yellow highlight marker. Other items on the desk include a globe, hardcover copy of Joseph Heller's novel Something Happened, and two framed photographs of Chloe.
In one she is seven years old, looking back at the camera through the binoculars she has made of her hands and fingers. CHLOE in red across the front of her pink tee. In the other she, 12, and Hunter are, in the front seats of a roller coaster we see from track behind them is nearing the end of a steep descent. Their faces express their exhilaration.
HUNTER: What's up is I see your Phoenix flight is delayed.
Okay. Just making sure.
About to get a workout in.
K. Tell everyone hi.
Love you too, baby. See ya soon.
-------------
As soon as he pockets phone, the text on the laptop gives way to screensaver that is a photograph of Chloe present age, flashing a peace sign at the camera from where is crouched on a surfboard, "tubed" in the wave she is riding, wearing a pink wetsuit, hair in a tail. The scenery in the background shows bluff meeting beach. He stares at the image awhile before powering down the laptop, leaves into hallway, his SHOES SQUEAKING on hardwood replaced by:
RUMBLING AND CLICKETY-CLACK OF TRAIN BOXCARS.ROLLING.
Tuesday, February 10, 2026
scene 5
EXT. YUCCA SPRINGS MOTEL PARKING LOT - SUNRISE
Tom comes out from his room, hat on, suitcase in hand, different pearl snap-button shirt, walks to truck, gets in, suitcase on passenger seat, hat atop it, gets in, starts engine, buckles up, drives to street, waits for car to pass, turns into light traffic, drives away, out of view when obscured by the registration office and adjacent building.
scene 4
INT. MOTEL ROOM - SUNSET
Basic room. Yucca-related print on the wall above queen bed aimed at TV on opposite wall. Curtains closed across window at desk with pencil and pen on Yucca Springs Motel stationery near phone and small potted cactus. Hat rack near door. Open door to bathroom.
We HEAR NEARING BOOTFALL before the DOOR LOCK CLICK before Tom enters, puts hat on rack, suitcase on bed, room key on desk. He opens curtains to second-floor view to this truck and other vehicles in the wet and puddled parking lot of the Yucca Springs Motel, advertised by the neon sign above the registration office guarded by potted yuccas. Beyond, the Albuquerque skyline and Sandia Mountains are under and obscured by monsoon clouds. Light rain taps the window.
Tom gets phone from shirt pocket, speaks into it.
TOM: Wanda.
Hey sweetheart, bet you're at the lake so outta reception. Just now in my room, just missed the monsoon, bout to run a bath, have Chinese delivered, read my book, maybe finish with a movie or ballgame. Call me when ya get this. Miss ya already.
(Phone in hand, he watches a roadrunner enter frame and stop on the rail directly across from Tom, seem to stare back before continuing out of view. He speaks into phone.)
Ruth.
Hey sis, betcher on your way to bingo. Eagle has landed and will call when I'm leavin' at sunrise. Love ya. See ya soon.
(He sets phone on desk, removes boots, sets them near hat rack, unbuckles and removes belt, lays it on suitcase, enters bathroom.)
SOUND OF BATH STARTED.
scene 3
EXT. AMERICAN LEGION POST 157 - BANDERA, TX - DAY
GIL and DALE, both MID-70s, dressed for carpentry, sit next to each other on one of the concrete steps to the post, their backs to its glass double-doors. A cane at Dale’s side. Clear protective glasses propped on their heads, army-green hardhats between them on the step. Dale sips from a bottle labeled as sarsaparilla, Gil from a bottle of Jarrito soda. Intermittent SAWING, HAMMERING and DRILLING from inside the hall.
Flagpole flies United States flag at top, Texas flag below it, above a black POW-MIA flag. All three limp. Texas plates on van in the handicap space near the ramp to the doors and three newish pickup trucks and a late-70s Corvette convertible in the parking area. The post's old marquee sign identifies the post number and advertises 8 pm Wednesday night bingo.
GIL: Big news.
DALE: Good news.
GIL: Great news. Tom and Wanda are moving down.
DALE: Down where?
GIL: Down here? Well, Kerrville. They and Ruth are buying a house.
DALE: No shoot. When?
GIL: Before winter arrives in Laramie. Recent decision. He's on his way right now to spend a week with Ruth driving around and stepping into open houses.
DALE: Well I'll darned. Wanda ain't comin'?
GIL: Staying behind with a friend whose husband just passed.
DALE: Mm. Did I tell ya Charlie Collingwood died?
GIL: Bill did.
DALE: We fishin'?
GIL: Tom's call is that spot on the west prong near Carpenter Creek.
DALE: Good call. The boys comin'?
GIL: Yep. Next Sunday?
DALE: Early or late?
GIL: Late? The boys are sleepers.
DALE: Late's great. We're goin' to Lois's friend's church in Boerne.
GIL: Speaking of Boerne, have you heard from or about Claude and Nadine.
DALE: Yes. We were gonna pay 'em a visit but they just left for Cancun for their fortieth anniversary. Speaking of anniversaries do you know if Tom and Wanda have decided where they're doing theirs?
GIL: Hawaii. Oahu. They booked last week. Seven nights. Neither have been.
DALE: Well good for them.
GIL: Ready?
Dale nods. They finish their drinks, put on their hardhats and protective glasses, stand. Gil keeps an eye on Dale who rises a little wobbly. He uses a rail as they ascend the steps, they both place their bottles in a plastic bin,
Gil stops them just before they enter when his PHONE RINGTONES THE WHOMP WHOMP WHOMP OF HELICOPTER BLADES.
DALE: That sure as hell brings it back.
GIL: Tom.
DALE: Roger that.
Gil looks at and shows Dale the selfie Tom has taken at the Vietnam-era Huey helicopter display at the Vietnam Veterans Memorial in Angel Fire, New Mexico. They stare at the image.
DALE: I can smell it.
GIL: Strongest sense memory.
Gil pockets phone puts arm around Dale, they enter the hall, leave view.
WHIR OF CICADAS.
scene 2
EXT. MANUFACTURED HOME - SUNRISE
The driveway/carport and front stoop/porch of one of similar manufactured homes that line both sides of a lane that leads in both directions to bisect a similar lane. United States flags fly from two homes, Wyoming plates on every vehicle.
In this particular driveway/carport a 1985 GMC Sierra 1500 4WD pickup truck is aimed at the lane, in front of 2000ish Subaru Outback. The truck is in good condition for its age, feature running lights, running boards, grill guard and trailer hitch. We can see through the screen door the hint of lamplight.
WESTERN MEADKOWLARK SONG before Tom opens the screen door, for Wanda to come out. She's in slippers, robe over pajamas, both hands around a thermos. Tom is a cowboy from boots to new Wranglers held up by belt cinched by a silver buckle featuring two linked turquoise horseshoes. Western-style dress shirt with pearl snap-buttons. Straw Stetson. Suitcase in one hand, keys in another. They walk to the steps and the truck.
TOM: Whadda you and Daisy got planned?
WANDA: Brunch at Creekside, walk along the river, movie at the library, sunset at Mirror Lake.
TOM: What's playin' at the library.
WANDA: Cheyenne Autumn.
TOM: Sixty-four.
WANDA: Very good.
TOM: Me and dad saw it at the Bantex theatre in town. Burned down in sixty-nine. When did they start playin' Hollywood movies at the library?
They have a summer Saturday matinee series.
TOM: You must have told me that.
WANDA: Nope. Only found out about it yesterday when I checked the website.
TOM: Let's do that when I'm back.
They arrive at the truck.
WANDA: You gotta date, cowboy.
Another kiss. Tom opens door, puts suitcase on passenger seat, hat atop it, key in ignition, takes thermos from Wanda, places in console, turns to Wanda, they embrace.
TOM: How many more days?
WANDA: Ninety-two. You really are thinking about taking a surfing lesson, aren't you?
TOM: Done thinkin' about it. Doin' it.
Another kiss. Tom gets in behind wheel, starts engine, rolls down driver's window. Wanda pushes door shut, steps up onto running board, face in window.
TOM (CONT.): Ready?
She nods. Tom drives forward to the lane.
TOM/WANDA: I love you.
A kiss. Wanda steps down from running board.
WANDA: Do me a favor before you go.
TOM: Anything in my power.
WANDA: Buckle your seatbelt, sweetheart.
Tom buckles up.
TOM: You're still a distraction.
WANDA: Aaah.
She steps for another kiss, then back down.
TOM: See ya in an hour, angel.
WANDA: You're on the clock.
Tom winks, turns right onto lane, drives away.
INT TRUCK.
Tom's eyes on WAND IN THE REARVIEW MIRROR or as he nears where the lane ends.
WITH WANDA as she watches truck stop, Tom make turn, blow kiss out window, drive out of view. She waits until the TRUCK ENGINE SOUND FADES AWAY, crosses arms over chest, walks to the stoop/porch, waters the potted plants that populate it, enters house, closes door.
A STRONG BREEZE RATTLES TREE LEAVES, RINGS THE WIND CHIMES.