scene 14

scene 13

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

 

Hilary Barrett:

"This is about natural beauty, like the beauty of a plant, whose form is the perfect, simple expression of its nature. It's also about the way people create images to communicate something of a person's or thing's inner nature."

scene 13

scene 12

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.

scene 12

scene 11

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

scene 10

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.

scene 10

scene 9

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

scene 8

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

scene 7

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.

scene 7

scene 6

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.

scene 6

scene 5

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.

scene 5

scene 4

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

scene 3

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

scene 2

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

Sc 1

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.

scene 1

INT. BEDROOM - NIGHT

TOM and WANDA, MID-70s, in pajamas, sitting up in bed under the covers. Wanda is reading James Michener's novel Hawaii. Tom is reading a gray hardcover book we can see by the slightly darker shade of gray font is titled Foglost, written by H. C Hardyn. Both wear glasses, the cases for which are on their respective lampstands with their phones. Curtains closed across window above headboard. Tom turns a page.  

WANDA: Should we do a luau?

TOM: Well, what is it they say about when you're in Rome?

WANDA: Do as the Romans do.

TOM: Heck, I'm halfway thinkin' about takin' a surfin' lesson.

WANDA: That's some halfway thinking alright.

TOM: You think this ol' dog ain't got one more trick in him?

WANDA: I'd pay to see it.

TOM: Won't have to. Got 'em down the beach from our hotel. You just pull up under an umbrella with your Mai Tai, stick your toes in the sand and watch.

WANDA: Hmm. Maybe I'll take a hula lesson.

TOM: You know I'll be front and center for that.

A lull. Wanda turns page.

TOM (CONT.): So whaddaya reckon the chances are we'll get lei'd.

Wanda, shocked, stares at Tom, Tom turns to her.

WANDA: Thomas Travis Walker, my goodness gracious.

TOM: What? Ain't that what they call them flower necklaces they put around your neck when ya get off the plane. A lei?

Wanda shakes her head.

WANDA: Yes, that's what they're called. A garland. 

TOM: Oh.

WANDA: I don’t think our airline does that.

TOM: Oh well.

WANDA: But I think we'll have better luck when we get to our hotel.

Tom looks at Wanda, who turns to him, winks. They close and put books on lampstands, place glasses in cases, turn off their lamps. 

BEDSPRING SQUEAK IN BLACK.