scene 29

scene 28

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.

scene 28

scene 27

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.

scene 27

scene 26

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.

scene 26 in progress

scene 25

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. 

scene 25

scene 24

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

scene 23

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.  

silly interlude re another timeout

 

.

scene 23

scene 22

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.

scene 22

scene 21

[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.

BUNTER: She's nervous too.  

JACKIE: How’s it going?

HUNTER: Well.  He’s a helluva storyteller.

JACKIE: What a coincidence.

They arrive at Tom and Chloe.

HUNTER: So. Jackie, it’s my pleasure to introduce you to Tom and Chloe.

Jackie extends her hand, Chloe shakes

CHLOE: Good to finally meet you, Jackie.

JACKIE: Same, Chloe. 

She extends hand, Tom shakes.

JACKIE: Tom, it’s great you can join us.

TOM: Ma’am,  thank you, thank y’all, for havin’ me along.

JACKIE: And you’re not the only late addition surprise visitor. My cousin’s girlfriend will be joining us.

HUNTER: The more the merrier. Shall we?

Hunter closes garage door, leads to the Rover, puts Jackie’s pack in back. Chloe and Tom in back, Jackie front passenger seat, Hunter at the wheel, drives away.

scene 21

scene 20

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] 

scene 20

scene 19

*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.]

edit: cut scene 7

 gone.

scene 19

scene 18

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.

scene 18

scene 17

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

scene 16

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.

scene 16

scene 15

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. 

scene 15

scene 14

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 María 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. 

silly interlude re this Timeout

 

back at it tomorrow.

.