scene 10

scene 9

EXT. HANDSOME HOME - DAY

One of several handsome homes leaning toward Southwest style widely spaced near the base of the Organ Mountains, trash and recycling bins where each driveway meets the street. Open garage door features a Range Rover SUV ("Rover" hereafter) rand Harley-Davidson Street Glide.  

Down the road Tom's truck turns onto the street and nears.

INT. TOM'S TRUCK - CONTINUOUS

Tom in aviators drives slowly past the homes, taking them in.

GPS VOICE: In one hundred yards you will arrive at your destination.

He nears and stops at the open garage, engine idling. He gets phone from pocket, sets in camera mode, aims at the garage just as Hunter comes out through door to house, recyclables bag in hand.  He looks up at the truck, stops, Tom takes the picture, pockets phone, drives away. Hunter keeps his eyes on the truck as he nears the bins.

INT. TOM'S TRUCK - CONTINUOUS

Tom drives toward the house near the corner where Hunter's street turns right onto another, keeping his eyes on HUNTER IN THE REARVIEW MIRROR,.

HUNTER'S DRIVEWAY/STREET - CONTINUOUS

Keeping his eye on the truck, Hunter drops the bag into one of the two bins, closes it, watches the truck turn right onto the next street, then obscured behind the house near the corner. He waits for truck to come into view but after awhile walks back to the garage, eyes watchful, then into the garage and the house through the door.

INT. TOM'S TRUCK - CONTINUOUS

He idles in front of the house near the corner, hands on the wheel, looking straight ahead. Finally he makes the U-turn back toward Hunter's street, turns left onto it, obscured by the house. 

scene 9

scene 8

INT. NOVELIST'S HOME OFFICE - DAY

If the big window view to the up-close Organ Mountains is the front of the room, then the old wooden desk facing it is at the back of the room near open door to hallway. San Luis Obispo High and old school California Angels baseball caps on rack near the door. Map (TBD) on wall behind desk attended by wooden swivel chair with padded seat.

Loaded bookshelf against wall between desk and window across room from old leather sofa under a framed print of an Ad Reinhardt "Red Painting." Navajo rug on hardwood. Stool and telescope in corner where bookshelf meets window, potted young Saguaro cactus between window and sofa.

Printer on stand adjacent to desk populated by globe, old baseball, stack of yellow legal pads near pens and pencils in NMSU coffee mug, framed photograph of Chloe smiling at the camera from where is "tubed" in the jade-green wave she is surfing, and a computer open to text we cannot discern other than FADE IN at top of page before it gives way to screensaver: Chloe and HUNTER, 50-ish - the H.C. Hardyn on Gil's Foglost's about-the-author page - smiling wildly from where they sit in the front of a roller-coaster in motion. 

Hunter, 50 - jeans, running shoes, raglan-style shirt (grey body, blue sleeves) - enters from hall, leans to close file and power down the computer. He leaves into hall.  

INT. KITCHEN - MOMENTS LATER

State of the art appliances, stone counter and center island, Saltillo tile. View into adjacent dining room and, through the window over the sink, the shaded patio and smallish xeriscaped yard bordered by a low stone wall on which a roadrunner rests. Door from dining room to patio featuring grill and table with four chairs. Stack of mail, bananas in a wooden bowl on center island. 

Calendar on the refrigerator turned to July and features a picture of a girl who would be correctly identified as Chloe at 10, smiling at the camera with a fireworks "sparkler" in each hand, the night sky above and behind her lit with exploding fireworks. The boxes of the days are checked off to the 19th. CHLOE in blue pen populates the 20th, the remaining days empty. 

Hunter,enters from hall, gets half-empty plastic water bottle from fridge, finishes in two swallows, crushes empty bottle, puts it in plastic bag filled with recyclables he gets from closet. He ties off the bag, leaves into hall. 

scene 8

scene 7

INT. TRUCK - DAY

Tom driving a two-lane road nearing what signage makes clear is The Talavera Fire Department east of Las Cruces, New Mexico, where the high desert meets a community of handsome homes heavy on southwest style near the base of the Organ Mountains under a brilliant sun in a cloudless blue sky.

The portable GPS on the seat tells him in a WOMAN'S VOICE to turn left onto Soledad Canyon Road. He does so and drives straight at the mountains. He gets aviator sunglasses from sleeve on driver's visor, puts them on.

scene 7

scene 6

INT. NEWISH MERCEDES-BENZ G-CLASS SUV - DAY

JOHN, 70-something, driving NORTH ON CABRILLO HWY. THROUGH MOSS LANDING, CA,  nearing the power plant’s two stacks on the east/right side of the road, Moss Landing Harbor on the other, bridge ahead.

Polo shirt, khaki slacks held up by leather belt matching loafers. Argyle socks (if we could see them). Left hand on the wheel, gold watch draws attention to his gold wedding band. Silver hair, tan and clean-shaven face.

CHLOE, 17, front passenger seat. Stylish track suit, running shoes. Long hair in a ponytail through the opening in the back of her ballcap. 

BARBARA, 50ish, behind Chloe. Jeans, PARK CITY sweatshirt, Uggs, fashionable sunglasses propped on her head, fashionable bag in lap. 

JAN, 70-something, behind John. Capri pants, light sweater over blouse. Silver hair, tan face, small diamond earrings. Larger diamond on her silver wedding ring. Hands crossed over small fashionable purse in her lap.

JAN: Do we know where you'll be riding?

CHLOE: On Jackie's family's land northeast of Ruidoso, end quote. 

JOHN: Do we know how she was able to wrangle the horses?

CHLOE: A cousin runs a Quarter Horse rescue program.

JAN: What's the name of the town in that area that Carl and Denise retired to?

JOHN: Cloudcroft.

JAN: That's it. 

CHLOE: Dad's looking at cabins in Cloudcroft.

JOHN/JAN/BARBARA: Really.

CHLOE: Yep. 

JOHN: As a second home?

CHLOE: No. He'll sell Las Cruces. Nothing certain but trending.  

BARBARA; Well, he used to say that if he ever made it he'd get a cabin in the mountains. 

JOHN: I guess bestselling novelist qualifies as making it.

CHLOE: That's not all.

BARBARA: Pregnant pause, cue drumroll. 

CHLOE: He sold the movie rights.

BARBARA/JAN: Wow.

JOHN: That's fantastic. I need to call to congratulate him.

JAN: I want in.

BARBARA: Goodbye life of relative anonymity and low social media profile.

CHLOE: Which is a factor in the move. He says he's getting more drive-by traffic lately, people slowing, sometimes stopping, then driving on.

Barbara lowers sunglasses over eyes.

JOHN: Big cabin?

CHLOE: Big enough from what he's shown me of his online searches. And land. He and Jackie are going up the weekend after Labor Day weekend.

Silence as they cross the bridge. Chloe sees Barbara, gazing at the window, wipe away a tear from under her sunglasses, sniffle. John looks at her. 

JOHN: Alright?

Barbara nods.

BARBARA: I'm just very proud of and happy for him.

Chloe and Jan look at each other, Jan winks and smiles. Chloe nods.

JAN: We're all very proud of and happy for Hunter.

A tear runs down Barbara's face. John reaches for her hand, she gives it to him.

BARBARA: I always knew he would.

Pause.

JOHN: I can't say we were always so sure.

Barbara and Chloe laugh, Jan and John wink at each other in the rearview mirror.

JAN: He's come a very long way.

JOHN/BARBARA: Yes he has.

JAN: Are you ready to be the daughter of a famous writer?

Chloe shakes her head, scoots next to Jan, who puts an arm around her. 

.

scene 6

scene 5

EXT. YUCCA SPRINGS MOTEL PARKING LOT - SUNRISE

Tom comes out of his room, suitcase in hand, walks to stairs to lot to truck, one of several vehicles in the wet and puddled lot. He opens driver's side crew cab door, puts suitcase on seat, hat atop it, closes door, opens driver's door, gets in, starts engine, drives to street, turns right into light traffic, drives away out of view. 

scene 5

scene 4

INT. MOTEL ROOM - ALBUQUERQUE, NM - SUNSET

Basic second floor room, Tom, shirt unbuttoned, sits at desk, phone at hand, looks out window to monsoon clouds obscuring the Sandia Mountains. Open suitcase on bed, shows a copy of Foglost. Boots on floor near hat rack near door, shirt unbuttoned. LIGHT RAIN taps the window. Tom speaks into phone.

TOM: Ruth.

Hey sis, eagle's landed. I'm gonna run a bath so no phone for about a half hour then in the rest a the night. Call me before bedtime. Love ya.

(He sets down phone, leaves into bathroom. We HEAR BATH STARTED. RAIN HEAVIER. FAINT THUNDER.) 

scene 4

scene 3 

MIRROR LAKE PICNIC AREA  -  SNOWY RANGE MOUNTAINS, WYOMING - SUNSET

WANDA and DAISY, 70-something - both in jeans, tennis shoes, light sweaters over blouses - sit next to each at a picnic table with a fire pit near the small lake. 

DAISY: You're going to miss our balmy winters.

Wanda smiles.

WANDA: I looked it up. Coldest day ever in Kerrville was seven-below.

DAISY: I'll take that all January. On the other hand, probably a little warmer there today.

WANDA: A sticky hundred and three in the shade of Ruth's back porch yesterday.

A Rainbow trout jumps and splashes.

RUTH/WANDA: Rainbow. 

WANDA'S PHONE RINGTONES an instrumental version of the Towne's Van Zandt song, If I Needed You. She gets phone from pocket.

WANDA: You in your room?

Monsooning yet?

We are. Just saw a rainbow jump. 

Daisy, with a seven letter play on a triple word score. 

Plumber. Betty and Bill say hello and will be at Cheyenne Days. 

I will.

Love you too.

K. Sweet dreams.

(Wanda pockets phone.)

DAISY: Raining in Albuquerque?

WANDA: About to. Tom passes along his love.

DAISY: Sweet. We got lucky, didn't we?

Wanda looks at her.

WANDA: Our men. Good men. Decent men. 

Wanda nods, puts arm around Daisy, who reciprocates. 

DAISY: Ready?

Wanda nods, they stand, walk hand in hand out of frame as an angler catches and brings a fish to net. 

scene 3

scene 2

INT. GREAT ROOM - DAY

Two whitetail buck mounts on each side of floor-to-ceiling limestone fireplace. Leather furniture arrangements aimed at fireplace and wall-mounted TV. Pool table, mini-fridge, loaded rifle case, and GIL, 70-something - jeans, socks, untucked dress shirt - in a rocking chair aimed at the big window view to ROBERTO, 15, and RODRIGO, 13, both in shorts and sneakers, kicking a soccer ball back and forth among oak trees, neither fence nor neighbor in view. Gil reads the hardcover book in his lap as MARIA, 40ish - corduroys, sandals, mustard long-sleeve tee with BROWNSVILLE GYRL across the front - enters from hallway near hat rack with two cowboy hats, a sombrero, San Antonio Spurs ballcap and Houston Oilers football helmet.   

MARIA: I just remembered Tom and Wanda arrive tomorrow. 

GIL: Only Tom. Wanda's staying home to be with a friend whose husband just passed.

MARIA: Oh. 

GIL: Big news. 

MARIA: Yeah?

GIL: They're going in with Ruth on a house in Kerrville.

MARIA: Wow. That is big news. Time frame? 

GIL: No. Recent decision. Ruth and Tom are gonna hit a few open houses to get the ball rolling.  

MARIA: That is so cool. Whatcha readin'?

Gil holds up the grey book with FOGLOST in darker grey on the cover.

MARIA (CONT.) Foglost. What's it about?

GIL: Only halfway through but alcoholism seems a theme.

She looks at the spine to find the author is H.C. Hardyn.

MARIA: Oh. Your guy. 

GIL: Came in the mail yesterday.

MARIA: A page-turner.

GIL: Yep. I'll finish it tomorrow.

MARIA:  Do you know what the H and or C are for? 

GIL: Nothing listed in his minimal social media.

MARIA: An author page?

Gil turns to the author page on the flap on the back of the book. He and Maria look at the black and white photograph of a 50-ish man in a plaid flannel looking at the camera, the Organ Mountains east of Las Cruces, New Mexico, behind him. The text below the picture reads:

H.C. Hardyn is the author of two other novels, Trabuco and Seams.

MARIA: Those are the Organ Mountains. 

GIL: I see the resemblance.

MARIA: When are Tom and Ruth coming over?

GIL: Wednesday..

MARIA: Tamales?

GIL:  Hurra. Thank you.

The PHONE in Gil's shirt pocket BUZZES. He opens to a selfie Tom has sent from where he stands near a Vietnam War-era Huey helicopter. Maria looks over his shoulder.

MARIA: Where is that?

GIL: Vietnam memorial in Angel Fire.

MARIA: He's lost weight.

GIL: Looks like it.

He pockets phone.

MARIA: Lunch in twenty.

GIL: Thank you, sweetheart.

She kisses his head, leaves into hall. Gil watches the boys back and forth take them deeper into the woods and out of view. He returns to the book, turns a page. 

scene 2

scene 1

EXT. MANUFACTURED HOME - DAY

The truck in the driveway of the well-kept double-wide like the others that line both sides of the lane. Older Subaru Wagon in the port behind the truck, Wyoming plates, as on the neighbors’ vehicles across the way. Stars and Stripes from two neighbors’ flagpoles. Occasional SONG OF WESTERN MEADOWLARK throughout.

Tom opens the front door, holds it for Wanda - nightgown and slippers, thermos in both hands - to come onto the porch populated by two rocking chairs, potted plants, and wind chimes, followed by Tom in western shirt, same belt and buckle holding up newer jeans. Cowboy boots, straw cowboy hat, suitcase in one hand, the other on Wanda’s shoulder. They walk to and down steps to the driveway and truck.

WANDA: Where's lunch?

TOM: Thinkin' that Mexican  place in Cimarron we found comin' back last time.

WANDA: Tortilla Azul.

TOM: That's it. Knew it was tortilla somethin'. 

WANDA: That was delicious.

TOM: If it's still there.

Tom opens the driver's side crew cab door, puts suitcase on seat and hat atop suitcase, closes door, opens driver's, Wanda hands him the thermos he places in console, puts key in ignition, turns to Wanda. 

TOM (CONT.) Whadda you and Daisy got planned. 

WANDA: Coffee and a walk on the river trail, library, drive to Centennial for lunch and scrabble with Betty and Bill, sunset at Mirror Lake, ice cream at Dipper.

TOM: Well that's a full schedule.

WANDA: Good to keep her busy. Tomorrow we're going to Cheyenne for museum and the gardens.

The WHIR OF ELECTRIC WHEELCHAIR turns their attention to DALE, 70-something, rolling down the middle of the lane toward them. Sweatshirt, Vietnam Veteran ballcap, blanket over his lap and legs, tennis shoes. SMALL DOG curled in his lap. 

Tom salutes, Sarge reciprocates as he nears.

WANDA: Good morning, Sarge.

SARGE (raspy) Good morning, Walkers.

The dog barks. The wheelchair arrives, keeps moving.  

TOM/WANDA: Good morning, Bella.

Bella barks with tail wag.

SARGE: Off for Kerrville recon, Tom?

TOM: Yessir.

SARGE: You know that if I were higher rank I'd revoke your orders and you and your better half would never leave base. 

TOM: Yessir.

SARGE: Full report upon return.

TOM: Yessir.

SARGE: Glowing and radiant as usual, Wanda.

WANDA: Thank you, Sarge. 

SARGE: At ease, Walkers.

WANDA/TOM: Yessir.

They watch him roll away.

WANDA: When Bella dies...

TOM: I know.

A BREEZE SINGS THE CHIMES.

WANDA: There's your cue.

Tom gets in, Wanda pushes the door shut, steps onto running board, Tom rolls down window.   

TOM: Ready?

She nods. Tom starts engine, rolls to the lane, stops. They stare at each other.

TOM (CONT.): About how many days 'til we hit Honolulu.

WANDA: Ninety-three. 

TOM: But who's countin'? 

She looks at his watch, hands set at 6:55.

TOM: And eight hours twelve minutes. Assuming our plane is on time.

He smiles, she leans in, they kiss.

WANDA: I love you.

TOM: Love you more.

WANDA: Bet.

He extends hand, they shake.

TOM: Bet.

Another kiss.

TOM: I'll call every hour on the hour.

WANDA: Thank you.

TOM: Maybe a selfie along the way.

WANDA: Please.

Another kiss, she steps down from the running board.

WANDA (CONT.) Better get on before I revoke your orders.

TOM: I miss you already.

WANDA: I miss you too, now git before I start crying.

He blows her a kiss, she reciprocates. Tom turns onto the lane, drives to where it bisects another. Wanda steps into the lane, watches the trucjk drive away.

INT. TRUCK

Tom keeps his eyes on WANDA IN THE REARVIEW MIRROR. She waves. He sticks arm out window, waves back, stops at the cross lane to let a car by. 

WITH WANDA

She watches Tom make the left turn, blow a kiss out the window, She reciprocates, watches truck leave view. She lingers, looks up and down lane, finally walks to and up the steps to the porch, waters plants from a small pail, puts pail down, crosses her arms across her chest when a STRONG BREEZE SINGS THE CHIMES. She looks to the sky and two Golden Eagles gliding below cirrus clouds, then out of view. She goes inside, closes door behind her.  FAINT SIREN fades in and out.

scene 1

INT. 1987 GMC 2500 PICKUP TRUCK - SUNSET 

TOM and WANDA, 70-somethings, next to each other on the bench seat in the cab of the truck aimed at the sun setting on the Snowy Range Mountains portion of the Medicine Bow National Forest west of Laramie, Wyoming, from where the truck is parked in the Wyoming highway 130 Overland Trail marker pullover. Keys in the ignition. A ranch house and its attendant barn on the other side of the highway the only structures on the open grassland prairie.

Tom in jeans, pearl snap-button western shirt. Silver belt buckle features two linked turquoise horseshoes. Wanda in gingham dress, her left hand in his right hand in her lap.

WANDA: Should we do a luau?

TOM: Well sweetheart, 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: Now 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.

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

Wanda, shocked, stares at Tom, who finally looks at 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. I don’t think our airline does that.

TOM: Oh.

WANDA: But I think there's a good chance when we get to our hotel.

Tom looks at her, she looks at him, winks. He smiles, starts the engine.

EXT. HWY. PULLOVER/TRUCK

Wyoming plates. Tom drives to rhe highway, turns left,  left, drives away, tail-lights come on. Last of the sun disappears.