Sunday, January 31, 2016

boots 104: sc 20: tom's dream

CLOSE ON TOM'S CLOSED EYES - DAY

SOUND OF WATER LOVINGLY LAPPING THE SIDES OF A BOAT. 

THE FAINT CALL OF A GULL.

Tom's eyes open wide.

ZOOM OUT REVEAL:

Tom in only red swim-trunks laying down in a small bright white rowboat, smaller as we rise and widen, then tiny and alone on a vast aquamarine ocean or immeasurable pool, glassy and tranquil, shimmering blending of greens and blues, azure where it meets the horizon from:

TOM'S POV:

PANNING the distant horizon line, nearly indiscernible where the sky and ocean meet, TILT to the sky at the FAINT GULL CRY, but no bird to be seen.

Nor Sun. Yet the day is bright and the boat the brightest of white.

Tom's/our gaze goes to ocean, to the water around the boat and below it, clear into the darker depths from which a form emerges, very slowly rising, and then away, though still ascending but out of view.

Tom's/our gaze continues to the surface where, finally, a head pokes through, eyes staring back at us. Human, with long hair, but gender unclear. The head disappears back into the ocean.

Then we note the form of the MERMAID approaching the boat, stopping short, maybe ten feet away and as deep below the surface. Finally she swims closer, stops. It's Chloe, who suddenly darts out of view like a turbo-dolphin toward ahead of where the boat is pointed.

Tom's/our gaze follows and catches the leap of Chloe the Mermaid from the sea, her brief glistening flight, and the plunging back in, flipper last, and the small island ahead of us, that wasn't there before, it's single palm tree a flag pole flying fronds.

The boat starts in its direction, as if pushed from behind.

Or pulled by the mermaid who again, farther ahead now, leaps from the sea and dives back into it, the rowboat gaining speed, throwing a wake behind the boat as if motored.

When we return our gaze ahead of us, Chloe the mermaid is in the boat staring back, dripping wet, flipper tapping the boat like a cat's contented tail. 

The distant palm tree now towers above us. We run aground gently, somewhat jostling Chloe, who smiles, stares back with eyes that match the ocean. Her scales are like a skin of jewels  


TOM'S EYES, OPENING.

WIDEN TO:

INT. TOM'S ROOM AT CARSON'S - SUNRISE.

Tom in pajamas in bed. Finally sits up, gets out of bed, goes to the window. Sunrise. SOUND OF FAINT FOOTSTEPS.


boots 103: beats: TOM'S DREAM to MEET DOC

tom's dream.

virginia at home, sunrise on porch swing. tom calls. he'd "better stay and meet her." besides, wanda will be there "tomorrow."

carson in kitchen starting coffee. both early risers. tom is thankful for the opportunity to stay and meet chloe. thankful for everything. alright then, breakfast. then carson's out the door, be back around whenever. tom would like to make breakfast. carson's cool with that, he'll be outside with the paper's crossword.

wanda at home, gardening. tom calls, carson's home office. carson's gone. on meeting chloe. mabel still gonna take her to the hospital. airport too. he comes across the photo booth photo carson had dug up.

carson in therapy. MEET DOC.  meditative space, southwest feel, minimalist yet cozy. carson in recliner, aimed at an aquarium teeming with (yes, teeeeming) tropical fish. doc seated behind him in an old-days grade school desk/chair. one leg over the other, occasionally writing notes on a legal pad. MALE, MID-60's. fresh jeans, casual-elegant leather shoes, socks that match his long-sleeve button-up shirt, belt that matches his shoes. long hair back in a ponytail. behind and over carson's shoulder, maybe ten feet away. behind doc, a tinted window to an intimate courtyard featuring a fountain, the faint gurgling of which we barely hear with the bubbling of the aquarium. carson in recline, legs crossed at the ankles, the fingers of his hands interlocked over his abdomen.

boots 102: clarify wanda/TX

clarify/add in tom drive-away scene that wanda is staying back because of surgery to remove a cyst.

she will fly to texas after. 

Saturday, January 30, 2016

those ASPCA commercials

yeah, those, the ones you turn away from.

me too.

except this late afternoon at the counter it's on one of the TV's in front of me.

the in-house music plays instead of sarah mclachlan.

i still tear up.

i lower the bill of my cap.

i had the port and balboa

re: orange county cinema, that is.

dream: asian woman moves closer to me

I'm sitting at smallish, square table.

To my left, on another side, is a man, younger than me, but I can't see his face so clearly.

To my right, on another side of the table, seated directly across from the man, is a woman, Asian. (I want to say Chinese but I am not certain.) 

I am reminded of the woman in the intersection (dream). In both cases, not a woman I recognize.

At any rate, I am talking, and at some point I begin to feel a little self-conscious, as if I am going on and on, yammering and boring them.

I don't recall what I was talking about but it might well have been "shop," as I don't usually "go on" about anything unless I'm really interested in it.

And/or am really caffeinated.

Which was perhaps the case here. Maybe we're at Starbucks. There are other people  milling about and standing, so, hey, maybe we are.

I'm talking shop and have had a couple double-espressos.

I interrupt myself, apologize for rambling, but am assured by both that I am not. And maybe that's the source of what I detect as his frustration, because there is a moment of body language. Maybe he's more frustrated that I have interrupted myself than he is having to endure my talking.

I am not sure.

Maybe he's a little uneasy that the woman seated across from him is finding me interesting.

So much so that she scoots her chair to closer to me, basically next to me (though not "in my lap").

She is waiting for me to "go on."

No one is seated across from me at the table. (I don't recall a chair.)  

They are (then were) seated directly across from each other.

She wants to get closer, and does.

And is curious about what I have to say.  

Reminded re: woman in intersection (dream) that she (too) wanted a better look, and removed her glasses to do so, after "Nearing." 


 
lots of Seeing in "the intersection," too.
 
 
 

ice cube

What was it you once loved about me?
I wonder if you can even remember.
Has recollection upon further reflection
made an ice cube out of an ember? 
 

Friday, January 29, 2016

boots 101: sc 18c beats

chloe pulls up the street view of tom's house.

tom's room. suitcase open on bed. carson's footsteps. carson, who gives him "something to sleep on" re meeting chloe. goodnight. see you in the morning. breakfast. carson leaves.

wanda. on the phone. to:

tom. end call.

carson calls:

jackie, at home, online "film" editing.

carson, home office. digs up a four-frame photo booth shot, sepia tone, of a man and woman in their early-twenties, mugging for the camera, having a good time. the young bears a noticeable resemblance to tom. carson stares at it.

tom's dream.

dreams: nurturing felines

usually kittenish, not always.

Z makes the occassional cameo.

at any rate, steady and ongoing.

Thursday, January 28, 2016

boots 101: sc 18b sketch

EXT PATIO - NIGHT

Carson on phone, back to house. Tom visible in the kitchen window over Carson's shoulder. 

What?

No, I'm on the patio now, he's inside. We just ate.

I picked up some fried chicken on the way from Jackie's. 

Oh, he was asking about you, your mom. I told him you arrive tomorrow.

Well, we haven't really talked about it but I see Doc before I pick you up so I guess he'll head out when I leave, or earlier. Why?

And what if he did stay?


INT CHLOE'S ROOM - NIGHT

Chloe on bed, on phone. Suitcase near door.

I'm still here. I don't know. I'm curious, obviously. But it sort of sounds like maybe you're going to be in contact. So, maybe there'll be another time. Anyway, doesn't he have his sister's funeral to get to?

Oh. 

Who else is down there?

Really? What's her name?

Wow. That's just slightly progressive.



EXT PATIO

Carson. Tom gone from window.

I don't know, it usually takes a few days before you get the ashes from the crematorium.

Well, we haven't really talked about her much but I would imagine they were very close. 

They're going to put some into the Guadalupe River.

Kerrville, down toward San Antonio.

I have, it's pretty. 

Well, not all Texas is flat desert. 

I don't know. Maybe just go to bed.   

I think I might. If you think you're up for it.

I think I am.

Okay. Well, I'll call you in the morning.

I love you too, sweetheart.

Goodnight.

He puts his phone in his pocket, ponders the black landscape beyond the low stone wall.



INT CHLOE'S BEDROOM

She goes to her laptop, pulls up the street-view of Tom and Wanda's house.

boots 100 sc 18a sketch

INT KITCHEN - NIGHT

they've finished eating. carson is cleaning up, tom is washing dishes, telling, in fact, a story about previous dishwashing. mentions the picture of "the young lady on the fridge." introduce chloe. daughter.

tom notes there's not much about her online, mostly just "has a daughter." carson confirms he'd like to keep it that way.

more on:

where she is: san luis obispo. with her mother. carol. on the divorce. and re the death of carson's mother and stepfather.

tom asks what of them chloe remembers. (she was very young.)

now: senior year in high school coming up. college plans? carson mentions a few but suspects it will come down to where she can surf. maybe santa cruz. which would be okay with carson because he gets to san francisco plenty. 

tom imagines carol would be happy to have chloe close to home. quite the contrary, carson assures him; carol wants chloe to stretch a little. carson tends to agree but doesn't want to push.

tom asks about carol's folks. they're in hot springs, arkansas. 

he asks how often carson gets to see her.

every spring break, every other christmas, and the last two weeks of each summer before school starts.

tom reckons that she'll "be here soon."

carson:

she lands in el paso tomorrow at two-thirty.

chloe's ringtone.

how 'bout that. excuse me, tom, that's chloe.

tom nods. carson leaves into dining room.

(o.s.) were your ears burning?

we hear the sliding glass door open and closed. carson appears on the patio through the window, phone to ear, back to the house.


EXT PATIO  - NIGHT

carson on the phone. tom at the kitchen sink through the window, watching.

dream: on a bench at the train station.

i'm sitting on a bench outside the station, the train is there on the tracks, right in front of me.

related?

dream: the producers

youngish, quite happy.

their investment had been made a pittance relative to its enormous yield.

dream: name: "sarah ashleigh olson"

or is it ashley?

or olsen?




Wednesday, January 27, 2016

Yi 34: Boots and "14"?


sometimes referred to as "Wealth."


boots 99: sc 17 final cont'd TO END

FROM:

CARSON
Carson City.
--------------

TOM
It snowed that night.

CARSON
First time you'd ever been in snow.

TOM
Matter a fact. 

CARSON
What did you tell your wife?

TOM
Everything I could remember.

CARSON
Do I have any half-siblings?

TOM
No. 'Course, up to eight years ago I'd been sure you'n me wouldn't have much to do with one another, were we to meet in the street. And I ain't sayin' that to be glib.

CARSON
I understand.

TOM
I don't know what all your mother mighta toldja 'bout me. But I was just learnin' how to drink right about that time. I've had a sloppy night or two. I reckon I can't sit here and tell ya for sure that -

CARSON
I get it.

TOM
Alright.  

CARSON
Wanda?

TOM
Kids?

Carson nods.

TOM (cont'd)
No.  

WANDA
I'd ask how long you've been married but I already know.

TOM
Was sorta curious when you knew my wife's name.

CARSON
Found you fifteen years ago.

TOM
Alright. We was livin' in Reno then.

CARSON
Sparks, technically.

TOM
Correct.

CARSON
Other than addresses, not so much. And before Sparks, not a trace.

TOM
I was a little under the radar.

CARSON
Where did you go?

TOM
When I left Los Angeles?

CARSON
Yes.

TOM
Mexico.

CARSON
What did you do in Mexico.

TOM
Nothin' good. Nothin' pretty. Dug a deep hole deeper. Crawled into it.

CARSON
No trace of a sister, either.

TOM
Ruth woulda been in Paris then. France, that is, not Texas. Then she got married, changed her name. She'd'a been hard to track down. Half-forgot I told your mother about the orphanage. 

CARSON
How did you meet Wanda.

TOM
A-A meeting in Denver. Out near the airport. 

CARSON
When?

TOM
It'll twenty-one twenty years in November. Got married the same day a year later. Or maybe you know that.

CARSON
The twenty-second. Happy upcoming anniversary.

TOM
Thank you.

CARSON
Doing anything?

TOM
Goin' to Hawaii.

CARSON
First time?

TOM
Yessir. I reckon you been more'n once.

CARSON
A couple times. Taking a cruise?

TOM
Nope. Flyin'.

CARSON
I thought you're afraid to.

TOM
I am. But even more afraid a bein' on a boat out in the middle a the ocean. Fine on a lake.

CARSON
You never thought about my mother?

TOM
I sure did think about her. First thing I did when I come up from Mexico -

CARSON
Which was when?

TOM
Close to four years.

CARSON
Alright.

TOM
Can't say it was the first thing I did but I called the fella I'd gone out there with -

CARSON
Billy Evans.

TOM
Billy Evans. That's right. I called him, he was still out there, and I asked what he knew about your mother and he said it hadn't been but a month before he'd seen her at the pony rides in Griffith Park, with a little boy and handsome man in a suit. 

CARSON
Joe. My stepfather.

TOM
I know.

CARSON
Right.

TOM
I always knew she'd do better than to be wastin' time on a busted up cowboy.

CARSON
Busted up?

TOM
Had a pretty bad fall off a horse not long before I left Texas. Was hopin' to be a stuntman, ride horses in westerns, fall off clock towers and such. Anyway, like I said, had a fall, includin' the horse fallin' on me. So much for ever ridin' in posse scenes. That's how I come to be a wrangler. Couldn't ride no more but knew my way around horses.  

CARSON
She didn't mention that.

TOM
That's 'cause I didn't.

CARSON
You must have some stories.

TOM
A couple.

CARSON
Maybe you wouldn't mind sharing one sometime.

TOM
I wouldn't mind that.   

CARSON
I picked up some fried chicken. You gotta be hungry.

TOM
I reckon I could eat.

CARSON
I'll bring it out.

TOM
You're real generous.

CARSON
Beer? 

TOM 
No thank you. Me and Wanda'll split one every Fourth a July, watchin' the fireworks. Other'n that, last drink I had was the night we met. Wanda, too. Unless she's sneakin' 'em back when I ain't lookin'.

CARSON
Water?

TOM
Thank you very much.

CARSON
Then I'll give you a little tour of the house. Unless you already took a look around.

TOM
I did. Ya gotta real nice place here.

CARSON
It's quiet.

TOM
But I will take the tour if it's still on the table. 

CARSON
It is. 

Carson enters the dining room through the sliding glass doors, thenout of view before reappearing in the kitchen window after the light comes on. Tom lights another cigarette.


INT CHLOE'S ROOM IN CARSON'S HOUSE - NIGHT

boots 98: scn 17 cont. "who told you about me?" (to CARSON CITY)

CARSON
Who told you about me?

TOM
Nobody. Seen one a yer books at a book store. Boise, Idaho. That's where me'n my wife was livin' at the time. It'll be eight years Christmas Eve. We was Christmas shoppin'. Well, Wanda was, lookin' for a book for a grand-niece. I was just standin' around I seen the new paperbacks out, all stacked on a table.

CARSON
The Last Horse in the City. 

TOM
Matter a fact. Was the cover that got my attention.

CARSON
The horse on fire.

TOM
That's right. Anyway. Opened it up to the story 'bout the rodeo clown. I been to that bar in Calgary.

CARSON
Have you?

TOM
Yessir. Carson. Been to a few bars. I read a few pages, and woulda bought the book but the line was darn near out the door, so I wrote your name down and when we got home I got onto the computer and plugged it in. Your homepage come up. 'Course. Wiki page. Your mother's name. Your date a birth. Carson City.

CARSON
Carson City.

Yi 89: Evolution of Boots

dream: rifle (range) bullseye

long shot?

Tuesday, January 26, 2016

floor plans

when I was a kid, a little boy, I drew.

once upon a time there was a collection, my grandmother held such things dear (and my diaries, too, when I tried to throw them away).

I recall one particularly prolific summer spent in arkansas, "art" piling up. I would sit at my great-grandmother's kitchen table and draw, and color, both. and my grandmother saved them as if stockpiling acrylics on canvas.

this is also the summer, I'm thinking, when songs - lyrics and melodies - seemed to come daily, in waves, and I "knew" it was "good" stuff - I was 14 or 15 - and recall contemplating somehow recording these songs, maybe singing them into a tape recorder, but I did not.

I might look up transits for that period.

but floor plans.

there was a sudden and pronounced shift from drawing to floor plans, and I churned them out, putting to some use mister yanaga's high school drafting class.

sometimes I still doodle.

seems to be a seasonal thing.







 

 


 
 

boots 97: sc 17 final 1 (to who told you?)

EXT CARSON'S PATIO - NIGHT

Covered patio, table and chairs, grill, heat lamp, gardening supplies. Lit by light above the table, where Tom sits, no hat, bent over, elbows on knees, smoking a cigarette, aimed away from the house at the dark beyond the low stone wall and Carson's xeriscaping. Small lamps in the earth flatter the effect.  

The rain has stopped but drops still drip.

Carson appears in the kitchen through the window, sees Tom, stops, stares. He turns off the kitchen light so as not to alert Tom.


CARSON'S POV

Tom smoking, then turning his palms upward and looking at them as if for something. Carson approaches, turning into the dining room out of view.


PATIO

We see through the sliding glass doors Carson enter the dining room, triggering the light, though Tom remains unaware of Carson's approach until Carson opens the sliding glass door, startling Tom, who stands and stubs out his cigarette on the sole of his boot.

CARSON: Hey there.

TOM: Hey there.

Carson closes the sliding glass door behind him, goes to the the patio lighting control.

CARSON: You mind if I turn this down a little.

TOM: No sir.

CARSON: Carson is fine, if you don't mind.

TOM: Alright.

Carson dims the light, comes to the table.

CARSON: Didn't have to put out the cigarette.

TOM: Well, thank you, but ain't like it's snything I need to be doin' anyway.

CARSON: How long have you smoked? 

TOM: Well...

Sit. Please.

They sit facing each other at the table, Tom's pack of cigarettes between them before he picks it up and sticks his half-finished cigarette into it and puts the pack in his shirt pocket, snaps the pearl button. 

TOM
Truth is, I don't smoke. Quit it twenty years ago. 'Fore that, since I was a kid, maybe fifteen. But ever' now and then I'll get...well, I wanna say nervous but it's a little more'n that. Kinda almost shaky. Cigarettes seem to help a little. But it's hardly ever. Last time was maybe a dozen years ago, my wife fell ill. Before that, couldn't tell ya. 'Course that could be a matter a poor mem'ry, 'cause mine sure ain't what it was.

CARSON
Well, if you want to smoke, I don't have a problem with it.

TOM
Well, Carson, I appreciate that and I'll take y'up on it.  

Tom fishes out the butt he'd stowed, and a lighter, smokes, repositioning himself so that he is aimed away from Carson.

TOM
(cont'd)
You smoke?

CARSON
No.

TOM
That's good.

CARSON
How did you like the rain?

TOM
Liked it.

CARSON
This is our monsoon season. Supposed to be especially heavy tonight.

TOM
Well, I usually sleep well when I got the sound a rain in my ears.

Pregnant pause.

CARSON
So. Who told you about me?

Yi 33: my Great Strength?

 
 
 
 
 

Sunday, January 24, 2016

boots 96: sc 16 final: the garage

INT. CARSON'S CAR - NIGHT

He's on his street, driving toward his house. Slight rain, windshield wipers at slow speed.

Tom's parked truck.

He says "garage" and the garage door opens, the garage lit bright.

Nothing unusual about its contents - golf clubs, two mountain bikes, boxes, tools, etc. -  although we can't miss the covered-up motorcycle. Carson drives in, the garage door closing behind him. 

He shuts the engine, sits in thought. Shakes his head. Finally gets out, enters the house. The lights in the garage dim to black.


EXT. CARSON'S PATIO - NIGHT  

Tom sitting at the table, smoking a cigarette. 

Yi 76: Golden Years

 
In walked luck and you looked in time
Never look back, walk tall, act fine
 
Come get up my baby
Come get up my baby 

Saturday, January 23, 2016

dinner

he started wearing cologne
and ironing his shirts
and noticing his eyes
had stopped following skirts.


he got his ass to the gym
and cut back on the beers
and started plucking like weeds

the hair from his ears.

but the sign of the times
that told it for sure
was the night he made dinner
for himself and her.









boots 95: sc 15.2 final

INT. BEDROOM - SAN LUIS OBISPO - BEGIN SUNSET

CHLOE, 17, blue jean shorts, sandals, long-sleeve-t with "GO SLO" bold on the front, long hair in a tail, sits on the bed with her phone in her ear, her face expressing change as she listens, switching phone from one ear to the other. 

Surf posters, laptop on desk, sofa, poster-sized framed photograph of Chloe in a soccer game, caught post-kick, her leg extended in follow-through. The ball is in flight toward our POV behind the net. The goalie is stretched out but the ball is part her, almost in our hands. Backpack on a rack with body-surf fins.

Open to door to rest of house shows the top of a staircase.

The big window frames Madonna Mountain.

CHLOE:

Still here. Well, you're right about newsworthy. 

Will he be there?

Right.

Okay. When is the funeral?

Oh.

She listens. We hear footsteps coming up the staircase, then CAROL, 50, fit at the top of the stairs, out of view for a moment, then framed where she stands in the doorway. Chloe looks up. Carol waves, enters, goes to the window, takes in the sunset.

Well. How about if you call after you talk tonight and get a better sense.

Okay. I love you too. Hey. How are you?

Alright then. Bye.

Carol turns to Chloe.

CAROL: Rick and I are going to the market, want anything?

CHLOE: Tom Walker is at dad's house. 

Silence.

CAROL: That Tom Walker?

Chloe nods.

MAN'S VOICE (from downstairs): Carol?

CAROL: Chloe's room!


EXT CARSON'S HOUSE - NIGHT

Raining. Carson's headlights approaching. The garage door opens. Carson pulls in. The garage door starts to close.


INT. CARSON'S CAR - CONTINUOUS

boots 94: sc 15.1 final: meet chloe

INT CARSON'S CAR - END SUNSET

Carson driving the same area of Soledad Canyon Road where we first met Tom nearing Carson's house. The first few drops of rain on the windshield. Carson pulls over and activates roof-down, during which his cell phone ringtone's The Beach Boys' "Surfer Girl."  He picks it up out of the console.

CARSON:

Hey baby.

Whatcha doin'?

Alright, well tell her I said hi.

Pulled over on Soledad Canyon putting the top down.

Well, if coming is coming home, then coming.

From Jackie's.

Leadsburg.

Picnic. 

Well she's nervous about meeting you too, sweetheart.

Well, the horses belong to a friend of her cousin's and we're going to meet them at the stables.

How was surfing?

Cool.

I'm still here. You got a minute?

The rain has picked up considerably.  

No, no, nothing bad. Just...newsworthy. And then you can tell your mom, she might find it interesting, too.

Well. I got a visit from someone today.



INT BEDROOM - BEGIN SUNSET

[DESCRIBE]

CHLOE, 17, phone to her ear, listening, face changing.

Yi 30: John and Isaiah

re: two recent "openings" that helped considerably.


 

more flight dream

a little different this time, a sense of limited, an ebb in faith.

I could still get off the ground, mostly easily, but there was a wavering, in belief/faith/trust, and thus a much less dynamic flight pattern.

even a small crash against a fence- or gate-like structure (again) as result of loss of elevation.

it's all there.




 

Friday, January 22, 2016

boots 93: sc 14 final (cont'd): Tom's tour 2: to jackie's house

INT GUEST ROOM - DAY

Tom's suitcase on queen bed, desk, lamp at chair near basket of magazines. Window with a view to a distant neighbor. On one wall, a large framed photograph of the Rio Grande coursing through landscape at sunset; on another, a framed photograph of snow-capped Sierra Blanca peak. 
    
We hear the faint SOUND OF A MAN URINATING INTO A TOILET, FOLLOWED BY FLUSHING, then BOOTSTEPS ON HARDWOOD NEARING then Tom enters, fastening his belt buckle.


He stands as if unsure what to do next before finally sitting down at the desk. He opens a drawer: writing pads. He opens another: pens and pencils. He opens another: stapler and staples, paper clips, rubber bands, envelopes. He opens the last drawer: empty.

He closes it, sits at the desk, folds his hands together, gazes out the window.


EXT ADOBE HOME - SUNSET

One of several similar style homes on a quiet street on a hill with a view of Las Cruces.

The quiet broken by DOGS BARKING in the house right before we see a eurosedan convertible - top down - come into view as it crests the hill and nears the house.

We see it's Carson driving and Jackie in the passenger seat. Carson pulls into the drivEway, shuts off the engine. The dogs continue to bark but with occassional interruptions.


INT CAR - CONTINUOUS

CARSON: Well.

JACKIE: Well.

CARSON: I'll call you tonight.

JACKIE: I'd like that. Thank you.

CARSON: Oh.

JACKIE: What?

CARSON: Almost forgot.

He reaches past her and pulls from the glove compartment the small gift box that was on his kitchen center island. He presents it to Jackie.

CARSON: Happy one month.

JACKIE: Oh, Carson.

CARSON: Open it.

She does. It's a cactus snow globe.  She stares at it, smiling, shakes the globe into snowfall.

JACKIE: I love it. Thank you. 
 
She kisses him.

CARSON: A cactus from a cactus.

JACKIE: You're even more succulent inside than I imagined. And a few of your needles are falling off.

CARSON: Uh oh.

JACKIE: Not a complaint.

CARSON: I wish I could stay.

JACKIE: I'd like you to stay.

Another kiss, longer.

CARSON: Call ya tonight.

JACKIE: K.

She gets out, closes the door, waves, walks to the house, the dogs almost whimpering now. Carson starts the engine, watches Jackie get her keys from her purse, open the door to two happy dogs, turn and wave. Carson waves back, then blows a kiss. Jackie reciprocates then enters the house, closing the door behind her.

Carson backs out of the driveway, makes the turn, drives away down the hill and out of view


INT LIVING ROOM - CONTINUOUS

[DESCRIBE]

Jackie enters, dogs alongside, shakes the cactus snow globe and puts it on the mantle above the fireplace, smiling.

JACKIE: Ready for a walk?

The dogs bark and rush out of the room. She follows. 


INT CARSON'S CAR - LATER  

boots 92: sc 14 final: tom's tour 1: to carson's office

INT BDRM DAY

Queen bed, laptop on desk, window to Organ Mountains, rug on hardwood, open door to hallway, attached bathroom. 


Poster on one wall: young woman surfing a big wave, "tubed" in tropical paradise.

Wipe/erase board on another wall.

On a third, a concert poster. (the RICKIE LEE JONES show carson and chloe's mother were at the night she was conceived.)

A globe. 


SOUND OF BOOTSTEPS ON HARDWOOD NEARING in hallway.

Tom arrives, stands in the doorway, takes it in but does not enter.

He leaves, more BOOTSTEPS walking away.



INT MSTR BDRM DAY

[describe]

BOOTSTEPS NEARING.

Tom arrives in the doorway, stands, takes it in. Finally leaves, BOOTSTEPS away down the hardwood hallway

A CAT hurries out from the master bathroom to under the bed.


INT HALLWAY DAY 

Tom walks the hardwood hallway toward the open door to Carson's home office at the end of the hall. A television studio-type "on-air" sign above the door, "off." 

A doorway ahead on the left and another farther up the hallway on the right,  before Carson's office.

The doorway on the left opens into a home movie theatre. When Tom arrives in the doorway the lights to the room fade up to mid-dim.

He lingers briefly, then continues up the hallway to the door on the right, which opens to a home gym.

Lingers, then continues to Carson's home office, stands in the doorway, sees the photograph on Carson's desk - Carson and Chloe - and enters, goes to the photograph, picks it up and stares at it before placing it back just so, as it was, scans the room, then leaves, taking his BOOTSTEPS with him. 

Thursday, January 21, 2016

Yi 72: Jesus overturning tables

 
 
Line-6
Legge: The sixth line, dynamic, shows the overthrow and removal of the condition of distress and obstruction. Before this there was that condition. Hereafter there will be joy.
Wilhelm/Baynes: The standstill comes to an end. First standstill, then good fortune.
Blofeld: Stagnation (obstruction) has now been overcome and is followed by great joy.
Liu: Stagnation ends. First there is stagnation, later good fortune.
Ritsema/Karcher: Subverting Obstruction. Beforehand Obstruction, afterwards rejoicing.
Shaughnessy: Momentary wife; at first negative, later happy.
Cleary (1): Overturning obstruction: first there is obstruction, afterward joy.
Wu: Stagnation is ousted, etc.

Wednesday, January 20, 2016

boots 91 sc 13 final meet jackie,and tom expo 2

[EXT LEASBURG DAM STATE PARK, CONT'D...]

CARSON Well, the movie was called ___________, a B western shot outside Reno. Tom was a wrangler. Used to be a rodeo guy, back in Texas. Came out to Los Angeles with a friend and got jobs as stuntmen, mostly riding horses, posse scenes, that sort of thing.

JACKIE How old was he?

CARSON Same as her. Twenty-one. I think that in today's vernacular their relationship would be described as hooking up.

JACKIE Right.

CARSON It was over before the movie was wrapped. But not before a night at the Saint Charles Hotel in Carson City, Nevada.

JACKIE Thus Carson.

CARSON Thus Carson.

JACKIE Birth control?

CARSON My mother used a diaphragm. Ninety-four percent success rate. Then there was a night of drinking and a fight. Argument, to clarify. And, the last day of shooting, an agreement to go separate ways. A few weeks later, she finds out she's pregnant. She calls him, no answer. She lives in Culver City, Tom had an apartment in Burbank. She drives over, he's gone, packed and left, landlord has no idea where to, Tom had paid what he owed and gone. She calls the friend he'd come out from Texas with, he has no idea either. Or said he didn't, anyway.

JACKIE Parents? The sister, Ruth?

CARSON Tom and Ruth were orphans. My mom couldn't find her. Wasn't like today, just go online, presto. All the orphanage could tell her was that Ruth had gotten married and left the state. The rest you know.

JACKIE Does he know your mom is dead?

CARSON Probably. If he found my address, I imagine he's seen my wiki-page. And whatever else is out there.

JACKIE Who told him about you?

CARSON That's on my short list of questions.

Jackie reaches for Carson's hands, he holds hers.

JACKIE I suspect Doc will find this an interesting development.

CARSON I suspect you, and Doc, are correct. 

JACKIE Does Chloe know?

CARSON I'll call her tonight after I've talked to him.

JACKIE Dad.

Carson shakes his head.

CARSON Ready?

Jackie nods.

JACKIE: Are you?

CARSON: Or not.

He stands, she stands, they gather phones, sunglasses, picnic basket, leave the bench, holding hands.



INT. TOM'S SELF-GUIDED TOUR OF CARSON'S HOUSE


EXT. JACKIE'S DRIVEWAY. CARSON DROPS HER OFF. "ONE MONTH" GIFT  

Monday, January 18, 2016

dream: more nine-eleven

"gulf" (light) blue, in motion on the road.


Yi 29: writing re: tax bracket



 

boots 90: sc 13 final: meet jackie and tom expo 1

EXT. LEASBURG DAM STATE PARK - DAY

Shaded picnic table with a view of the Rio Grande. Carson and JACKIE, 50, fit, in jeans, hiking shoes, unbuttoned blouse over t-shirt, sitting across from each other, both watching the river. Phones and sunglasses on the table with a closed picnic basket.

JACKIE: You know, you could've cancelled. I would've understood, of course.

CARSON: I know. I thought about it for a split-second but...no, I had to get out of there, wrap my mind around it.

JACKIE: I don't want to be nosey, Carson -

CARSON: You can ask me anything you want. (Beat.) Sorry, I interrupted.

JACKIE: That's alright. Just, you never really told me how they met.

CARSON: I didn't? I thought I did.  

JACKIE: Well, you did say they were on the set. And that your mother worked in wardrobe.  

CARSON: Okay.

JACKIE: Too personal?

CARSON: No, no, not at all. It's just that...

JACKIE: What?

CARSON: It's nothing secret, at all. It's stuff I guess I would've gotten around to anyway, eventually. 

JACKIE: Okay.

CARSON: This just expedites that. The condensed version now, more details later, if you're interested?

JACKIE: Any version, anytime. And I'll be interested.

CARSON: Alright. Well.


to be continued.