At First Sight Page #10

Synopsis: First Sight is true to the title from start to finish. Val Kilmer skates in the dark appears FIRST to Mira Sorvino car headlights driving lost searching for her retreat spa motel. Kilmers FIRST visual memory links him coincidently to his last. This is a true love drama with Nathan Lane providing laughs counseling visual therapy. All stars emotional vulnerability teach the audience learning love matters in art, architecture, education, parenting, massage and trees.
Genre: Drama, Romance
Director(s): Irwin Winkler
Production: MGM
 
IMDB:
5.9
Metacritic:
40
Rotten Tomatoes:
32%
PG-13
Year:
1999
128 min
451 Views


AARON:

Well - we're all here - Amy,

your sister. This is new for

us all. Why don't we find out?

Aaron reaches up and plucks the two patches from his eyes - and

everyone waits.

Virgil slowly opens his eyes - he just seems to be staring blankly,

bewildered - not focusing at Aaron who stands before him, still

holding the bandages.

Amy looks to Jennie - to Aaron - what's happening? Then finally:

AARON:

Well?

And Virgil reacts - a startling look of recognition mixed with fear

crossing his face.

AMY:

What is it Virgil?

VIRGIL:

It's - it's - I don't know.

And now for the first time we see Virgil's POV:

There is light, movement, color, shadow - but somehow it is foreign

to us. There is no perception of depth -. no sense of definition of

shape or shadow - it is as confounding to us as it is to Virgil -

like an explosion of Picasso, Dali and Monet on screen.

Suddenly in the midst of this chaos of images - there is movement -

and a voice emits out of what we now for the first time recognize as

a mouth. Dr. Aaron speaks again - leaning in to Virgil, who reacts

back.

AARON:

Virgil - what do you see?

VIRGIL:

Something's wrong.

Jennie's reaction comes pouring out of her eyes in tears, first

slowly, then a dam break.

AMY:

Virgil what's wrong?

What's happening?

AARON:

Everything's fine -

it's going to take...

JENNIE:

It's not fine -

don't say it's fine.

AARON:

Tell me what you're seeing Virgil.

Virgil suddenly pulling back - his eyes dancing around in his head -

trying to take it all in - trying to focus.

VIRGIL:

(over everyone)

I don't know - it's all screwed up -

this can't be seeing - something's wrong

- too confusing - what the hell's happening??!

HIS POV - the camera crew coming toward him for a closer shot - it's

like a giant monster violently moving towards us!

VIRGIL:

What is it - Stop!

Virgil's hand lashes out towards the camera crew - even though they

are 15 feet away.

AARON:

What? The camera?

JENNIE:

(to the crew)

Stop moving!

AMY:

Virgil, it's just the camera.

The room has heightened into chaos - Virgil reacting to everything

he sees, any quick movement - Amy moves next to him - Aaron trying

to remain calm - Jennie assuring Virgil everything's OK.

AARON:

Alright - alright - they've stopped.

OK. Let's everybody just calm down

- we'll take it slowly.

Everyone settles - takes a breath.

AMY:

Virgil. What can we do?

They all look to Virgil - breathing heavy - his eyes swinging back

and forth.

VIRGIL:

I gotta focus - gotta think -

gimme a second - OK, OK - get me a

coke. Somebody?

JENNIE:

He's thirsty - someone get him a drink!!

VIRGIL:

No - just a can - a bottle --

put something in my hands!

Amy reaches over - grabs an empty coke can.

AMY:

Here - how's this?

Virgil takes it in his hands - closes his eyes - feels it. Then

slowly opens his eyes - trying to focus on what is in his hand -

Aaron catching on.

AARON:

Good, Virgil - that's it - use your touch -

associate - now, tell me - what do you see

in your hand?

Long moment. Virgil holds it up - stares hard.

VIRGIL:

A can. Is it a can?

JENNIE:

What's going on?

They all look at Virgil turning the can over and over in his hand -

staring intently at it - learning it.

AARON:

(beams) He's associating - one sense to the other.

His fingers tell his brain - then his brain

tells his eyes and he recognizes the image

in front of him.

(realizing)

He's seeing!

Aaron looks to Amy and Jennie - they're still doubtful - he motions

to them to meet him outside.

AARON:

Virgil - let's rest your eyes for today and

we'll check them again tomorrow. We should

all be happy - we've got something.

Virgil:
not happy, just very confused. As Aaron leaves, Jennie takes

Virgil's hand while Amy stands there upset - watching him just

staring at a Soda Can.

INT. NEW YORK EYE HOSPITAL - DAY

In the corridor, Dr. Aaron shaking hands with Dr. Goldman - people

exiting the near-by conference room all congratulating the two

doctors. As Amy exits the room - Aaron moves to her.

AMY:

What just happened in there?

AARON:

You saw it. Success.

AMY:

Success - wait a minute - then why can't

he see me, his sister, anything.

AARON:

He sees you. He just doesn't

understand that he sees you.

AMY:

But he'll overcome it - I mean -

this is temporary right?

AARON:

There's a very real possibility the

part of his brain area allocated to

vision is atrophied - given it's lack

of use, Virgil has probably used it

for some other function.

Jennie has stepped into the waiting area - has just heard Aaron.

JENNIE:

You didn't think of this?

This is as much an accusation of Amy as of Aaron.

AARON:

We had no way of knowing what his faculties

were until we gave him the operation. If you

remember - we didn't know what to expect

- though it's clear his retinal disease must

be in remission.

AMY:

So what are we supposed to do now -

you saw him - it's like he's another

person in there.

AARON:

He won't need to stay here - take him home

- let him rest. But I will need to see him

every couple of days for the next month.

AMY:

Isn't there some kind of therapy

he should be doing - someone to help him.

Aaron stares at her - hadn't thought of this.

AARON:

OK, there is a visual therapist - Ray Webster

- a little unorthodox - that's why he's probably

your best bet, especially considering the unique

aspects of Virgil's condition. I'll contact

him for you - but there's no guarantee he can help.

JENNIE:

(can't believe this)

No guarantees.

AARON:

Jennie, I told Amy here when we first talked - this is whole

new ground - for all of us.

And Jennie quietly turns and goes back into Virgil's room. Amy just

stares at Dr. Aaron - a little overwhelmed.

INT. HOSPITAL ROOM - CHANGE AREA - DAY

Virgil - starting to dress. He stares at his clothes on a hangar -

not comprehending what it is. He closes his eyes - his hand going

out to feel it - then opening his eyes - he takes the shirt turns -

and notices someone watching him.

VIRGIL:

Hello?

HIS POV - it's his own reflection in a mirror next to his clothes.

Virgil stares at himself standing stock still - waiting for a

response from the person staring at him.

VIRGIL:

Is there...?

Slowly realizing that what he sees is himself. He starts moving

towards the mirror fascinated.

Virgil's POV - Focusing on the image as it slowly takes shape -

becomes clearer to him. His hand going up to his nose - moving it

back and forth - laughs at it's absurdity - then is taken with his

own smile. He tries a smile - comes off awkward as he starts to

stare at his teeth. Touching each part of his face he investigates

his chin, ears and finally his hair.

Then he stops - and just stares - and stares at a face that is his

own - but so incredibly foreign to him. Who is this person?

INT. VIRGIL'S ROOM - DAY

Jenny starting to pack up Virgil's things. Suddenly there is a burst

of laughter from the other room. She looks up quizzically

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Steven Levitt

Steve Levitt is the William B. Ogden Distinguished Service Professor of Economics at the University of Chicago, where he directs the Becker Center on Chicago Price Theory. Levitt received his BA from Harvard University in 1989 and his PhD from MIT in 1994. He has taught at Chicago since 1997. In 2004, Levitt was awarded the John Bates Clark Medal, awarded to the most influential economist under the age of 40. In 2006, he was named one of Time magazine's “100 People Who Shape Our World.” more…

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