At First Sight Page #14

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


INT. ROSWELL -TREMONT - LATE DAY

Amy - looking a little worn - staring blankly at her computer. A

three dimensional rendition of the mall rotates on the screen.

Duncan pokes his head in.

DUNCAN:

I'm here for you to wish me

happy birthday. How's it going?

AMY:

(distracted)

OK. He's progressing, slowly

- doing the best he can.

DUNCAN:

I was actually wondering about the mall

designs. We're expected in Atlanta tomorrow

- with these plans.

AMY:

I can't go to Atlanta tomorrow

- not with Virgil's problems,..

DUNCAN:

Ok, ok

(Duncan moves in behind her)

I'm sorry. Things aren't going so well?

AMY:

(stares at her work)

He seems blinder now than he ever was.

Duncan puts his hands on her shoulders - starts to knead them. Amy

starts to relax.

AMY:

Do you ever wonder why

you do the things you do?

DUNCAN:

Didn't get what you expected did you?

AMY:

Sometimes I think he's not going to make it

- that he's never going to be able to see.

DUNCAN:

Amy - listen to me. You liked this guy

- I saw that. You wanted to help him

- it didn't work out so hot. You can't

punish yourself.. Sometimes things just

don't work out the way we want them to

- look at us.

Amy smiles warmly.

AMY:

Yeah. Thanks Duncan.

DUNCAN:

Anytime.

(beat, a joke)

Now back to work.

As he starts out of the room, Amy turns stops him.

AMY:

Hey, Happy Birthday.

INT. AMY'S LOFT - DAY

Virgil sits at the kitchen table staring at everyday kitchen

utensils - being held by Ethan.

VIRGIL:

Measuring cup?

Ethan shakes his head - no - it's a cheese grater. Virgil stares

again. Ethan mimes grating cheese.

VIRGIL:

Cheese grater.

ETHAN:

Yes - my man.

Ethan holds up something new - one of those strange spaghetti

strainers. Now they are both staring at something they don't

understand. Virgil looks to Ethan.

ETHAN:

Got me.

VIRGIL:

(laughing)

You're no help. How am I supposed

to do my homework if...

ETHAN:

Homework - dude - I

ain't doin' homework.

Virgil continues to look at the strainer as Ethan gravitates towards

his cane folded up on the table.

ETHAN:

(beat)

You're lucky you got a cane.

Virgil looks over - sees his fascination.

VIRGIL:

You want it. I've been thinking

about throwing it out.

Ethan's up in a flash.

ETHAN:

Man - really - I can have it? Cool.

(picking it up)

I could be a Ninja Darth Vader fighter

with one of these - protect my mom from

the evil super.

Virgil is up - with the spaghetti strainer in his hand.

VIRGIL:

But first you'll have to fight

off the evil --- whatever this is.

As they joust about - Virgil enjoying himself - there's a knock at

the door.

VIRGIL:

Could be the super - go for cover.

As Ethan ducks behind the couch, Virgil makes his way to the door,

fumbling with the handle - he opens it to:

JENNIE. Virgil stares at her. We soon realize he has no idea who

this is.

VIRGIL:

Yes?

Jenny looks at him, her eyes welling.

JENNIE:

Virgil - it's me.

And suddenly Ethan is there - cane drawn like a sword.

ETHAN:

En garde.

Jennie startled - looks to Ethan then Virgil. What's going on?

VIRGIL:

Jennie?! Jennie.. God, I'm sorry

- c'mon in - this is my friend Ethan

- what are you doing here?

Off Jennie's look:

EXT. CONSTRUCTION SITE - DAY

Virgil and Jennie standing across the street from a building being

torn down. Hard hatted WORKERS hover about the large trucks at work.

VIRGIL:

You want to tell me

what we're doing here?

Jennie points.

JENNIE:

That's him. That's our Father.

Virgil looks in the direction she's pointing - tries to focus on a

figure moving across the lot. The MAN we saw watching TV.

VIRGIL:

I can't - I can't see him.

Jennie looks to him.

JENNIE:

I thought your eyes were better.

VIRGIL:

No. I - I don't want to see him.

My eyes aren't good enough - not yet

- he won't understand. It won't be enough.

Virgil takes a step back.

JENNIE:

He's our father. He heard about the

operation and he's asked to see you.

Look here he comes.

VIRGIL:

GODDAMIT Jennie - I don't want to

see him - I don't even know why you

brought me here.

And Virgil takes another step back then turns and starts of f down

the street leaving Jenny alone.

INT. AMY'S BUILDING - NIGHT

Amy making her way up the stairs - roll of plans under her arm.

Opening her door to:

INT. AMY'S LOFT - NIGHT

A totally dark room. She drops her things.

AMY:

Virgil?... Virgil?!

She flicks on the light - to reveal Virgil has been sitting in the

dark. She looks over - sees the scattered blocks on the floor.

VIRGIL:

I'm here. I forget about the lights sometimes.

AMY:

Look - about this party tonight

- it's no big deal - maybe we should just...

VIRGIL:

It's your partner's birthday. We should go

- besides you wanted me to meet your friends, right?

AMY:

Yeah. Right.

INT. LOFT - NIGHT

Noisy, crowded - PEOPLE mill about carrying drinks - black and

silver balloons float about the ceiling. Moving through the crowd -

music blasting - Amy introducing people to Virgil over the noise.

A WAITER walks up to them holding a tray of wine.

WAITER:

Glass of wine? Red - white?

Amy reaches out - takes one.

VIRGIL:

Which is the red?

Amy looks at the waiter - then points to one. Virgil's hand reaches

out slowly - hovering - it's clear it's confusing - trying to

separate out one glass. The Waiter looks to Amy like "is he OK?"

AMY:

Virgil - here let me.

Her hand darts in front of his.

VIRGIL:

(quick)

No! Sorry - I mean - I'm almost

there - I think I got it.

And she backs off as his hand wraps around a glass - pulling it

back. At the last second knocking over two other glasses.

VIRGIL:

Dammit. Sorry.

The Waiter - trying not to spill on himself.

WAITER:

Trust me - you're not the first -

or probably the last. Let me get a cloth.

VIRGIL:

Thanks

The Waiter smiles - and as he walks off. Virgil nervously takes a

large drink of wine.

WAITER:

I hope you're driving.

Suddenly from the front of the room - MARSHALL, the host calls out:

MARSHALL:

OK. He's coming up the stairs.

Everybody get ready - kill the lights.

Excitement - a buzz - Virgil looks around then CLICK - all the

lights go out. Virgil panics momentarily.

VIRGIL:

What - what's happening?

Amy moves to him in the near dark room.

AMY:

It's for the surprise -

they turned off the lights.

VIRGIL:

Surprise - yeah.

And suddenly the lights flood back on, everyone screams: SURPRISE!!

Duncan - at the door with Betsy - genuinely surprised - catches his

breath - then fakes a quick heart attack and drops to the floor.

The room explodes in laughter - Amy included. This action is even

more confusing to Virgil.

VIRGIL:

Is he OK?

Hearing this - everyone breaks into bigger laughter - Virgil now the

focus of attention - good naturedly laughs - Amy smiles,

embarrassed. Virgil takes a gulp of his wine, finishing it off.

LATER:

The Music is cranked! Many couples dance. Virgil exits the bathroom

- glances back in the mirror again, at his hair - not sure he likes

its style. He tries brushing it to the other side - it's OK. How

about the other way - not so bad - maybe. It's clear he's a little

tipsy as he keeps playing with his hair.

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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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