At First Sight Page #19

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


GUARD (O.S.)

You want to see that the thing work?

VIRGIL:

Thing? What thing?

GUARD:

This thing

The Guard reaches over - hits a switch - and against one section of

windows a wall of water comes dripping down - causing a shower of

indoor rain - the sound instantly echoing off of the walls.

Virgil smiles - moves toward it - closing his eyes - listening to

the indoor rain - really taking in the room having total empathy

with what Amy has created.

INT. AMY'S LOFT - BATHROOM

Virgil, wrapped in a towel, is shaving. But he has his eyes closed.

Amy comes in, dressed beautifully - using the mirror to put her

earrings in. Virgil quickly opens his eyes.

VIRGIL:

You nervous?

AMY:

No - not a bit.

What do you think?

She pivots for him.

VIRGIL:

You look great.

AMY:

Really. Not too flashy?

(she looks in the mirror, she is nervous)

I'm going to change.

Virgil lets her go - calls to her.

VIRGIL:

This is an important night for you.

AMY:

But you know what's most important...

(she pokes her head in)

That you're going to be there to see it.

Virgil turns to the mirror, stares at himself - contemplating what

he's up against.

INT. NEW BUILDING - NIGHT

The lobby is filled with business types, waiters circulating with

champagne, tiny hors-d'oeuvres. Virgil and Amy enter - standing at

the top of the stairs leading to the party. Virgil immediately going

into a performance for Amy.

AMY:

So.

VIRGIL:

Amy, it's good - very good.

I'm proud of you. I love the detail

- planted pots in the corners,

the moldings...

(beat)

It's got genuine lines.

AMY:

(excited)

Look around - do you see it?

VIRGIL:

What?

He looks about the room - then turns towards the indoor rain.

HIS POV - clear - then slight haziness - a momentary flash of black

- then back in focus.

He turns to Amy. Puts his arm around her.

VIRGIL:

Our rain.

AMY:

Your rain.

DUNCAN:

Hey Virgil.

He extends his hand. Virgil, obliged slowly extends his - having

trouble focusing - but Duncan helps him - taking hold of it and

shaking it.

DUNCAN:

Still working on that hand shake

you'll get it don't worry.

VIRGIL:

Congratulations - the place looks great.

DUNCAN:

Thanks - here's the genius though -

I just get the gigs. Can I steal her

away Falks' over there and I can't

tell if he's impressed with our work

or just has gas from the pate.

VIRGIL:

Go - do your thing.

AMY:

I'll be right back. There's food

and drinks down on the floor.

Duncan and Amy start down the stairs as Virgil tries to find a safe

place to stand. His eyesight fading in and out - he looks around -

decides to negotiate the steps:

He takes one step on the stairs - looks down - is able to see Amy

with Falk and Duncan, looking up at him - she smiles - he does his

best - smiles back - lets go of the handrail - takes another step -

finally reaching the bottom floor.

He stands there for a long moment - lost as to where to move. A

glimpse towards the rain sculpture and he starts towards it using

the sound to help guide him.

Amy looks over - sees Virgil moving across the floor - gives him a

little wave - he doesn't notice her.

At the rain Virgil stands taking in the sound. A FIGURE comes up

next to him.

VIRGIL:

Quite a party. Love the detail of the building.

WEBSTER:

Sometimes the detail doesn't matter.

Virgil stops - turns to Webster.

VIRGIL:

Ray. What are you doing here?

WEBSTER:

Aaron called me. He was worried.

I've been trying to find you -

Amy's office told me you were

here. It's bad?

VIRGIL:

It's almost gone. Last few days

have been pretty bad.

WEBSTER:

Obviously Amy doesn't know.

VIRGIL:

It's going to break her heart.

This is her big night - I didn't

want to ruin it. Thought I could

pull it off.

WEBSTER:

(beat)

You can't avoid this forever.

Virgil turns back towards the rain.

VIRGIL:

I know

(beat)

So Ray? Is it better to have seen and

lost than never to have seen at all?

WEBSTER:

I thought it was loved and lost.

Amy comes up to them.

AMY:

Dr. Webster - this is a surprise.

WEBSTER:

Virgil invited me - wanted to show

you off I think. The place is terrific

- he's got every right to be proud.

AMY:

Thank-you. I need Virgil for a

moment - schmoozing time.

WEBSTER:

Shmooze away.

VIRGIL:

(as he's led away)

Thanks Ray. I'll call you.

ANGLE ON - Duncan standing anxiously with Falk and his wife Donna as

they arrive.

AMY:

Virgil - I'd like you to meet Jack

Falk and his wife Donna up from Atlanta.

VIRGIL:

Pleased to meet you.

DONNA:

Amy tells us you were blind.

Amy spurts out a glass of wine. Virgil deflects the comment.

VIRGIL:

That's OK - nice to see someone so honest.

FALK:

Amy tells us you're her inspiration.

Any help you can give us with our project?

VIRGIL:

I'm a little biased but I kind of

liked Amy's original design.

FALK:

But could we do better.

Amy jumps in with.

AMY:

We could do better, Mr. Falk - a lot better.

FALK:

Good, I like that attitude.

Let's keep trying for perfection.

Everyone smiles - Amy wraps her arm around Virgil.

AMY:

That's right - that's

why I've got Virgil.

Pleasant laughter all around - and as Amy and the others continue -

we push in on Virgil as he takes in this thought.

EXT. NEW BUILDING - NIGHT

Virgil and Amy out front. People leaving - Duncan getting into a

town car with Falk and his wife - he looks back - gives the thumbs

up and climbs in after them. The car pulls away into the night.

VIRGIL:

You wanna walk - I feel like some air.

AMY:

See what we see? Sure.

VIRGIL:

Can I take your arm - eyes a little tired.

As they walk.

VIRGIL:

You really made the place

come alive with that fountain.

AMY:

Thank-you.

(beat)

You know I've been thinking - you're doing

so great now - and if we get this new

design job we'd have some extra money

- I think we should go on a big seeing

celebration.

VIRGIL:

(taken aback)

A seeing celebration?

AMY:

Yeah, maybe in a couple of months.

I looked into Egypt - we could see

the pyramids - we could see it

together for the first time.

What do you say?

VIRGIL:

You know - there is something

I'd like to see.

AMY:

Of course, anything.

VIRGIL:

The Rangers play tomorrow. Season'll

be over before we know it - could be

our last chance.

AMY:

The Rangers. Sure, why not?

BLACK:

Then a tiny pinpoint of light ahead - one that grows increasingly

larger as we move towards a SOUND. A hum that grows in intensity

until the light fills the frame and BAM - we exit the tunnel and we

are:

INT. MADISON SQUARE GARDEN - NIGHT

That glorious first view - people - the white ice shining below like

a giant jewel- and the players - in bright colors scurrying about

the playing surface below.

AMY:

This is amazing - isn't it?

She looks to Virgil who is awed by what he is seeing. Then suddenly

on his face - a flash - one of those moments of darkness.

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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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