At First Sight Page #20

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


AMY:

Should we find our seats. Looks

like the game's already started.

VIRGIL:

Yeah - I - I'll follow you.

INT. GARDEN - SEATS - LATER

Virgil and Amy in the loge seats - on the aisle - up behind the

goal. Amy looking at the stadium while Virgil next to her, watches

the game best he can.

AMY:

I love the stadium the

way it's structure...

VIRGIL:

Amy - the game...

AMY:

Right - the game.

SMASH - a hard check into the boards deep in the Rangers end of the

ice. The puck squirts out Gretzky picks it up - fires it across ice

- one, two it's back to him and he has a wide open break from center

ice - the crowd is out of their seats - Virgil included - Amy

quickly getting caught up in the enthusiasm.

On Virgil's face - watching Gretzky skate towards him - excited -

then losing him - another flash of blackness - like a blow to the

head - and we hear the crowd suddenly explode - and as Virgil's

vision regains we see the players mobbing Wayne after his goal - the

little red light behind the net the only evidence of it happening.

We see the frustration as Virgil realizes he'll never see it.

AMY:

He scored, he scored - you see

that - it was amazing.

As the players make their way to center ice - the crowd sits and Amy

sees the expression again on his face.

AMY:

What? That was good right?

VIRGIL:

Yeah - it was great - I was just...

Suddenly Virgil becomes transfixed. Walking down the aisle, away

from him:

A VENDOR - carrying a tray of PINK COTTON CANDY.

Virgil stares at it a moment - transfixed - then like in a trance -

he stands - stepping out into the aisle - a man on a mission.

AMY:

Virgil, where are you going?

And he's on the stairs - carefully moving down the stairs toward the

vendor.

Then she sees the Vendor - handing Virgil a large cotton candy -

round and puffy like a cloud - but something he can hold in his

hand. Amy can't believe it - watching Virgil - his fascination at

finding this long lost memory.

AMY:

The puffy thing.

Angle on Virgil turning - admiring his prize - then looking up,

trying to find Amy - who waves to him excited.

HIS POV - scanning the crowd - it's hazy - then flashes of dark.

Amy's face - suddenly drops - it's clear, even though she is only

four rows up - he doesn't see her.

INT. MADISON SQUARE GARDEN - NIGHT

Game is over - Virgil is packing up his stuff - Amy staring. at him.

AMY:

Virgil, what's happening?

VIRGIL:

Just having a bad eye day.

A lot to take in.

AMY:

Tell me. What's going on?

VIRGIL:

Nothing. I see almost nothing.

Amy:
she feels like she's about to explode.

AMY:

Oh God.

VIRGIL:

It's OK.

AMY:

OK?!!

VIRGIL:

It's OK for you to cry.

AMY:

(recovering)

No, no - I'm not going to cry.

Solve the problem. We made it

through one operation - we'll

make it through another. We won't

give up. We'll get this right

- we just need to...

VIRGIL:

I saw Dr. Aaron.

There's nothing they can do.

AMY:

Then we'll find another Doctor.

There's got to be someone else.

We'll find something that works.

VIRGIL:

Don't you get it -

I can't go through this again.

AMY:

So just like that - we just forget it -

give up? Why the hell haven't you told

me what was going on?

VIRGIL:

(whirls on her)

Because of this!!

AMY:

What this?

VIRGIL:

You! Not letting it go - thinking

there's a solution. Goddamit,

I'm not design flaw in your f***ing

work that you can just change to

make work Or throw away because

it doesn't meet your expectations.

(beat)

Let's face it - it's over!!

AMY:

Virgil, give it time, you'll see.

VIRGIL:

No! I won't! This conversation is ended!!

INT. AMY'S APARTNENT - NIGHT

The door swings open - Amy and Virgil enter - Virgil moves towards

the bed - pulls out his duffel bag.

AMY:

What are you doing?

VIRGIL:

I'm leaving.

AMY:

What do you mean leaving - you're

leaving this apartment - you're

leaving New York - you're leaving me?

Virgil turns - they stand across the room from each other - miles

apart.

VIRGIL:

I'm going home.

Amy walks toward him, picking a battle, rejection.

AMY:

So you're big sister can take care of you -

feed you TV dinners for of your life.

Virgil tries to side step her.

VIRGIL:

I'm not going to go through this bullshit again.

Amy moves in front - confronting him

AMY:

Is that what this has all

been to you - bullshit?

VIRGIL:

Yes!! Who the hell were we fooling?

I'm blind - I'm not meant to see

- I don't belong here.

AMY:

God damn right you're blind. You want to

live in your own little world - this perfect

world that your sister built for you

- where no one can touch you ... where no

one can reach you.

VIRGIL:

Do you know the reason why I remembered the

cotton candy all those years? Because I went

to the game with my father. And it's the

only good thing I can remember about him.

The rest is him pushing me to be something

I'm not - then turning his back on me the

minute his plans fail.

AMY:

I am not turning my back on you.

You want me to give up on you

- you love the self pity.

VIRGIL:

I don't want you to give up on ME.

But you won't give up on me seeing.

AMY:

Because there must be other options.

VIRGIL:

Not anymore.

Virgil, avoiding her, sidesteps quickly past her - straight into the

lamp, which crashes to the ground and breaks.

DARKNESS.

VIRGIL:

Dammit.

A short few steps then a much larger crash - the sound of a large

heavier thing breaking.

AMY:

Virgil!!

Amy feels her way to the lights - and turns them on. We see that

Virgil has collided with Amy's sculpture of the woman. He sits among

the pieces on the floor.

Virgil - feeling the damage.

AMY:

(going to him)

Is anything broken?

VIRGIL:

No - no bones are broken.

Virgil uses the wall to stand - then - with his hands out in front

of him he finds his way to the bed.

VIRGIL:

It's finished - can't you see that!

We both didn't get what we wanted.

AMY:

(quietly)

I never meant to hurt you.

VIRGIL:

When you asked me to come here -

did you ever think this wasn't going

to work - that for one minute I may

not be able to see.

(beat)

Did you ever think it would be OK

to have a relationship with a blind man?

Amy - a pause.. Too long.

VIRGIL:

There's my answer.

And he grabs his duffel and pack - throws the last few things in -

and moving to the door - leaves.

INT. BUS - NIGHT - RAINING

Virgil riding - crossing the George Washington Bridge - going home.

He looks out the window - sees the receding city - and he closes his

eyes - listens to the rain.

EXT. PINECREST - MAIN STREET - NIGHT

The Bus comes down the main street of Pinecrest. Stopping - the bus

door opens and Virgil gets out - and turns to face up the street -

the street he knew so well that is so foreign to him right now.

EXT. VIRGIL AND JENNIE'S - NIGHT

The door opens. Jennie smiles warmly, reaches out to him.

JENNIE:

Welcome home.

INT. HOME - NIGHT

Virgil and Jennie entering his place - to be greeted immediately by:

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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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