At First Sight Page #3

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
449 Views


VIRGIL:

Anyways, I was in the neighborhood --

actually the whole town's my neighborhood

-- and since you've never been to our

illustrious village, I thought maybe we could

go into town - see what we see.

AMY:

See what we see?

VIRGIL:

Figure of speech

.

AMY:

You mean right now, tonight?

VIRGIL:

Great - I'm blind and you're deaf - what a pair.

EXT. MAIN STREET - EVENING

A few store windows lit up. Some people eating dinner at a

streetside cafe. Virgil, holding Amy's arm as they walk down the

street.

WITH AMY AND VIRGIL WALKING:

VIRGIL:

... the Mechanic at the top of the street is Doug - smokes too

much - but a good guy. Three steps down is Carlson's hardware

- he's got a laugh like a donkey - we sometimes listen to games

together - he's a Devil's fan. And just up ahead should be Grady's

junk shop - he calls it "antiques"...

Smells like junk. I'd hate to see what it looks like

.

A woman bustles past, NANCY BENDER, weighed down with groceries.

VIRGIL:

(intuitively)

Hey Nancy.

NANCY:

Hey Virgil - got that book in for you.

VIRGIL:

Nancy's our librarian, brings in

any braille book I want.

NANCY:

(to Amy)

The guy's nuts about the pyramids -

anything he can get his hands on...

VIRGIL:

Thank-you Nancy - you should get your

groceries home - your ice cream's melting.

Nancy laughs - as she moves off.

AMY:

Nice place - you seem to know everyone here.

VIRGIL:

Moved here when I was eight.

My family figured it would be a

good place for me to grow up.

Tell me what you see.

AMY:

Well, there's a good structure to the

town - genuine lines, good use of space.

To be honest I'd find a better balance

to a lot of these buildings. But that's me.

VIRGIL:

What's you?

AMY:

The architect in me - can't leave well

enough alone. Art school in college -

I made the arms for the Venus DeMilo.

(realizing he probably doesn' t understand)

see, the Venus De Milo has no arms and...

VIRGIL:

(laughs)

I know the Venus De Milo has no arms, and

the Mona Lisa has this captivating smile

and David doesn't wear a fig leaf.

AMY:

How do you...

VIRGIL:

I may not have been a lot of places -

but I read about things, then make an

image up here -- (points to his head)

--that works for me.

Grazing his hand across a telephone pole - Virgil stops - turns to

Amy.

VIRGIL:

This is the end of the street.

We should turn back.

AMY:

What about past the end of the street?

What's out there?

He turns around.

VIRGIL:

(shrugs)

Nothing.

AMY:

No - there's an old run down

building off to the side...

VIRGIL:

Must be the old firehouse.

It had a fire so they shut it down. (Amy laughs)

Honest to God.

(intrigued)

What else do you see?

AMY:

A wall of shrubs -

a field with an interesting configuration of trees.

The wind has picked up a bit.

VIRGIL:

Tell me how you see it.

AMY:

(enjoying the game)

OK, sure. Let's see - long and elegant. Like --

like a woman dancing with two lovers, trying

to decide which one she loves.

Virgil stops a moment - takes in the image.

AMY:

What?

VIRGIL:

It's just - the image you just

gave me - "Dancing trees. - I like that.

Virgil stops - his head c*cks slightly.

VIRGIL:

We should go - it's starting to rain.

AMY:

(looking around)

There's a bit of a breeze but--

KABOOM - thunder - and the rain just drops.

INT. FIREHOUSE - NIGHT

They run in laughing - Amy closing the door behind them as Virgil

moves his way into the center of the room - stands where the

moonlight from a high window hits the floor. Water runs down the

outside glass, causing the light to ripple across him. The room is

empty - almost surreal.

AMY:

I can't believe how fast it happens...

(she sees Virgil - his head cocked towards the ceiling)

AMY:

Virgil?

Virgil's head turns toward her.

VIRGIL:

You like rain - I love the rain.

AMY:

(moving to him)

What were you just doing there?

Virgil slowly moves his head about, sensing the room.

VIRGIL:

Listening - the rain - it brings out the

contours of everything, gives life to

a room I can't see.

WE SEE SLOW MOVING CUTS of the building as Virgil describes what he

hears.

VIRGIL:

You hear it?...on the roof dripping down the

walls on every side. On the right, on the

drainpipe, it's drumming with a deeper,

steadier sound - - like a timpani - echoing

across the room - tells me the room is large

- open. You feel it - in your chest? On the left,

the rain says... (he listens)

...a fire escape, with it's own rhythm

- ping - ping. Then listen - there...

(he points)

--what's that - over there...?

AMY:

Looks like it's...

VIRGIL:

No, listen for it - not what it

looks like - what it becomes.

Come here.

Amy moves closer - Virgil puts his hands out on her shoulders -

turns her to the sound.

VIRGIL:

Now just listen to it - shut out

everything but that sound -

do you hear it?

Amy strains to listen - closes her eyes - her head instinctively

turning - no in unison with Virgil's

AMY:

Yes - there - it's soft - like a shimmer

VIRGIL:

The wind blowing the rain against a window.

AMY:

(smile)

Like a cymbal. It's like our own

percussive symphony, isn't it?

Amy opens her eyes - looks about the room - listening.

VIRGIL:

The world is invisible to me - with my touch it comes

alive. But only one thing at a time. But when it's raining,

I feel everything at once. Sometimes, I wish it could

rain inside rain all around us.

AMY:

(musing)

"Einfuehlung."

VIRGIL:

What?

AMY:

Einfuehlung - it's an architectural term.

It means to share an empathy.

Been a long time since I felt that.

And as they stand listening to the rain, playing its music - Amy

watches him - fascinated by him - then shivers slightly.

VIRGIL:

You're cold, we should go.

AMY:

No, I'm fine, really. It was just something passing

through me - can't explain it - a good thing.

Amy smiles at him - then quietly realizes

he can't see it. She moves close, her

hand reaching out and taking his.

AMY:

What you just showed me … how

I feel - makes me smile.

She takes his hand - hesitates - then puts it on the side of her

face.

VIRGIL:

I see it now. Thank-you.

We hold a beat - enjoying the symphony of rain - then cut to:

EXT. BEAR MTN. LODGE - MORNING

The sun warming the cool morning air. The school bus pulling away to

reveal Virgil making his way into work.

VIRGIL (V.O.)

I thought after yesterday,

you'd never get up on my table again.

INT. MASSAGE ROOM - NEXT DAY

Amy on the table. Virgil squirting oil in his hand - preparing.

AMY:

You kidding? today, I'm looking

for a complete nervous breakdown.

VIRGIL:

I love a challenge.

And as he places his palms carefully on her back - working her back

slowly we hear opera play quietly in the background.

DISSOLVE TO:

Virgil's hands on the small of her back - something amazingly

sensual about how he works her muscles. Amy speaks to him in low

tones - in a state of complete relaxation.

AMY:

Can I ask how long you've been blind?

VIRGIL:

Of course, most people avoid the subject. You tell them

you're blind and they act surprised. "You're blind? Reallv?

I didn't know - you hide it so well." And then they wave their

hand in front of your face just to make sure. (beat)

It started when I was a little over a year old.

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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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