At First Sight Page #4

Virgil's hands move down Amy's sides - slow - feeling each contour -

the oil making her skin glisten. Amy moves her head slightly with

his touch. She lets out a small breath of air.

AMY:

(quiet)

You see shadows?

VIRGIL:

No. Congenital cataracts. And a case of retinitis

pigmentosa thrown in for good measure.

This area needs to loosen up.

AMY:

I think you're doing it.

(beat)

No bright lights, nothing?

VIRGIL:

I'm blind as a bat. Actually, blinder 'cause they

emit sonar all the time. I don't have a sixth sense,

I just don't have the fifth one. I can't hear things in

Vermont, can't smell if you're mad at me, and, no

- I don't know Helen Keller, Ray Charles or Stevie Wonder.

Amy murmurs in response to Virgil's touch.

VIRGIL:

You say something?

AMY:

No, I just - this feels nice - too nice.

Virgil moves his hands down her back - sensually kneading each

muscle. It's clear he's enjoying this as much as she is.

AMY:

You're very good.. at what you do.

Another breath exhales from her involuntarily as Virgil hits a

sensitive spot.

VIRGIL:

Thank-you.

AMY:

You enjoy it.

VIRGIL:

At times. Some clients make it

more enjoyable than others.

Virgil now works down her thighs - Amy's back arching slightly with

the movement - both of them heating to the moment. Both their

breaths quickening.

AMY:

And this client...

VIRGIL:

Is very, very...

DING - and the spell is broken.

AMY:

What?

VIRGIL:

Sorry - it's time. I've got Mr. Ketchum coming in next -

all two hundred pounds. Sorry - I felt like we

were just getting started.

Amy sits up on the table - the sheet pulling away slightly revealing

her. For a moment she watches him - his head turned towards her -

but not seeing. Then she slowly pulls the sheet up covering herself.

AMY:

Thank-you. For last night as

well - love to do it again.

VIRGIL:

How about I cook dinner then, tonight.

AMY:

I'd like that.

INT. BEAR MIN. - NEXT DAY

Aerobics step class. Amy working out. In front of her two rather

large women in neon stretch workout clothes - Amy tries to avoid the

view - a thought - and she shuts her eyes as she continues her

exercise.

INT. BEAR MTN. - NEXT DAY

Amy, towel around her neck - coming in from the workout.

CAROLINE:

Amy …

INT. VIRGIL'S HOME - NIGHT

Onions frying. Tilt up to Virgil - cutting the last of it and

putting it in the pan - sizzling as it hits. Vegetables and a box of

pasta are arranged on the countertop. Sophie watches the

proceedings.

RRRRINNNG - the phone.

Virgil stops cutting - his hand easily finds the phone.

INTERCUT WITH …

Amy:
on the phone in her car on the Taconic Parkway.

AMY:

Virgil - it's Amy. I - I can't make dinner -

I'm really sorry - an emergency came up -

they're dragging me back to New York.

VIRGIL:

Oh. Yeah. Anything serious?

AMY:

The project we were working on was rejected -

could go down the drain. I'll deal with it quick -

I'd like to come back.

VIRGIL:

Yeah. Good. Well. I'll be here.

Virgil hangs up the phone - frustrated, he reaches for the frying

pan - and promptly burns his hand.

VIRGIL:

-DAMN IT!!!

Dropping the pan - Sophie goes scurrying, as he kicks at it -

sending it across the room. He turns - thrusts his hand under the

sink - turning on the cold water.

VIRGIL:

Sh*t - that was stupid.

EXT. FLATIRON DISTRICT - LATE DAY

Evening rush hour traffic surrounding the Flatiron building.

VOICE (ON SPEAKERPHONE)

I'm just saying there seems to be something missing.

INT. ROSWELL-TREMONT DESIGN - DAY

A small cardboard model of what looks like a small mini-mall. Amy

sits in front of it - drawing on a sketch pad. The office is sparse,

functional. A few DRAFTSMEN can be seen in the background through a

glass partition.

DUNCAN:

Absolutely Mr. Falk - something lj missing - we realize that now. We

just need some time to figure out what.

DUNCAN ROSWELL, 30's, leaning a little too ardently into a speaker

phone. The voice on the other end is JACK FALK - their would be

employer. Their assistant BETSY ERNST, early 20's, sits in the

corner, taking notes.

FALK:

Fine - but you all know what kind of schedule we're on here?

DUNCAN:

(watching Amy)

And budget. Yes sir. Don't worry, we won't let you down.

She takes a piece of paper, has an idea, starts sketching - Duncan

hangs up.

DUNCAN:

Don't say it, I know. You were never happy with the design.

AMY:

I wasn't going to say that.

DUNCAN:

But you'd have tinkered with it till the job went away. So now we've

got him hooked, you've got your second chance.

And Amy shoves her rough sketch across the table.

AMY:

Look at these site photos - see those

trees - we were going to get rid of them

- let's incorporate them into the design

use what's natural about the location.

(Duncan stares at her)

And by the way - the 53rd St. lobby - coming

back from Pinecrest, I came up with a new

addition - add some life to that place.

Duncan stares at the sketch - then looks up at Amy

DUNCAN:

OK -- what's going on here? We sent Hydra

the three headed monster off a few days ago

and got back Mary Poppins in return.

AMY:

What? I can't have a couple of ideas.

(even Betsy stares at her)

Fine, you want to know - I met a guy.

Betsy stands.

BETSY:

Too modern for me.

DUNCAN:

Sit down.Betsy. We're all friends here.

So - spill the beans.

AMY:

Nothing to spill - he's a good guy -

smart, funny, blind...

DUNCAN:

Whoa, whoa - wait a minute - Blind!?

Like tap-tap, white cane blind? Come on

Amy - I mean, I know you like

challenges, hell you married me - but...

AMY:

I knew you'd be understanding.

DUNCAN:

(standing)

No, no I am. You're right, this is none

of my business anymore - but a blind

guy? If you're lonely - in my. opinion

-- get a puppy.

BETSY:

Duncan, don't be a jerk.

DUNCAN:

You still work here.

He's gone.

BETSY:

He's just jealous.

AMY:

So much for the "we're all friends here" idea.

INT. ROSWELL-TREMONT OFFICES - NIGHT

CLOSE ON - Computer screen. A cursor blinks - then the words

CONGENITAL BLINDNESS - a CLICK and a web page for the AMERICAN

BRAILLE INSTITUTE comes up.

WIDE - we see Amy hovering over her computer - various sketches of

the proposed building next to her - two giant Magnolia trees have

been incorporated into the design. As we watch her search on the

computer we move over her shoulder to see in the corner of her plans

- a sketch of the intertwined "dancing trees" and the Firehouse.

Betsy enters carrying her jacket.

BETSY:

Everybody's gone for the day.

AMY:

Thanks. You go ahead - I'm just finishing

up something here.

She turns to look at Betsy who now peers over her shoulder - sees

what she's doing. Amy looks up at her - sees Betsy's look.

AMY:

What? I just want to know a little more

about what's wrong with him.

Rate this script:0.0 / 0 votes