At First Sight Page #8

VIRGIL:

Yeah, I do. I was just a baby when it

happened - but there is one thing.

(beat)

Something ... puffy. That's all I

remember about it. Everyone says it's

"clouds," but I know I had it in my hands

- so it couldn't be clouds. This puffy

thing - that was something special -

it's stayed with me all these years -

I don't know why.

INT. NEW YORK EYE HOSPITAL - EXAM ROOM - DAY

DR. RICHARD AARON, wire rims, short, stylish haircut - is finishing

a high-tech examination of Virgil's eyes. Cups attached to wires sit

over his eyes. The machine, an ELECTRORETINOGRAM, emits an

irritating strange flat line sound. The room is very dimly lit.

Aaron adjusts an intensity dial on the machine - a series of

flashing lights hit Virgil's eyes. The doctor jots down a reading -

then with a flourish, spins the machine away from Virgil's face and

pops a button emitting a detailed computer print out.

In the corner sits an older gentleman - Dr. Goldman - focused on

papers in his hands.

AARON:

OK - we're done.

Aaron bumps up the lights and wheels his chair back over to Virgil

as Amy moves to join them.

AARON:

Some good news. You have grade 4

posterior subscapular cataracts.

VIRGIL:

And this is the good news?

AARON:

Good news in that I should be able to

remove them with little or no damage

to your cornea.

AMY:

So -- what does that mean -

they're gone - then what?

AARON:

The cataracts are acting like a curtain -

covering the window of sight. If the disease

to the retina is reduced as much as I think

it is - there's a very good possibility

we can give you sight.

Amy looks to Virgil - apprehensive. Virgil's expressionless - taking

this all in.

VIRGIL:

Sounds expensive.

AARON:

(looks to Goldman who nods imperceptibly)

We feel there's an opportunity for us all here -

I think I can get the institute to pick up the bill.

VIRGIL:

So. Say you remove the cataracts -

do you have any idea what kind of vision I'd have?

Aaron looks to Goldman.

AARON:

At this time - no. Unfortunately the

cataracts are not allowing me to see the

retinal wall. I can't tell how advanced

the retinitas pigmentosa has become.

VIRGIL:

So you're suggesting an operation

that may or may not be successful.

AMY:

But there is a chance he

could regain his sight.

AARON:

There have been a few cases of restored

vision in adulthood to a patient blind since birth.

(moves near Virgil)

The operation is delicate, I'll admit -

but nothing as invasive as what you went

through as a child. Of course there is

always some risks with any operation -

infection, swelling - long shot stuff.

I would do both eyes at the same time

- it's basically out patient surgery.

Virgil - an exhale of air. A lot to take in.

VIRGIL:

What if it doesn't work? What if I have

the operation - with all it's risks -

and you remove the cataract - and it doesn't work.

Aaron looks to Amy.

AARON:

(somber)

It would be evident that you will

never be able to see.

Virgil's head shifts slightly. Not what he wanted to hear. Amy

reaches out takes his hand.

AMY:

What do you think?

VIRGIL:

That's what I need - to think.

EXT. AMY'S LOFT - SOHO - DAY

Virgil and Amy stepping out of a cab. Virgil using his cane - seems

blinder than we've seen him before. The city sounds an assault on

him.

AMY:

This is my place - there's a park

across the street and...

She stops - realizes he wants to walk in silence. They enter her

loft building, an old converted industrial space.

INT. LOFT STAIRWELL - DAY

There is an odd, loud sound which echoes three times after every

bounce. As they come up on the second floor landing, a basketball

comes flying down the hall which Amy fumbles with - then catches.

AMY:

Ethan!

From around the corner comes ETHAN COLVIN, eight, oversized Knicks

shirt. Amy tosses him his ball.

ETHAN:

Sorry - my mom won't let me go

outside till she gets home from work.

AMY:

Well, if the super catches you playing

ball in the hall, he'll have a coronary.

ETHAN:

A what?

AMY:

Never mind. Ethan,

this is my friend Virgil.

VIRGIL:

Hey, Ethan

ETHAN:

(seeing his cane)

Are you blind?

VIRGIL:

Yeah.

ETHAN:

Cool. See ya.

And he turns and runs back up the stairs.

AMY:

(apologetic)

Virgil...

VIRGIL:

Hey, the kid thinks I'm cool

- what's so bad.

INT. AMY'S LOFT - LATE DAY

Amy's loft is a wide open space - a KITCHEN facing onto a small

living area - a BED in the corner of the room - a WORK SPACE with

DRAFTING BOARD and DRAWING RACKS fill one side of the room. By a

window stands a plaster SCULPTURE stuck in the corner as if

forgotten.

AMY:

This is where I hang my hat

- it's a bit of a mess but...

Amy stops, realizes he can't see it. Virgil puts his overnight bag

down.

VIRGIL:

Now, Blind 101. Help me out with a mental map.

Walk me down a straight line and show me your

place, all the obstacles. Remember once you've

told me, they can't be moved - otherwise...

AMY:

Got it - here take my arm.

(they start about the room)

Couch, chair, TV to the left,

low table at.. .at 4 o'clock,

has the phone on it...

They come to the Sculpture, Virgil's hand grazes across it.

VIRGIL:

What's this?

AMY:

Nothing. A sculpture.

VIRGIL:

It's yours?

AMY:

My art school days - not very good.

Virgil continues to feel the sculpture from top to bottom, not

stopping during the dialogue.

VIRGIL:

It's a mother? - holding her child - up in the air

- like she's proud? It's beautiful.

AMY:

It's not done yet -

one day I'll finish it.

Virgil turns - his hand to the wall - feels a window:

VIRGIL:

Does this window open?

I could use some air.

AMY:

(moving to the windows)

I think so.

As Amy throws open the window, a wind blasts through - catching a

stack of plans on her drafting table - blowing them across the

floor.

AMY:

Damn!

Virgil turns, concerned, makes his way to her.

VIRGIL:

What happened?

AMY:

The wind - knocked over my plans.

Amy down on the floor picking them up - Virgil senses her down there

- crouches down beside her - tries to help her pick up.

VIRGIL:

What is this - these plans?

Amy looks at Virgil - - his hand running across one of her plans.

AMY:

Just my work - - some plans for the Atlanta

project we're bidding on - drawings of a lobby

we're finishing up, some other smaller stuff.

It's -- it's what I do.

Amy realizes they mean nothing to him - he hands them back - stands.

She watches him - then standing, moves to him.

AMY:

I've got to get to work. Tonight we'll do something

- we could listen to music or go out for dinner...

VIRGIL:

How about a movie?

AMY:

A movie?

VIRGIL:

Yeah. I haven't been in years.

AMY:

Alright. A movie. I won't be long.

And Amy gives him a quick kiss and dodges for the door - a beat -

she forgets her purse - steps back in to see:

Virgil standing there quietly - his hand out on her plans again -

feeling the paper - searching for the design - wanting to know her -

wanting to understand her - finding nothing there.

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