AT FIRST SIGHT
EXT. VALLEY - DUSK
Gold light dappling across a valley that seems to reach on forever.
We ease back, revealing more - taking in the visual feast - finally
discovering a seated figure facing out over the valley - a DOG at
his feet.
VIRGIL ANDERSON, life ahead of him - someone seemingly at ease with
himself. As we watch. him a moment - SOUNDS become prominent -
whistle of the wind through the grass - a bird's wings as it takes
flight - a tree branch creaking under its own weight. And as he sits
there, listening, we see the last rays of sunlight slip from the
day.
BLACK - and our TITLES come up.
Then out of the darkness come a pair of HEADLIGHTS. - and we're:
EXT. NEW YORK TURNPIKE - INTO PINECREST - DUSK
An old BMW 2002 making its way up the Taconic Parkway.
INT. BMW - DUSK
On the radio: Whitney Houston's "I'll Always Love You". AMY TREMONT,
30's, driving, on the phone.
AMY
I'm lost Betsy, and you know me -
I don't wear lost well - wait, wait I'm losing you...
(the cell phone glitches)
I'm pulling over before you disappear forever.
Amy pulls off the side of the road. Wrestles with a map and the
phone.
AMY
Sign? I was looking for a sign? There's no...
Her attention is caught by something off camera. She stares out into
the night..
HER POV - A small iced over pond - and in the middle - moving about
is Virgil, ICE SKATING - hockey stick in hand - moving about the
rink with an imaginary puck.
AMY (O.S.)
(distracted)
Yes... I took the first ..... no, no, I'm listening...
Virgil winds up and takes a slap at the ice with his stick - throws
his hands up in the air like he just scored.
Amy smiles, peers off down the road. A sign: BEAR MTN. SPA AND
RESORT 1.4 miles.
AMY
Wait, I got it - yeah. No don't call me.. right,
unless you hear from Atlanta. And fax me the
designs - I want to tinker with them a bit more
... I'm going to rest - bye - I'll see you in a week.
Beep she hangs up. Looks back out to the pond. It's empty. Shrugs -
about to pull out - that love song still blaring.
AMY
Oh p-lease, Whitney.
CLICK - she shuts off the radio - and pulls back out onto the road.
EXT. BEAR MTN. HEALTH SPA - NIGHT
Amy pulling luggage out of her car. She takes a breath - clearly
she's exhausted - and starts towards the entrance.
INT. BEAR MTN. HEALTH SPA - RECEPTION DESK - NIGHT
Amy at the front desk with the Night Manager CAROLINE, 30'S,
annoyingly fit.
CAROLINE
… we have a full weight room, lifecycles,
stairmasters, a spa, yoga, aerobics, spin classes...
AMY
I'm really just looking for a quick fix, here.
Do you have anything that just involves lying down?
CAROLINE
A massage.
AMY
Great. I'll have one a day. Not too early.
INT. BEAR MTN. - MASSAGE WAITING AREA - NEXT DAY
Amy enters, wearing sweats, she checks her watch - looks toward a
closed door - about to grab a magazine when she hears from behind
the door:
WOMAN'S VOICE
Virgil, Oh God..., right there. Yes.
Amy's interest piques - the woman's murmur continuing - deep
ecstasy.
WOMAN'S VOICE
Yes there - a bit more...
(a small bell DINGS)
--wait - wait, you can't stop - one more minute - noo!
VIRGIL'S VOICE
Sorry, Susan - time's up.
I've got someone waiting.
And the door opens - and we see a woman, 60's,
SUSAN, Bette Midler type, backing out of the room.
SUSAN
Virgil, you have to come live with me.
VIRGIL'S VOICE
And what would your husband say?
Amy, you out there? - c'mon in.
SUSAN
That's it - I'm getting a divorce.
Amy smiles as she passes Susan and enters.
INT. VIRGIL'S MASSAGE ROOM - DAY
Virgil has his back to us as he prepares the table. The room is very
ordered - every vial, bottle, towel has its exact spot.
VIRGIL
Hey, Amy, I'm Virgil - why don't you
get ready - hop up on the table.
Amy sees Virgil - his head turned slightly away - she drops her
sweats and lies on the table, face down - pulling the sheet to cover
herself.
AMY
Sounds like you're a genius at this.
VIRGIL
(laughs)
That's right.. Mozart, Einstein, Virgil Anderson, massage therapist.
Now I'm going to start working somewhat deep -
you let me know if you want anything deeper.
AMY
Deeper is good - where I come from,
all you get is shallow.
VIRGIL
I like that - deep it is.
CLICK - he hits a button on a CD player and as we hear the soulful
aria "Mira, 0 Norma" from Bellini's Norma.
VIRGIL
First time in Pinecrest?
AMY
Came in late last night..
missed the town completely.
VIRGIL
If you came in broad daylight,
you could still miss the town completely.
DISSOLVE TO:
Slow moving cuts of Virgil, working long strokes over Amy's body - -
his hands gracefully LENGTHENING and STRETCHING her muscles.
VIRGIL
Too much compute? work.
AMY
Uh-huh.
VIRGIL
Bad chair - you should think about a change.
AMY
(quiet)
Absolutely.
Virgil reaches his hands all the way down her spine and makes a move
that causes Amy to release a very deep guttural sound.
VIRGIL
Too deep?
AMY
No.. ..... just right.
Amy is now lost in another world - as Virgil shifts - working gently
- not caressing - but molding - like a sculptor.
A moment and Amy, surprisingly, begins to cry - softly. Virgil stops
- takes a step back.
VIRGIL
I - I'm sorry - it was too deep...
She cries for another few beats - then takes a breath.
AMY
No - it.. It's not you..
It's just things have kinda built up,
I don't know why I'm crying.. look,
this is embarrassing...
VIRGIL
Don't be embarrassed -
you obviously needed it.
We should stop for today.
AMY
Yeah, thanks.
You always make the girls cry.
VIRGIL
Not since grade school.
I'm going to go now - unless you'd like me to stay.
AMY
Could you - just for a minute?
VIRGIL
Of course, whatever you need.
Virgil sits next to her - then reaches out - takes her hand and
starts a slow comforting massage - we see Amy visibly relax.
AMY
You ever feel like a Martian's
invaded your entire body?
VIRGIL
Every day.
Amy, closes her eyes - smiling slightly in thanks.
INT. VIRGIL'S MASSAGE ROOM - LATER
CAMERA pans slowly over to Amy asleep - and on the click of the door
- her eyes dreamily open.
AMY
Virgil?
INT. BEAR MTN. HEALTH SPA - LATE DAY
Hallway outside the massage area. Amy exits the change room, now
wearing her sweats - pulling on her sneakers.
VIRGIL (O.S.)
(calling out)
Hey Caroline, you look incredible today.
CAROLINE (O.S.)
(laughing)
Quite a compliment, Virgil. See ya tomorrow.
VIRGIL (O.S.)
See ya.
Amy looks down the hall - sees a glimpse of Virgil rounding the
corner. She chases after hi~n into the reception area where she sees
him exiting the door and moving of f down the driveway.
AMY
Virgil - wait...
He's gone. Hopping along, tugging on her last sandal - she decides
to go after him - fighting her way through a large tour group just
checking in.
EXT. BEAR MTN. SPA - LATE DAY
Virgil in the distance, moving his way towards the main street. Amy
exiting the building - trying not to slip on the ice as she, hurries
after him - trying to get close enough to call out.
Virgil stops at a main roadway as Amy comes up behind him.
AMY
Virgil, hey.
Virgil turns - sunglasses on - looks directly at Amy.
VIRGIL
Yes.
AMY
It's Amy - Amy Tremont.
VIRGIL
Of course - you were sleeping,
didn't want to wake you.
AMY
Yes thanks - you're the skater, right -
I saw you last night, coming in.
Pretty mean slapshot.
You play on some team or something?
VIRGIL
Yeah, something. You a hockey fan?
AMY
Always liked it - never get around to
seeing a game. But I loved to skate
as a kid - unfortunately I have two left feet.
VIRGIL
(playing with her)
They look perfectly OK with me.
Amy laughs, starts relaxing - unconsciously starts to flirt. Head
cocked, shifts her weight on one foot, moving slightly closer.
AMY
I love the view you get here.
VIRGIL
Same here - I never get used to it.
Just then a YELLOW SCHOOL BUS pulls up in front of him and WHOOSH
the doors pop open revealing CARL KIPLING, black, a hundred years
old. Virgil turns as a few kids pile off the bus..
VIRGIL
Well, this is my ride.
Hey Tommy, my man.
And with his hand extended a kid high fives it. Amy looks up - a BUS
full of young school kids. Seems odd.
TOMMY
Virge.
As the kid moves off.
AMY
Well, I just wanted to apologize for back there -
blubbering like that - I was just in a weird place.
VIRGIL
And now...
AMY
Now, I'm fine - so I wanted to
thank- you. For what you did.
VIRGIL
For making you cry.
AMY
No, I made me cry - and you handled
it great - didn't freak or anything.
(beat)
Is my mascara smeared or something?
VIRGIL
(laughs)
No. Why?
AMY
You're just looking at me funny.
CARL
Virgil - lets move it.
VIRGIL
As I said earlier - I just never get used to the view.
Virgil starts towards the bus, reaching behind to his pack. Pulls
something out.
VIRGIL
See you tomorrow.
And CLICK, CLICK, CLICK - a WHITE CANE unfolds in his hand. And he
taps his way to the bus.
AMY
See you... oh my God.
VIRGIL
What?
AMY
You're, you're -- I'm so sorry.
VIRGIL
(smile)
Hey, you already apologized once
- no need to overdo it. Bye now.
Amy doesn't know how to respond. And he moves into the front seat of
the bus - amongst "Hey Virgil's" from the school kids and Ca-chunk
the doors close - the Yellow Bus steaming off - past Amy, as she
stares at Virgil in the front seat - about to wave to him - then
realizing he wouldn't see.
As she turns and watches the bus move off down the street - a hand
comes out - Virgil's - and waves good-bye.
EXT. VIRGIL'S HOME.- DUSK
The BUS stopping in front of Virgil's home - a side-by-side DUPLEX
at the edge of surrounding woods.
Virgil steps into the street and with a HONK the bus pulls away. He
turns, grazes his hand across a tree out front - and starts towards
his home.
AT THE PORCH - he hesitates at the first door. Finds it with his
hand - then raps on it.
No answer. He moves over to his own door - and goes inside.
INT. VIRGIL'S HOME - EVENING
As he enters, Sophie, an aging LAB, lays on the couch.
VIRGIL
Get of f the couch, Sophie.
As the dog slides guiltily off the couch.
VIRGIL
Some seeing eye dog -
more like sleeping eye dog.
Virgil bends down as he passes the coffee table to pick up the
REMOTE CONTROL placed just so. Click - a Game Show pops on.
VIRGIL
Met a girl today - nice voice -
followed me out of the building.
Sophie barks.
VIRGIL
No she wasn't a stalker.
CLOSE ON Virgil's hand flipping open a large book marked "TV HOCKEY
SCHEDULE" - it's completely WHITE - all in BRAILLE.
JENNIE (O.S.)
Sophie's just worried about you -
she watches too many horror movies.
In the kitchen, JENNIE ANDERSON, older than Virgil, simply dressed,
putting a just made dinner carefully onto a plate.
VIRGIL
Hey, you're here - so how
are the kids today?
Running his hand down the pure white page - he finds what he wants:
BAP - he hits the channel changer and the game comes on.
JENNIE
The usual - need a lot of attention. So who's the girl?
Moving into the kitchen, Virgil puts the remote to the side of the
refrigerator where it VELCRO sticks to an exact spot.
VIRGIL
From the spa. I made her cry.
JENNIE
You haven't done that since--
VIRGIL/JENNIE
-- grade school.
VIRGIL
(smile)
That's what I told her. Coke?
Virgil moves past Jennie as she goes into the living room - hand up,
door open and he's got a glass. Back to the fridge, he grabs a coke.
JENNIE
I'm fine. Your dinner's ready - chicken's
at 3 o'clock - rice is at...
VIRGIL
6 o'clock, peas at 9 o'clock
and news at 11.
Jennie places Virgil's dinner down in an exact spot on a coffee
table (facing away from the TV).
JENNIE
(laughs)
One day I'm going to switch them on you.
VIRGIL
And one day I'll play forward
for the New York Rangers.
Four precise steps into the room and Virgil plops down on the sofa -
finds his fork. Jennie moves to a counter where a pile of school
books sit.
JENNIE
Ha - ha. You need new jokes.
VIRGIL
Or a new sister.
JENNIE
I'd work on the jokes.
Picking up the books she moves past Virgil - pecks him on the head
and moves to the door.
VIRGIL
You want to watch some hockey?
JENNIE
(at the door)
You want to grade some spelling tests?
(beat)
I'll be next door you need me.
She leaves and Virgil pats the couch and Sophie hops up next to him.
VIRGIL
You know this girl - for one moment -
she actually thought I could
(Sophie grumbles as she settles in)
I'm not kidding.
(beat)
And she had this great voice - relaxing -
soft like a breeze through
(beat)
Wonder what she thinks about "blind dates."
INT. AMY'S ROOM - EVENING
Amy in bed - just out of the shower - the only light in the room
comes from the TV. She has the remote, mindlessly switching channels
- not staying on one for more than a second or two.
Click - an Odd Couple rerun - click - ESPN bowling - click - Three
Stooges - Moe poking Curly in the eye - click - click - click.
Bored, she stops - notices a small scarf on a chair next to the bed.
She picks it up, holds it against her eyes and ties it tight around
her head.
She stands - hands out in front of her - starts to walk across the
room - not so bad - WHAM - right into a side table. Shit that hurts!
Grabbing her leg, she hops - hits a lamp.
AMY
DAMMIT!
Ripping the towel of f her head - hopping around on one foot - she
hears:
KNOCK KNOCK
AMY
Coming!
Rubbing her leg - she limps/half walks to the door - opens it to:
Virgil: dark glasses, cane, smile
AMY
Virgil..?
She pulls a towel in closer - then realizes it doesn't matter
VIRGIL
My turn to apologize. I should have told
you I was blind it wasn't fair.
AMY
That's OK. You want to come in -
I just got out of the shower - give me
a minute to get changed?
VIRGIL
(as he moves in)
Sure, I promise I won't look.
As Amy starts to get changed in the bathroom.
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 cocks 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.
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
Shit - 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.
BETSY
(pause)
Amy? Friend to friend?
AMY
Shoot
BETSY
I hate to admit it but I agree
with Duncan on this one.
AMY
(back to the computer)
Don't shoot.
BETSY
He makes sense sometimes. My father had
a problem a few years back with severe
cataracts. Do you have any idea what
you're getting into?
Amy spins in her chair - looks to Betsy.
AMY
You ever listened to rain -
I mean really listened?
BETSY
This like that smell the roses thing?
AMY
(turns to her)
I've spent the last five years of my adult
life with a man who has the emotional
content of a soap dish. The only time I
saw him cry was doing our tax return three
years ago.
(beat)
I need more than that, Betsy. For once in a
long, long time I feel like I can breathe again.
Just the way he touches me I know I found
someone I can connect with.
BETSY
Ah, here we go.
AMY
No, no. I can tell he's sensing everything about
me with a simple touch. He listens to my every
word as if it's the only sound on the planet -
I feel like even though he can't see me, he knows
everything about me. He just moves me - does that
sound crazy.
BETSY
(beat)
Does he have a brother?
EXT: PINE CREST MOUNTAINS - LATE DAY
The FROZEN POND, nestled against a strand of pine. Virgil skates
fast across the ice enjoying the speed - the wind using his hockey
stick as a guide - he nears the edge of pond - feels it with the
stick and slams to a stop.
He shuffles his body around to face in the other direction - then
starts skating again - passing AMY standing on the snow covered
bank.
ON AMY - smiling, watching Virgil - enjoying his release of energy.
HER POV - VIRGIL - skating well, a look of relaxation we've never
seen on his face. He skates in an arc coming back past Amy.
Finally she speaks.
AMY
Wayne Gretzky, look out.
Virgil slams to a halt in surprise - nearly toppling over.
AMY
Sorry -- sorry.
Didn't mean to scare you.
VIRGIL
Amy?!
AMY
I said I'd come back.
VIRGIL
How long ... how long have you been...?
AMY
Watching you? Just got here -
couldn't find you at the spa - took
a chance you'd be here. You're very good.
VIRGIL
Skated since I was a kid. My dad taught me
- wanted me to play pro one day.
How do you like my pond?
AMY
It's beautiful.
VIRGIL
Describe it for me.
AMY
OK. Let's see. Like cool
blue silk - you know blue?
VIRGIL
I think so - keep going.
AMY
Blue silk stretched tight across
a bowl - surrounded by white
jacketed sentries of trees on
the horizon, protecting it from
the outside world.
VIRGIL
Horizon's a tough one.
AMY
What?
VIRGIL
Never understood horizon - if touch it -
don't know what it that's OK I liked
the rest of picture.
(he starts moving towards her)
You want to skate?
AMY
Sorry, I didn't bring my skates.
VIRGIL
Don't need them. Come on step hold of my stick.
AMY
Excuse me?
VIRGIL
(smile)
Hockey stick. Here.
He holds the stick out like a cross bar. Amy moves cautiously
forward and takes hold of it.
VIRGIL
OK. Now hold on for balance.
I used to do this with Jennie when we were kids.
And Virgil starts skating backwards pulling Amy with him. Amy is
apprehensive at first then starts to enjoy the movement - the
sensation - both of them laughing out loud.
WIDE as we see them move about the rink - Amy sliding and being
pulled by Virgil. As he picks up speed we hear Amy scream in
delight.
AMY
Look out - we're running out of ice.
Virgil turns expertly, arcing around the edge of the ice but Amy
loses her nerve - and balance - and lets go of the stick and goes
flying into an embankment. The momentum carries Virgil off down the
ice - both of them laughing hysterically.
VIRGIL
You OK?
AMY
Fine. Never been dumped so fast in my life.
VIRGIL
Me, dump you? No way. Stay where you are
- I'll come to you - just keep talking.
Amy sits up on her elbows in the embankment.
AMY
What do I say?
Virgil starts gliding across the ice searching for Amy.
VIRGIL
(hearing her voice, veering in her direction)
Anything - how'd you become an architect?
AMY
God - let's see - I was in college -
art school - a little aimless - and I met
this guy -. an architect - opened up a new
world to me. I liked the structure the
control - finding problems, coming up with
solutions - when I graduated - we started
a company together - on impulse got married
- which was crazy - divorced a year ago -
but we're still partners.. which must seem
even crazier.
And Virgil's suddenly there - going a little too far - tumbling off
the pond and into her.
VIRGIL
You'd think I meant to do that.
A patented move.
They're close - in the snow together - face to face.
AMY
(Amy smiles, realizes)
This is tough.
VIRGIL
What?
AMY
I bat my eyelashes, toss my head just
right, and there's this very sexy thing
I do with my eyes - then realize none of
it matters to you.
VIRGIL
It doesn't matter.
Tell me what you look like.
AMY
I.. .1 don't know I'm...
VIRGIL
Wait. Let me.
He puts his hand out, over her face -- hesitates, then slowly feels
down the contours of her cheek, her eyelids, the shape of her lips -
Amy moving with the touch, the sensuality of it - and as he
continues - Amy's hand reaches up - touching his face - Virgil
smiles.
VIRGIL
Eyes, mouth, chin, cheek..
you are very beautiful.
AMY
Thank-you. So are you - more than
I could describe.
Virgil's hands move down her face - closing her eyes - letting her
just experience his touch - his exploring.
And as both their hands continue, enjoying the sensation of
discovering each other - Amy leans forward, her eyes still closed,
finding his mouth - grazing his lips with her own - softly, gently,
then they fold into each other's arms locked into a warm, deep kiss.
INT. VIRGIL'S HOUSE - BEDROOM - NIGHT
It's dark - a pale moonglow highlights the two intertwined naked
bodies. A fire burns in the background. In flowing CUTS we see them
make love:
Virgil - his head tilted down - Amy - puts her hand to his chin -
lifts his head - then kisses each of his closed eyelids in rhythm
with Virgil's movements.
Amy - now astride Virgil - she closes her eyes - feels it the way
Virgil would - moving faster now - in total rhythm - shuddering in
mutual release -- and she collapses on top of him - a deep breath
and she rolls over - cuddles into his arm.
A long beat - out of breath:
AMY
So -- that's what a blind date is.
They breathe - then both start laughing - quietly - then
hysterically together as Virgil wraps her up in his arms - holding
her tightly.
EXT. PINECREST - DAWN
The horizon. The sun cresting it - bringing a new light to the day.
INT. VIRGIL'S HOME - EARLY MORNING Sounds of a shower in the
background. Amy in Virgil's robe, pulls a juice container out of the
fridge - pours herself a glass, putting the juice on the counter as
she walks into the living room - taking in the sparseness of his
surroundings.
CLOSE ON - an open Braille Book. The completely white pages with
minute bumps. Amy pulls up a chair, sits - and flips through the
book, running her hand across the pages - trying to understand his
world.
She then turns to the front cover to see what it is. Playboy.
We hear the shower stop as Amy smiles, puts the book down - pushes
the chair aside then moves to a series of pictures on the wall:
Virgil as a young boy - his sister Jennie a few years older - and
his mother and father. Then another picture next to it - Virgil in
his skates and Jennie older - no father - Sophie at their feet.
And a final picture - Virgil as an adult - he and Jennie on the
front porch - his arms wrapped around his sister like he's never
going to let go.
VOICE (O.S.)
Hello?
Amy turns to see - Jennie, carrying a bag under her arm.
AMY
Hello.
Jennie moves towards the kitchen.
JENNIE
I'm Jennie, Virgil's sister.
And you are..?
Virgil steps out - bathrobe - drying his hair.
VIRGIL
Jen, this is Amy Tremont.
Jennie now at the kitchen - stares at the juice container - places
it back in the fridge - just so.
JENNIE
I was just at the market Virgil,
picking up a few things before
school - and I thought you might like some...
VIRGIL
(smells)
Apples and bananas.
Amy sees the fruit on the counter - impressed.
JENNIE
He's being a show-off, Amy - I always bring him these.
(putting them in the fridge)
The apples are on the bottom shelf...
VIRGIL
At two o'clock. Oranges at 10.
I know, thanks.
JENNIE
Amy -- you in town long...
And WHAM - Virgil moving into the room, collides right into the
chair Amy moved - knocking into a lamp sending it to the ground.
Jennie immediately rushes over.
AMY
Virgil?
VIRGIL
I'm fine.
JENNIE
No you're not - you're bleeding.
(turning to Amy, sudden)
First lesson with a blind man,
Amy - don't change anything -
it's too dangerous
AMY
(moving to Virgil)
I'm sorry - I didn't know...
VIRGIL
It was my fault. I'm OK.
Jennie still dabbing at his leg.
VIRGIL
(embarassed, snaps)
Goddamit, Jennie - I said I was OK
- leave me alone!
Jennie hesitates, then stands to go - sees the hockey book out of
place. A glance to Amy and she picks it up - quietly moves it back
to it's rightful spot.
JENNIE
I've got parent meetings tonight -
there's dinner in the freezer - left corner.
(turns to Amy)
Nice to have met you, Amy.
AMY
Me too - and again - I'm sorry.
And she's gone - leaving Amy and Virgil together - a moment of
awkwardness.
AMY
She seemed ... nice.
VIRGIL
She seemed jealous.
AMY
Your leg is still bleeding.
VIRGIL
It'll stop - happens all the time.
Welcome to my world.
We hold on Amy - taking this in:
INT. BEAR MTN. - LATER THAT NIGHT
Japanese lanterns criss-cross across an open area. Guests of the spa
mingle about - drinks in hand - some dance on a floor set up over
the aerobics area. Music plays in the background.
Amy, carrying two trays of food, finds her way to where Virgil sits
at a table off to the side - putting his food in front of him.
AMY
Let's see if I can get this right.
Chicken's at three - salad at seven -
vegetables at ten.
VIRGIL
(picking up his fork)
Very good - thank-you.
AMY
This is nice.
They do this every weekend?
VIRGIL
Every Friday - for the guests leaving. Supposed to make them want to
come back.
AMY
(sits, uneasy)
Love the music -
Gershwin - makes you want to...
She stops. Virgil, fork poised over his food, senses her
uncomfortableness.
VIRGIL
You like dancing?
AMY
Hmmm? Yeah - don't do it much.
(changing subject)
Chicken's good.
Amy resumes eating - Virgil's fork spears something on his plate -
raising it to his mouth - both we and Amy now see it's a large pat
of butter. Too late - it's in his mouth.
Amy watches him - the reaction on his face as he tastes it - then
surreptitiously swallows it. Then realizes Amy saw him.
VIRGIL
Nothing like a good pat of fat.
What do you say we dance?
AMY
No, really, I'm fine...
Virgil is up - pulling her hand.
VIRGIL
Come on
She stands and Virgil puts his hands on the back of her shoulders.
VIRGIL
Lead on.
And as she ushers him to the floor the music changes - a salsa -
lively. Amy stops:
AMY
Different piece - maybe we should...
VIRGIL
You kidding - take my hand.
And as she does - Virgil starts dancing to the music - feeling the
beat - in perfect rhythm but his moves are his own, something we've
never seen before - uninhibited, wild - a little funny, but also
there's something sensual in his abandonment.
All Amy can do is hang on for the ride - enjoying Virgil enjoying
himself. People even clear back a little to give him some room -
however he moves about the floor easily - somehow sensing where the
other couples are.
It's a whirlwind moment - a moment where the two of them get lost
with each other - for a second shutting out the world and it's just
them, the music and their movement.
Then suddenly the music is over. And they stop - the moment gone.
Virgil turns to Amy and she applauds Virgil's wild moves
He takes a bow with a flourish. Spins to another angle - another
bow. Spins back again - a step back and:
CRASSSH - he's into the buffet table - sliding to the ground - food
spilling on top of him. Amy, can't help but laugh, rushes to him.
AMY
You have to teach me that move.
And Amy reaches down to his guacamole covered hand - and pulls him
up into an embrace and as they kiss amidst sauce and salad dressing
- we see:
INT. AMY'S HOTEL ROOM - MORNING
Amy - on the phone - looking out her window.
AMY
Betsy - you were telling me about your father,
his cataracts - you said he had a problem.
How is he now?
(she listens)
Doctor - Dr. Aaron? - do you have his number?
INT. BEAR MTN. GYM - DAY
A handful of people on various pieces of equipment. Virgil, tank
top, heavy sweat, on a stationary bicycle - working out. Amy next to
him on a treadmill - trying to keep up as Caroline from the front
desk comes and hands her something.
Amy reads it briefly then hops off the treadmill moving to Virgil.
AMY
Virgil, I just got some great news.
VIRGIL
(picking up speed again)
The Atlanta project?
AMY
No, no - I was talking to my assistant
this morning - her father had these
severe cataracts...
VIRGIL
(slowing)
Oh. Really.
AMY
She put me in touch with a Dr. Richard
Aaron - the guy's the leading eye surgeon
on the eastern seaboard - he's been working
with techniques - I don't know all the jargon
- but I spoke to him earlier on the phone
at the Institute...
VIRGIL
You called this guy?
Virgil stops riding - starts to get off the bike.
AMY
(excited)
I told him all about you - he just faxed me
back - he'd love to get a look at your eyes
- he thinks maybe, mavbe - there might be a
chance of reversal.
Virgil faces Amy, best he can, while he pulls on his sweat jacket.
VIRGIL
I don't get it - am I missing the sign
that says it's help the handicapped week.
Virgil starts to move away. Amy stops him.
AMY
I thought you'd be excited. What's the problem?
Virgil turns on her.
VIRGIL
No problem. That's the whole point
here Amy - there is no goddamned problem.
And Virgil turns and bumps into a stationary bike, he SHOVES it off
to the side, and makes his way out of the gym.
INT. LOCKER ROOM - DAY
Virgil enters, visibly upset - passing a CO-WORKER coming out of the
shower.
CO-WORKER
Hey Virgil.
Virgil steams right past him - not answering - hands feeling down
the lockers - finding his - he tugs it open - pulls off his shirt
and throws it in. He takes a breath, settles himself - then SLAMS
the locker door shut.
EXT. JENNIE'S SCHOOL
PARENTS are picking up their CHILDREN from Jennie's school. As
Jennie helps the last of the kids into her mother's car - she looks
up to see Amy across the street.
JENNIE
Amy, right?
Amy nods - starts towards her.
AMY
I'd like to talk to you if
I could -- about Virgil.
JENNIE
Something wrong?
AMY
Sort of. There's something I don't
understand. You see I spoke to a doctor
who's apparently doing breakthrough
work on cataracts -
(Jennie turns to Amy)
- but when I brought it up to Virgil he acted as if...
JENNIE
What don't you understand?
AMY
If I was blind almost all my life --
and there was even a remote possibility
I could see - I'd jump at it.
JENNIE
When there's something you've adapted to,
accepted - you'd just want to change
it without even thinking about it?
(beat)
We're very comfortable here, Amy.
Virgil has everything he needs.
AMY
I thought just maybe he'd like to not
be falling over things for the rest
of his life. Look, I see...
JENNIE
(cuts her off)
Yes you do and Virgil doesn't. He spent
the first eight years of his life having
his eyes prodded, pierced and poked by
doctors, faith healers, spiritualists,
shamans and medicine men. My father had them
lined up out the door. It hurt and disappointed
us all and it almost killed him. He doesn't
need to go through that again. Now - maybe
you understand.
And she turns on her heel and is gone.
EXT. VIRGIL'S COTTAGE - LATE DAY
Amy making her way up to the porch - hearing from inside.
VIRGIL (V.O.)
No, no - why - why?!
She hurries up the steps, reaching the open door where she sees
Virgil, his head in his hands.
VIRGIL (V.O.)
I can't believe you're doing this to me.
AMY
What - Virgil?
Virgil turns sharply - Sophie jumps up - starts barking.
VIRGIL
Sophie - stop it. Amy? C'mon in - it's just
the Rangers. I could check better than these
guys today.
AMY
They lost?
VIRGIL
I prefer to think of it as not winning.
I thought you would have been long gone
after that outburst from my evil twin
brother. We've had him committed you
know. Rikers Island - hard time.
(standing)
Can I get you something - - Coke - beer?
AMY
No - I - I'm fine. I just wanted apologize
for stomping around in life like Bigfoot today.
Virgil turns towards Amy.
VIRGIL
Amy, you see the big tree outside?
How far is it from my front porch?
AMY
Guessing, about thirty feet.
VIRGIL
To you. But to me, it's fourteen steps exactly.
Fourteen steps and I arrive right where I want
to be. But -- if I run or rush, I'll lose count
and slam into it.
AMY
I'm sorry. Told you - can't leave well enough
alone. I - I guess I should get back, start to pack...
VIRGIL
Rushing into trees again?
Off Amy's smile we CUT TO:
EXT. VIRGIL'S HOUSE - NIGHT
On the Porch - the two of them - sipping glasses of wine - we see
their dinner - Hungry Man beef entree - each category of food in
it's own perfect little compartment.
AMY
You know this dinner - this is really quite...
VIRGIL
Ordinary?
(she laughs)
It's an acquired taste - trust me.
Jennie thinks it's the only way I'll
know where my food is. But I have a
secret weapon.
(holds up a little bottle)
Hot sauce! Let's you know you're eating
something - like some.
He starts to sprinkle liberally on Amy's food. Amy, laughing grabs
the bottle.
AMY
That's OK - I'll do it.
Don't want to overdo it.
She puts the bottle down - looks to Virgil - sips her wine. Time to
face it.
AMY
Virgil - I have to go home tomorrow...
VIRGIL
Wait, wait - you smell that?
AMY
No - what?
VIRGIL
The winter pines - it's so strong at
night - drifts on the wind - wait -
hear the breeze then...
AMY
There.
Amy closes her eyes - takes in the scent - and they both sit there -
close - taking in the night air - enjoying the moment.
And on Virgil's face we see him lost in thought.
INT. VIRGIL'S HOME - NIGHT
CLOSE ON VIRGIL - eyes closed - we hear a sound - like night
crickets. His eyes slowly open.
He rolls over - his arm reaching out for her:
But there's no one there. Virgil sits upright.
VIRGIL
Amy?
Amy is sitting in a chair by the window.
AMY
I'm here - trouble sleeping.
VIRGIL
C'mere.
And she crawls back into bed, Virgil takes hold of her and as she
settles into his arm, he strokes her face gently - a blind man's
version of watching his lover fall to sleep.
BLACK - then we hear voices
INT. VIRGIL'S BEDROOM - MORNING
CLOSE ON: Amy's face - the voices awaken her - cutting into her
dreams.
She looks out the doorway - sees Virgil and Jenny arguing on the
front porch. She can't hear what they are saying - but it's clear
there's a problem.
INT. VIRGIL'S LIVING ROOM - MORNING
Amy pulling a robe around herself - comes into the room - as Jenny
turns on her heel and walks away from Virgil.
EXT. PORCH - MORNING
Virgil stands there a moment - taking in what just happened. Amy
steps out onto the porch.
AMY
Everything alright?
VIRGIL
Yeah, yeah. Morning - Look,
something I want to say...
AMY
The leaving thing - I know - hate it too.
VIRGIL
The other night - when we were dancing -
being with you - I felt different -
special - I don't know - whole.
AMY
That was whole?
Virgil puts his hand out - she takes it - he turns to her.
VIRGIL
(smile)
Just for a second I felt like I could see
you - all of you.
(beat)
What you said about this Doctor, this eye guy -
I know how important it is to you...
AMY
(turns to him)
Are you sure you want to do this?
VIRGIL
We're just going to talk to the guy
- what could it hurt?
Off Amy's smile:
SMASH TO:
EXT. GEORGE WASHINGTON BRIDGE - MORNING
A soaring shot. Amy's car - travelling across the bridge - heading
towards Manhattan.
AMY (V.0.)
You're going to love the city
- so many things to see.
INT. CAR - MORNING
Virgil in the passenger seat - windows open - taking in all the
sounds - new and exciting. Amy watches him as she drives.
VIRGIL
(laughing)
Waitwaitwait - he hasn't said he
can even do anything yet.
AMY
I know I just feel good about this.
(Amy looks to him - sees him feeling
the light against his face)
Virgil, before you lost all sight,
do you remember seeing anything at all?
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.
Amy feels uncomfortable - quietly steps out - closes the door.
INT. REVIVAL THEATER - NIGHT
WIDE - the theater half full playing Woody Allen's "Annie Hall" the
very funny scene where Woody and Diane Keaton wrestle with the
lobster.
We move in slowly and discover Virgil and Amy leaning in close to
each other - Amy quietly describing the scene to him.
AMY
There's these big pots and Woody's got
a huge lobster in his hand...
VIRGIL
Lobster - what's a lobster?
AMY
(trying not to use her hands to describe)
It's a.. .kind of like.. it's got...
Then she looks to Virgil - sees he was kidding her.
AMY
(laughing)
That's it - you're on your own.
Off Virgil's laugh:
INT. SUBWAY LINE - NIGHT
BWAM - a subway train explodes past us.
INT. SUBWAY CAR - NIGHT
A collection of typical night riders - everyone keeping to
themselves. Two kids sit in the corner - blasting their boom box
Virgil stands in the middle of the train - enjoying the vibrations.
Amy sits on a seat watching him.
VIRGIL
And they lived happily ever after.
AMY
Woody and Diane...
VIRGIL
And the lobster?
AMY
Stop with the lobster.
A song comes on the radio - Virgil's head turns.
VIRGIL
Hey - you here that?
All she hears is the clatter of the subway.
AMY
What?
Virgil turns towards the music - BAPPING his hands rhythmically on
the subway car wall.
VIRGIL
Hey - can you turn that up?
The KID shrugs - CRAKKS it up. It's Gershwin's "Can't take that Away
from Me." Virgil turns to Amy - picks up on the song - hands RAPPING
- he starts singing:
VIRGIL
"The way you comb your hair,
The way you sip your tea..."
He finds Amy, pulls her up and into an embrace as he saunters them
down the aisle.
AMY
Virgil?!
VIRGIL
(loudly)
"Can't take that away from meee" - what?
AMY
People are watching.
VIRGIL
Watching? Watching what?
AMY
You. Me. Everyone is staring at us.
VIRGIL
And?
AMY
Well - it can be embarrassing.
VIRGIL
(kidding)
Oh - I see.
AMY
No - you don't.
VIRGIL Touche.
"The way you make me see..."
AMY
(turns to him)
What do you mean?!
(Virgil gives her a look -
I want the operation)
You mean it. I mean I only want
you to have the operation...
VIRGIL
Amy. I want the chance to see.
The chance to see Central Park,
the Brooklyn Bridge, apples, raisins,
a buffalo, a carbuerator and the man
in the moon.
(beat)
But I would give all that up -
just to see this face.
And Amy folds herself into Virgil - a moment - they hold each other
- then - Amy starts to sing along with the song - Virgil joining in
- and they dance - together - in love.
SMASH CUT TO:
EXT. SUBWAY CAR - NIGHT
AMY/VIRGIL (V.0.)
"You can't take that away from me."
And the car explodes past again - and as the music dies we cut to:
INT. NEW YORK EYE HOSPITAL - OPERATING ROOM
CLOSE ON: a platter of silver utensils - fine, exacting scalpels. A
gloved HAND comes into frame - picks up a clamp - and we follow it
to:
VIRGIL'S EYES - the clamp being used to hold it open. The work we
are seeing is grueling - difficult to watch - but at the same time
so fascinating it is hard to take our eyes off.
Dr. Aaron followed by Dr. Goldman - hands in the air - mask on -
leans over Virgil - looks to the ANESTHESIOLOGIST who nods - then to
no one in particular.
AARON
OK Virgil - let's get to it.
And as he is handed a SCALPEL, we watch as it moves down to cut open
the white section of the eye - and just as it feels almost
unbearable to watch- -
INT. NEW YORK EYE HOSPITAL - WAITING ROOM - DAY
We see Amy, coffee cup in hand, grab a second just poured cup out of
a vending machine. She makes her way over to reveal Jennie who sits
quietly reading a book.
AMY
Coffee? It's really bad.
Jennie looks up - smiles takes the cup. Amy sits down next to her.
They both sip for a moment.
AMY
Virgil never mentions his parents
- do they know?
JENNIE
Our mother died when I was 20 - Virgil wasn't
even a teenager. And our father - he's been
gone for quite awhile.
AMY
I'm sorry. I didn't know.
Jennie looks into her coffee - takes another sip.
JENNIE
(smile)
You're right this is bad.
AMY
It must have been very tough on you
- taking care of Virgil alone after
your mother died.
JENNIE
He's my brother.
Simple.
AMY
You don't like Virgil
doing this - do you?
JENNIE
I don't like Virgil getting hurt.
Hope is like fire, it can keep you
warm - - or it can burn you.
INT. NEW YORK EYE HOSPITAL - OPERATING ROOM - DAY
Dr. Aaron: - focused on his exacting work. His hands move deftly.
CLOSE ON: Virgil's eye. Cut open. Aaron's probe working right in the
middle of it.
DR. AARON
There you are.
And Aaron pulls out the cloudy cataract tissue - holding it up for
all to see - before he PLOPS it on a tray. Switching instruments -
he gingerly picks up a plastic implant - moving back towards the eye
- he glances at the nurse assisting him:
DR. AARON
You know what they say, Virgil?
The eyes are the windows to the soul.
Virgil can't move - listens intently as he carefully places the
implant into Virgil's eye.
DR. AARON
(with a wink)
That makes us the Windex to the soul.
(he focuses)
OK, both eyes done. Let's patch him up.
On a large monitor we see an EXTREME CLOSE-UP of Virgil's eye -
waiting.
INT. NEW YORK HOSPITAL - LATER
Virgil being wheeled down a hall - head wrapped in bandages.
INT. EXAMINATION ROOM - DAY
As he enters:
VIRGIL
Hello?
Jennie's there - takes his hand.
VIRGIL
Jennie?
JENNIE
How're you feeling?
VIRGIL
OK - a little pain,
like a tequila hang over
- is Amy here?
AMY
Right here - Dr. Aaron said you did great
VIRGIL
So how's my hair - I'd hate the first time
I see myself to be a bad hair day.
(Virgil reacts to a sound)
What's that?
AMY
There's camera guys here too.
WIDE - we now see the room has a small VIDEO CREW in it preparing to
document the event.
VIRGIL
Camera guys?
AARON
(entering)
For posterity. We're going to make you
famous. We're also sending this closed
circuit to one of our conference rooms
- there's a lot of people interested in
our results today. So how you feel Virgil?
VIRGIL
Good. Great. Fine.
(a laugh)
Nervous.
Aaron moves about the room closing blinds to let in just a few slats
of light.
AARON
Nothing to be nervous about.
Now Jennie and Amy, if you would
stand off to my right -- I want
Virgil to get just a slight bounce
of light.
(returning to Virgil)
Ready Virgil.
VIRGIL
Let's go.
Both Amy and Jennie subconsciously adjust their hair as Aaron starts
to unravel the bandages.
When the bandages are completely off - all that is left are two
gauze patches on both eyes.
AARON
Okay - last phase -
we remove these patches and...
VIRGIL
(suddenly apprehensive, hand up)
Okay - wait. So - so - what do I do?
I mean, what will I see first?
AARON
Well - we're all here - Amy,
your sister. This is new for
us all. Why don't we find out?
Aaron reaches up and plucks the two patches from his eyes - and
everyone waits.
Virgil slowly opens his eyes - he just seems to be staring blankly,
bewildered - not focusing at Aaron who stands before him, still
holding the bandages.
Amy looks to Jennie - to Aaron - what's happening? Then finally:
AARON
Well?
And Virgil reacts - a startling look of recognition mixed with fear
crossing his face.
AMY
What is it Virgil?
VIRGIL
It's - it's - I don't know.
And now for the first time we see Virgil's POV:
There is light, movement, color, shadow - but somehow it is foreign
to us. There is no perception of depth -. no sense of definition of
shape or shadow - it is as confounding to us as it is to Virgil -
like an explosion of Picasso, Dali and Monet on screen.
Suddenly in the midst of this chaos of images - there is movement -
and a voice emits out of what we now for the first time recognize as
a mouth. Dr. Aaron speaks again - leaning in to Virgil, who reacts
back.
AARON
Virgil - what do you see?
VIRGIL
Something's wrong.
Jennie's reaction comes pouring out of her eyes in tears, first
slowly, then a dam break.
AMY
Virgil what's wrong?
What's happening?
AARON
Everything's fine -
it's going to take...
JENNIE
It's not fine -
don't say it's fine.
AARON
Tell me what you're seeing Virgil.
Virgil suddenly pulling back - his eyes dancing around in his head -
trying to take it all in - trying to focus.
VIRGIL
(over everyone)
I don't know - it's all screwed up -
this can't be seeing - something's wrong
- too confusing - what the hell's happening??!
HIS POV - the camera crew coming toward him for a closer shot - it's
like a giant monster violently moving towards us!
VIRGIL
What is it - Stop!
Virgil's hand lashes out towards the camera crew - even though they
are 15 feet away.
AARON
What? The camera?
JENNIE
(to the crew)
Stop moving!
AMY
Virgil, it's just the camera.
The room has heightened into chaos - Virgil reacting to everything
he sees, any quick movement - Amy moves next to him - Aaron trying
to remain calm - Jennie assuring Virgil everything's OK.
AARON
Alright - alright - they've stopped.
OK. Let's everybody just calm down
- we'll take it slowly.
Everyone settles - takes a breath.
AMY
Virgil. What can we do?
They all look to Virgil - breathing heavy - his eyes swinging back
and forth.
VIRGIL
I gotta focus - gotta think -
gimme a second - OK, OK - get me a
coke. Somebody?
JENNIE
He's thirsty - someone get him a drink!!
VIRGIL
No - just a can - a bottle --
put something in my hands!
Amy reaches over - grabs an empty coke can.
AMY
Here - how's this?
Virgil takes it in his hands - closes his eyes - feels it. Then
slowly opens his eyes - trying to focus on what is in his hand -
Aaron catching on.
AARON
Good, Virgil - that's it - use your touch -
associate - now, tell me - what do you see
in your hand?
Long moment. Virgil holds it up - stares hard.
VIRGIL
A can. Is it a can?
JENNIE
What's going on?
They all look at Virgil turning the can over and over in his hand -
staring intently at it - learning it.
AARON
(beams)
He's associating - one sense to the other.
His fingers tell his brain - then his brain
tells his eyes and he recognizes the image
in front of him.
(realizing)
He's seeing!
Aaron looks to Amy and Jennie - they're still doubtful - he motions
to them to meet him outside.
AARON
Virgil - let's rest your eyes for today and
we'll check them again tomorrow. We should
all be happy - we've got something.
Virgil: not happy, just very confused. As Aaron leaves, Jennie takes
Virgil's hand while Amy stands there upset - watching him just
staring at a Soda Can.
INT. NEW YORK EYE HOSPITAL - DAY
In the corridor, Dr. Aaron shaking hands with Dr. Goldman - people
exiting the near-by conference room all congratulating the two
doctors. As Amy exits the room - Aaron moves to her.
AMY
What just happened in there?
AARON
You saw it. Success.
AMY
Success - wait a minute - then why can't
he see me, his sister, anything.
AARON
He sees you. He just doesn't
understand that he sees you.
AMY
But he'll overcome it - I mean -
this is temporary right?
AARON
There's a very real possibility the
part of his brain area allocated to
vision is atrophied - given it's lack
of use, Virgil has probably used it
for some other function.
Jennie has stepped into the waiting area - has just heard Aaron.
JENNIE
You didn't think of this?
This is as much an accusation of Amy as of Aaron.
AARON
We had no way of knowing what his faculties
were until we gave him the operation. If you
remember - we didn't know what to expect
- though it's clear his retinal disease must
be in remission.
AMY
So what are we supposed to do now -
you saw him - it's like he's another
person in there.
AARON
He won't need to stay here - take him home
- let him rest. But I will need to see him
every couple of days for the next month.
AMY
Isn't there some kind of therapy
he should be doing - someone to help him.
Aaron stares at her - hadn't thought of this.
AARON
OK, there is a visual therapist - Ray Webster
- a little unorthodox - that's why he's probably
your best bet, especially considering the unique
aspects of Virgil's condition. I'll contact
him for you - but there's no guarantee he can help.
JENNIE
(can't believe this)
No guarantees.
AARON
Jennie, I told Amy here when we first talked - this is whole
new ground - for all of us.
And Jennie quietly turns and goes back into Virgil's room. Amy just
stares at Dr. Aaron - a little overwhelmed.
INT. HOSPITAL ROOM - CHANGE AREA - DAY
Virgil - starting to dress. He stares at his clothes on a hangar -
not comprehending what it is. He closes his eyes - his hand going
out to feel it - then opening his eyes - he takes the shirt turns -
and notices someone watching him.
VIRGIL
Hello?
HIS POV - it's his own reflection in a mirror next to his clothes.
Virgil stares at himself standing stock still - waiting for a
response from the person staring at him.
VIRGIL
Is there...?
Slowly realizing that what he sees is himself. He starts moving
towards the mirror fascinated.
Virgil's POV - Focusing on the image as it slowly takes shape -
becomes clearer to him. His hand going up to his nose - moving it
back and forth - laughs at it's absurdity - then is taken with his
own smile. He tries a smile - comes off awkward as he starts to
stare at his teeth. Touching each part of his face he investigates
his chin, ears and finally his hair.
Then he stops - and just stares - and stares at a face that is his
own - but so incredibly foreign to him. Who is this person?
INT. VIRGIL'S ROOM - DAY
Jenny starting to pack up Virgil's things. Suddenly there is a burst
of laughter from the other room. She looks up quizzically
INT. HOSPITAL CHECK-OUT - DAY
Amy in the check-in area - pacing - on a cellphone.
AMY
Duncan - I know the additions to the mall will
cost more.. look, I can't do this on the phone
- I'll be in tomorrow.. yes, I remembered they're
putting the fixtures in the lobby - I'll get
there as well - I'm just asking for one more day.
INT. WAITING AREA - DAY
Jenny - finishing packing up Virgil's things.
VIRGIL (V.O.)
Amy?
Jenny looks up - Virgil standing in the doorway, dressed.
JENNIE
No - it's Jennie.
She moves toward him - Virgil pulls back - hands out in front of
him.
JENNIE
I'm sorry - I'll move slower - I just...
And Virgil's hands are on her face - eyes closed - feeling. He opens
his eyes - staring blankly - trying to figure this out.
VIRGIL
This is you.
JENNIE
This is me.
INT. HOSPITAL HALLWAY - DAY
Angle on Amy moving down the hall - hearing the voices.
INT. HOSPITAL ROOM - DAY
JENNIE
Everything's going to be alright
- we just need to get you home.
VIRGIL
No, no - I can't go home.
I need to be here - see the therapist
- doctor's. I want to be here.
JENNIE
But I can't stay here - and you can't
do this alone--who's going to take care.. .?
She stops. Realizing.
ANGLE On Amy - outside the door - not wanting to go in.
JENNIE
Amy? She's going to look after you?
She doesn't know anything about the blind.
VIRGIL
I'm not blind anymore - and I'm not
going to let someone I care about
walk out of my life again.
JENNIE
(moves to him)
It's not your fault he left.
You can't keep blaming yourself.
VIRGIL
(beat)
I'm staying here.
A pause - and Jennie moves her hand out to him - touches his arm.
INT. HALLWAY - DAY
Amy feeling uncomfortable - starts to step away.
JENNIE (O.S.)
Amy?
Amy turns - Jennie in the doorway.
JENNIE
Virgil's finishing getting ready.
Could you walk me to my car?
Amy nods - sees an element of defeat in Jennie's eyes.
EXT. HOSPITAL - LATE DAY
Jennie and Amy stand on the curb near Jennie's car. A moment of
uncomfortableness - then:
AMY
You alright?
JENNIE
I'm scared to death. I've spent my whole life
looking for any holes he might fall in.
I'd run up ahead and cover them. Everywhere
I look here, I see holes.
AMY
Please believe me - I don't want him
to get hurt anymore than you do.
JENNIE
Amy - when Virgil was very young, he couldn't
see those close to him - so he never learned
to reach out.
(turns to her)
Don't expect him to reach out when he's in pain,
or confused, or unhappy. If you really care
about him you have to just be there for him.
And before Amy can answer, she gets into her car - starts it up and
drives off.
EXT/INT AMY'S.LOFT - DUSK
Virgil slowly gets out of the cab, looks up at the buildings -
immediately gets dizzy and nearly falls over. Amy lunges to help
him. Virgil is laughing in spite of himself.
VIRGIL
This is just great - I don't believe this.
What's that saying - stop the world I wanna get off.
ETHAN (O.S.)
Hey Virgil, it's Ethan.
Virgil turns to the familiar voice. Ethan, basketball under his arm,
coming out of the building with his Mom, KAREN COLVIN. Virgil scans,
tries to focus on them.
VIRGIL
That you Ethan?
ETHAN
It's me - and this is my mom.
AMY
Virgil - Karen.
KAREN
Hi, Virgil - heard a lot about you.
ETHAN
You look funny.
VIRGIL
You should see how I look from this side.
AMY Let's just get you inside -
then you can rest.
We'll see you later Ethan. Karen.
And she gives Karen a small glance as she takes Virgil's arm as they
start towards the stairs leading into the building - Virgil suddenly
slamming to a halt.
VIRGIL
Wait, wait, what are we doing
- WE'RE WALKING INTO A WALL!!
Virgil's POV - the staircase. A flat image - a solid wall with
horizontal lines. Ethan, surprised, what's up here?
AMY
It's OK - it's not a wall -
it's just a staircase. You're
going to have to trust me on
these things.
VIRGIL
God, I feel like... like such a child -
I just thought seeing would be different.
AMY
We'll get a hold of this Ray Webster guy
- we'll get his help.
Virgil steps slowly forward - giant baby steps - each foot reaching
out to feel the step before making the commitment.
HIS POV - the 'wall' of stairs changing perspective with each step.
Like an accordion spreading itself out to us. This is all a very bad
acid trip.
INT. AMY'S APARTMENT - DUSK
VIRGIL'S POV - multi-colored balloons, dozens of assorted flowers,
bowls of colorful fruit and streamers intertwined across the room. A
candyland of seeing.
VIRGIL
Man. Something exploded
in your apartment.
Amy laughs - pulls him into the room. Virgil trying to take it all
in - not understanding anything.
AMY
I wanted to do something
special for you.
VIRGIL
It's making me a little
bit dizzy - but it is special.
Virgil's hands go out - Amy moves to him - he holds her shoulders.
He stares at her.
As she turns her head slightly, Virgil is able to focus on her - her
eyes - her smile.
VIRGIL
Okay - so - this is what
beautiful looks like.
AMY
Thank-you. You want to
see the rest.
Focusing on her, Virgil smiles, takes her face in his hands - leans
in and kisses her. She pulls back a little.
AMY
I can't believe this
- how nervous I am.
She kisses him then takes a step back.
AMY
What if you don't like what you see?
VIRGIL
Do you want me to turn off the lights?
AMY
No - no. This is your first seeing day.
(she starts to unbutton her dress)
I want you to see everything.
And she drops the dress from her shoulders - it hits the ground - a
beat - and she stands there naked.
AMY
OK?
VIRGIL
Yes, very OK.
And she takes a step towards him and folds into his arms and as they
kiss we slowly fade to black.
INT. AMY'S LOFT - NIGHT
The sound of heavy New York rain. Amy awakening, and sees Virgil is
gone, his side of the bed empty. She looks across the room - where
she sees silhouetted against the moonlit window - - Virgil standing
next to Amy's sculpture, his face and body pressed up against the
pane of glass.
AMY
(wrapping a house coat around her)
Virgil?
Virgil turns around - half faces her - the rain on the windows
decorating his face.
VIRGIL
I can't sleep - I'm afraid if I close my eyes...
AMY
It'll be black when you open them again.
Virgil nods. A moment and his hand goes out to her sculpture.
VIRGIL
You enjoy sculpting?
AMY
At first. I liked the idea of molding -
taking the way I saw things up here- -
(touching her head)
- and making it take shape with my hands.
VIRGIL
But you never finish them.
AMY
Pieces never come out the way I wanted
- the way I saw them. I end up working
on them forever - like this one -
never getting them right.
Virgil stares out the window at the rain.
VIRGIL
This is what rain looks like?
AMY
Yeah.
VIRGIL
It looks lonely. Not what I expected.
But I like it.
Amy smiles - moves into him as he pulls her in close and they look
out at the night rain.
INT. ROSWELL-TREMONT - DAY
Amy working over a CAD computer with & draftsman.
AMY
You've got to alter each of
the windows by five feet...
DRAFTSMAN
These are the specs you gave me.
AMY
I know - I'm changing them -
this is better.
(calling out)
Betsy!
Betsy pokes her head in.
AMY
Can you get me some research on
those Maple trees we're leaving in.
They're too big - I want to change
them so they fit in with the design
better. Get rid of the dead weight.
BETSY
Don't you have an appointment?
Amy looks to her watch. Starts for her jacket and the door.
AMY
Yes, yes. Thank-you.
Evan here will print out the new specs
- give them to Duncan - tell him I'll
be back in two hours.
DUNCAN (O.S.)
Amy?
Duncan steps out of his office. She turns - virtually out the door.
AMY
Just give me two hours.
And she's gone.
EXT. NYU CAMPUS - NEXT DAY
A few KIDS smoking on the steps. Others entering, laden down with
books - a small sea parting to allow Amy helping Virgil up the steps
and inside.
INT. NYU HALLWAY - DAY
They make their way down the hall - past a - room where a group of
BLIND CHILDREN learn to read Braille. Amy can't help but stare at
these young faces struggling to learn. It's a whole different world.
INT. RAY WEBSTER'S OFFICE - DAY
A strange space, dark, as all the windows are covered. In a jar on
the desk - two pickled eyeballs stare back at Virgil and Amy waiting
patiently. There are books everywhere - periodicals stacked and
overflowing on shelves. A dead plant in the corner.
RAY WEBSTER - 60's, almost completely bald, wearing a worn NYU
sweatshirt, sits at the desk in front of them - flipping through a
file in front of him.
WEBSTER
Right - OK, Virgil - says here you went
blind at one - before you developed a
visual vocabulary.
(Webster stands - moves towards a bookshelf)
You have no sense of depth of field,
no knowledge of space, shape, size or
distance. Basically your eyes work but
your brain hasn't learned to process
the information.
(beat)
You are mentallv blind. Neurologists
call this "visual agnosia".
VIRGIL
I call it pretty screwed up.
WEBSTER
Better term. I'll make a note of that.
Webster plops down a large book - flips through some pages, then
searching his pockets:
WEBSTER
Dammit
AMY
What?
WEBSTER
Glasses, can never find 'em.
(calling out)
Mrs. Fenster.
Mrs. Fenster pops her head in the door - this must be a ritual they
have as she instantly pulls her GLASSES off and hands them to
Webster who drops them over his nose. They are clearly woman's
glasses - pointed in the ends - little jewels. As Mrs. Fenster
leaves.
WEBSTER
(referring to the book)
OK. Alberto Valvo "Sight Restoration after
Long Term Blindness" - blah-blah-blah. -
ah here...
(reading)
"One must die as a blind person to be born
again as a sighted person. However it is
the interim, the limbo- -between two worlds,
one dead/the other powerless to be born -
that is so terrible."
(slamming the book shut)
There. You're in limbo.
AMY
What do you mean - there - he's in limbo.
That's all you have to offer?
WEBSTER
What? - I'm Anne Bancroft all of a sudden?
I'm a professor - I teach people, how to
teach the blind how to become independent.
(beat)
There's no book on what you're going through
- I'd like to help - but like the rest of
things in life - it's up to you.
VIRGIL
Wait a minute - up to me?
I thought you were going to help me here.
Webster rummages in his desk - pulls out a magazine photo - then
digging in a brown paper bag - he pulls out an apple.
WEBSTER
You want a lesson? Right - here.
What's this?
He holds out the apple for Virgil - who reluctantly takes it - holds
it in his hand, eyes closed, feels it - then opening his eyes he
holds it out in front of him, trying to focus on it.
HIS POV - as the apple slowly takes on dimension and shape.
VIRGIL
It's an apple.
WEBSTER
Good. Good.
(holding up the photo)
OK. What's this now?
Virgil stares at the photo. HIS POV - a photo of -- an APPLE. Not
that different from the real apple he holds in his hand - he holds
the real apple up to compare - using his eyes.
VIRGIL
It's an apple.
WEBSTER
(holding the paper out to Virgil)
Good. Good. But is it an apple or
just a picture of an apple?
And Virgil feels the paper and suddenly realizes - it's not an apple
- just a representation of one. Virgil is visibly disappointed.
VIRGIL
So this is a joke? Is that what you're
saying - your eyes lie to you? Great
- looking forward to this.
WEBSTER
Your eyesight can and will play tricks on
you Virgil. Remember that. No matter what
I could teach you - no matter what exercises
I could give you - they'll still play tricks on you.
VIRGIL
That's all it is right now - one big trick.
Nothing makes any sense. I can't function like this.
WEBSTER
(he moves to his chair)
Virgil - look - you have to learn to see -
just like you learned to speak. Only this
is not like learning a new language -
it's like learning language for the first time.
(he leans forward)
Perception - sight - life, is about experience
- about reaching out and exploring the world
for yourself. It's not enough to just see Virgil --
(he points two fingers into his eyes)
-- we've got to look as well.
And Webster turns the fingers from his eyes outward - to the world.
AMY
(wound up)
Well, thank-you Obi Wan Kenobi -
but that doesn't tell us anything.
What we need is some assistance here
- some kind of program - a set of exercises
- we're kind of adrift and...
WEBSTER
Amy - last I checked - this isn't a game
of Parcheesi, it doesn't come with a set of rules.
AMY
I can't believe you're just...
VIRGIL
Amy. Let's go.
AMY
No, wait, Virgil...
VIRGIL
Let's go.
(standing)
Thank-you Dr. Webster.
WEBSTER
You want me - I'm always here.
And Virgil turns and half steps - half shuffles towards the door. We
hold on Amy's befuddled face - then:
EXT. NYU - DAY
Virgil feels his way down the steps - Amy rushing out after him.
AMY
I'm going to call Aaron -
get him to recommend someone else.
VIRGIL
He's right, Amy. I've got to do this
on my own. No one taught you how to see.
Virgil starts walking stiffly towards the street. Amy hurries after
him - grabs him just as he was about to step into traffic.
AMY
I was a baby then - I had years to learn -
you don't - you need to...
(anxious)
--we don't even know what to do
- where to start..
Virgil's hand goes out - brushes a mailbox.
VIRGIL
What's this - this thing?
Amy looks over.
AMY
(shrugs)
What - it's a mailbox.
VIRGIL
What color is it?
AMY
Blue.
Virgil stares at it - tries to take it in.
VIRGIL
Blue. OK, good - that's a mailbox
- it's blue. There - we've started.
She says nothing. Virgil senses her apprehension.
AMY Let's just get a cab, get you home
- and tonight we can work on it.
(hand out)
Cab!
A cab veers across traffic - pulls up to them.
VIRGIL
I want to walk. I want to see what's out there.
AMY
Fine. Let's walk.
VIRGIL
Don't you have a job?
AMY
I'm going to make time for this. I promise.
VIRGIL
Go to work. If I need you -
I have your number.
A beat, she looks to Virgil then climbs into the cab and it pulls
away.
Virgil looks left, right - trying to decide where to start his
journey when we see the cab back up in front of him and Amy climbs
out.
AMY
Screw work - let's go try those eyes.
INT. LECTURE RALL - DAY
Aaron at a podium. The room filled with colleagues. A NEWSCREW
records the lecture from the back of the hall.
AARON
Now just two weeks after surgery--the patient is
still having difficulty understanding images,
shapes, contours -
EXT. NY CITY STREET - NEW DAY
Virgil - determined to see - making his way down a street - trying
to dodge people coming at him from all angles. Amy walks a short
distance behind him - coaxing him along.
HIS POV - people seem to explode out of two dimensions into three.
This is clearly exhausting.
AARON (CONT'D)
- and his progress with depth of field has been especially slow...
WHAM - Virgil collides with a kid on a skateboard - Amy winces as he
quickly regains his balance - shakes it off - starts his journey
again - determined.
EXT. BROADWAY - STREET VNNDORS - DAY
Amy trying to help Virgil take in the confusion of images -
explaining to him items hanging about the stalls. It's clear he's a
little overwhelmed - when something familiar catches his eye. He
moves toward it:
HIS POV - focusing - trying to give it shape - it's a YELLOW CAB -
just like the one Amy drove off in - again he focuses - reaches out
- surprisingly wrapping his hand around the car.
AARON (CONT'D)
Virgil is still very reliant on his touch
to interpret objects in his surroundings -
He then realizes it's a porcelain toy from a souvenir shop. Amy
watches him examine it like a child as we hear:
EXT. STREET CORNER - DAY
AARON (CONT'D)
- and his understanding of three dimensionality
is extremely limited and confounding to him...
Virgil - his hands all over a small long haired TERRIER. He looks to
Amy as he stands.
VIRGIL
It's a dog.
Amy on her cellphone - trying to get work done - nods - yes that's a
dog. Virgil looks back at the pup - which has now turned around
backwards.
VIRGIL
Now what's that?
On Amy - disturbed by his slow progress.
EXT. GARDEN MARKET - ANOTHER DAY
Amy and Virgil being led through a series of plants and trees by a
EARTHY SALESWOMAN.
SALESWOMAN
I believe we have just the tree you're
looking for your lobby. Needs very little
light - slow growing - ah here we are...
Amy and Virgil stop at a large Ficus Tree.
AMY
Nice. Good. What do you think Virgil?
AARON (CONT'D)
He is also still having great difficulty
"scanning", basically putting a whole picture together.
Virgil stares at the large tree. Up - down - up - down - up - down -
up - down - Amy and the Saleswoman watch him, Amy wants to help but
can't comprehend what he's going through.
AARON (CONT'D)
If he looks at the top of a tree - then scans
to the bottom - he's forgotten the top by the
time he reaches the trunk.
INT. AMY'S WORK - DAY
ANGLE ON Virgil in Amy's office - staring at a construction sign -
FUTURE HOME OF etc... Using his finger to outline the letters of the
sign - he tries to read the word FUTURE. He mouths the letters -
tries to form the word.
AARON (CONT'D)
This includes the ability to read. In reading a
word - he forgets the first letter by the time
he gets to the last.
Amy working with a draftsman - glances up to see Virgil struggling
with reading.
INT. NEW YORK EYE HOSPITAL - LECTURE ROOM - DAY
Bathed in a bank of lights, Aaron at the podium continuing. Virgil
quiet - is seated behind him.
AARON (CONT'D)
-- meaning ... he has a total lack of visual
memory. This is an unexpected physiological
flaw. We are hopeful Virgil can overcome this.
(beat)
Thank-you - that's all for today.
INT. NEW YORK EYE HOSPITAL HALLWAY - DAY
Virgil and Amy exit the hall, are immediately surrounded by
REPORTERS and PHOTOGRAPHERS. There's a sudden FLASH. Virgil reacts,
pulling away.
VIRGIL
What's that?
AMY
A camera - it's OK -
taking your - picture.
VIRGIL
What, by flashing me in the face?
FLASH - there's another - Amy tries to block the light.
AMY
Please!! - It's not good for him.
Suddenly - there's a mike in his face, as CHRISTIE EVANS reporter
from Channel 2 news steps forward with CAMERA CREW in tow.
CHRISTIE EVANS
Mr. Anderson. Christie Evans Eyewitness news.
We heard the Doctor speak about your progress
- and we're wondering what your expectations are.
As Virgil stops - stunned by the lights in his face. As he looks to
Amy we cut to:
INT. HOME - LATE DAY
TV MONITOR - Virgil turns to camera - starts talking to the
reporter. As we pull back we hear less and less as we reveal a
modest living room. A TEENAGER doing homework on a table in the
corner and a MAN - early 60's, rugged - sitting on a couch watching
the news.
MAN
Oh my God.
He leans forward - his interest piqued and he picks up the phone.
MAN
Information. Pinecrest.
For a Jennie Anderson..
INT. RESTAURANT - LITTTE ITALY - LATER THAT NIGHT
A silver fork held up in front of us.
AMY
What's this?
Virgil and Amy sit on the patio of La Mela. Virgil's hand goes out
for the fork. Amy pulls it away.
AMY
Uh uh uh. See it first.
No cheating. Concentrate.
Virgil stares hard at it.
VIRGIL
(guessing)
A pen. I don't know - let me touch it.
She hands it to him.
VIRGIL
A fork.
AMY
Right.. Now put it down in
front of you. How far is it from.
VIRGIL
Twenty feet
AMY
You're not looking.
VIRGIL
Dammit, Amy, Amy, I spent all day in front
of that panel feeling like a guinea pig.
Every time I open my eyes I have to look.
Can we just sit and have dinner for once?
Amy just stares. It's clear they're both tired.
AMY
I'm just trying to help you see.
VIRGIL
I know. But that's all it seems we're
about. How was your day - what goes on
at work - how about those Rangers -
did the stock market hold today -
is there anything else going on in our
world besides my eyes?
AMY
(beat)
OK, we've been invited to a party
- Duncan's birthday.
An ITALIAN WAITER appears - putting a large plate of spaghetti in
front of Virgil and Amy. Virgil is a little repulsed by what he
sees.
VIRGIL
What's this - looks like worms.
AMY
It's spaghetti - it's fine.
As Virgil tries to maneuver his fork - Amy reaches behind her.
AMY
I brought you a present -
good for hand eye coordination.
She hands him a TOYS R US bag. He peers inside.
VIRGIL
Great - you go to work building buildings
- I go home with building blocks.
INT. ROSWELL -TREMONT - LATE DAY
Amy - looking a little worn - staring blankly at her computer. A
three dimensional rendition of the mall rotates on the screen.
Duncan pokes his head in.
DUNCAN
I'm here for you to wish me
happy birthday. How's it going?
AMY
(distracted)
OK. He's progressing, slowly
- doing the best he can.
DUNCAN
I was actually wondering about the mall
designs. We're expected in Atlanta tomorrow
- with these plans.
AMY
I can't go to Atlanta tomorrow
- not with Virgil's problems,..
DUNCAN
Ok, ok
(Duncan moves in behind her)
I'm sorry. Things aren't going so well?
AMY
(stares at her work)
He seems blinder now than he ever was.
Duncan puts his hands on her shoulders - starts to knead them. Amy
starts to relax.
AMY
Do you ever wonder why
you do the things you do?
DUNCAN
Didn't get what you expected did you?
AMY
Sometimes I think he's not going to make it
- that he's never going to be able to see.
DUNCAN
Amy - listen to me. You liked this guy
- I saw that. You wanted to help him
- it didn't work out so hot. You can't
punish yourself.. Sometimes things just
don't work out the way we want them to
- look at us.
Amy smiles warmly.
AMY
Yeah. Thanks Duncan.
DUNCAN
Anytime.
(beat, a joke)
Now back to work.
As he starts out of the room, Amy turns stops him.
AMY
Hey, Happy Birthday.
INT. AMY'S LOFT - DAY
Virgil sits at the kitchen table staring at everyday kitchen
utensils - being held by Ethan.
VIRGIL
Measuring cup?
Ethan shakes his head - no - it's a cheese grater. Virgil stares
again. Ethan mimes grating cheese.
VIRGIL
Cheese grater.
ETHAN
Yes - my man.
Ethan holds up something new - one of those strange spaghetti
strainers. Now they are both staring at something they don't
understand. Virgil looks to Ethan.
ETHAN
Got me.
VIRGIL
(laughing)
You're no help. How am I supposed
to do my homework if...
ETHAN
Homework - dude - I
ain't doin' homework.
Virgil continues to look at the strainer as Ethan gravitates towards
his cane folded up on the table.
ETHAN
(beat)
You're lucky you got a cane.
Virgil looks over - sees his fascination.
VIRGIL
You want it. I've been thinking
about throwing it out.
Ethan's up in a flash.
ETHAN
Man - really - I can have it? Cool.
(picking it up)
I could be a Ninja Darth Vader fighter
with one of these - protect my mom from
the evil super.
Virgil is up - with the spaghetti strainer in his hand.
VIRGIL
But first you'll have to fight
off the evil --- whatever this is.
As they joust about - Virgil enjoying himself - there's a knock at
the door.
VIRGIL
Could be the super - go for cover.
As Ethan ducks behind the couch, Virgil makes his way to the door,
fumbling with the handle - he opens it to:
JENNIE. Virgil stares at her. We soon realize he has no idea who
this is.
VIRGIL
Yes?
Jenny looks at him, her eyes welling.
JENNIE
Virgil - it's me.
And suddenly Ethan is there - cane drawn like a sword.
ETHAN
En garde.
Jennie startled - looks to Ethan then Virgil. What's going on?
VIRGIL
Jennie?! Jennie.. God, I'm sorry
- c'mon in - this is my friend Ethan
- what are you doing here?
Off Jennie's look:
EXT. CONSTRUCTION SITE - DAY
Virgil and Jennie standing across the street from a building being
torn down. Hard hatted WORKERS hover about the large trucks at work.
VIRGIL
You want to tell me
what we're doing here?
Jennie points.
JENNIE
That's him. That's our Father.
Virgil looks in the direction she's pointing - tries to focus on a
figure moving across the lot. The MAN we saw watching TV.
VIRGIL
I can't - I can't see him.
Jennie looks to him.
JENNIE
I thought your eyes were better.
VIRGIL
No. I - I don't want to see him.
My eyes aren't good enough - not yet
- he won't understand. It won't be enough.
Virgil takes a step back.
JENNIE
He's our father. He heard about the
operation and he's asked to see you.
Look here he comes.
VIRGIL
GODDAMIT Jennie - I don't want to
see him - I don't even know why you
brought me here.
And Virgil takes another step back then turns and starts of f down
the street leaving Jenny alone.
INT. AMY'S BUILDING - NIGHT
Amy making her way up the stairs - roll of plans under her arm.
Opening her door to:
INT. AMY'S LOFT - NIGHT
A totally dark room. She drops her things.
AMY
Virgil?... Virgil?!
She flicks on the light - to reveal Virgil has been sitting in the
dark. She looks over - sees the scattered blocks on the floor.
VIRGIL
I'm here. I forget about the lights sometimes.
AMY
Look - about this party tonight
- it's no big deal - maybe we should just...
VIRGIL
It's your partner's birthday. We should go
- besides you wanted me to meet your friends, right?
AMY
Yeah. Right.
INT. LOFT - NIGHT
Noisy, crowded - PEOPLE mill about carrying drinks - black and
silver balloons float about the ceiling. Moving through the crowd -
music blasting - Amy introducing people to Virgil over the noise.
A WAITER walks up to them holding a tray of wine.
WAITER
Glass of wine? Red - white?
Amy reaches out - takes one.
VIRGIL
Which is the red?
Amy looks at the waiter - then points to one. Virgil's hand reaches
out slowly - hovering - it's clear it's confusing - trying to
separate out one glass. The Waiter looks to Amy like "is he OK?"
AMY
Virgil - here let me.
Her hand darts in front of his.
VIRGIL
(quick)
No! Sorry - I mean - I'm almost
there - I think I got it.
And she backs off as his hand wraps around a glass - pulling it
back. At the last second knocking over two other glasses.
VIRGIL
Dammit. Sorry.
The Waiter - trying not to spill on himself.
WAITER
Trust me - you're not the first -
or probably the last. Let me get a cloth.
VIRGIL
Thanks
The Waiter smiles - and as he walks off. Virgil nervously takes a
large drink of wine.
WAITER
I hope you're driving.
Suddenly from the front of the room - MARSHALL, the host calls out:
MARSHALL
OK. He's coming up the stairs.
Everybody get ready - kill the lights.
Excitement - a buzz - Virgil looks around then CLICK - all the
lights go out. Virgil panics momentarily.
VIRGIL
What - what's happening?
Amy moves to him in the near dark room.
AMY
It's for the surprise -
they turned off the lights.
VIRGIL
Surprise - yeah.
And suddenly the lights flood back on, everyone screams: SURPRISE!!
Duncan - at the door with Betsy - genuinely surprised - catches his
breath - then fakes a quick heart attack and drops to the floor.
The room explodes in laughter - Amy included. This action is even
more confusing to Virgil.
VIRGIL
Is he OK?
Hearing this - everyone breaks into bigger laughter - Virgil now the
focus of attention - good naturedly laughs - Amy smiles,
embarrassed. Virgil takes a gulp of his wine, finishing it off.
LATER:
The Music is cranked! Many couples dance. Virgil exits the bathroom
- glances back in the mirror again, at his hair - not sure he likes
its style. He tries brushing it to the other side - it's OK. How
about the other way - not so bad - maybe. It's clear he's a little
tipsy as he keeps playing with his hair.
WAITER (O.S.)
Here ya go Virgil.
Virgil turns - the Waiter stands there holding a glass of wine -
placing it carefully into Virgil's hand:
VIRGIL
Cheers, Kevin.
AMY (O.S.)
(over the noise)
Virgil!!
Virgil embarrassed, turns - can faintly hear Amy's voice over the
music. Searches the room - bopping bodies - balloons being bashed
round - lights dim. The number of drinks he's had isn't helping.
AMY
Virgil--over here!!
Amy, standing with Duncan and Betsy.
DUNCAN
Maybe he's blind again.
AMY
Don't even think it. C'mon - I want the
both of you to meet him - he'll never
find us here.
With VIRGIL - smiling as he sees Amy, Duncan and Betsy move towards
him.
AMY
Virgil - I'm sorry - I went to get
Duncan. Duncan - Virgil. And this is
Betsy.
DUNCAN
Hey Virgil good to meet you.
BETSY
Heard a lot about you.
VIRGIL
Heyyy! Yeah. Good to meet you.
Virgil thrusts his hand out - colliding it into Duncan's.
VIRGIL
Sorry - things still get a
little cockeyed sometimes.
DUNCAN
(holding up his drink)
Few more of these and I'll be the same.
VIRGIL
Lemme get Kevin - my man -
he'll top you up. KE-VIN!!!
AMY
Virgil!
VIRGIL
What?
Uncomfortable - everyone stops.
AMY
Nothing. It's ok.
DUNCAN
Amy, in Atlanta tomorrow...
AMY
Duncan - I told you...
DUNCAN
I spoke to Falk and he...
AMY
(can't hear)
What?
Duncan pulls Amy in close to talk - shutting Virgil and Betsy out.
BETSY
Amy said you had great hands.
VIRGIL
(laughs)
She did, did she.
Virgil holds them up in front of his face - tries to see them. Then
looks past them and watches Amy and Duncan - more importantly looks
at Duncan's hair, his clothes. It's clear he's becoming aware of
appearances. His own especially.
As they break their tete a tete.
BETSY
You know my father was blind for several
years, he had cataracts as well.
Somehow this comes out patronizing.
VIRGIL
Really. I'm surprised I don't
know him. It's a club you know.
Kevin, the African American waiter comes up.
KEVIN
Yes.
Virgil throws his arm around Kevin.
VIRGIL
Kevin - Duncan here the birthday man
- could use himself a drink. Kevin here
tells me he's black - did you know that
- I mean look at him - look at me -
isn't that the damnedest thing. He's black.
Amy is mortified, Kevin laughs.
KEVIN
I'll get you a drink.
Virgil looks to Amy.
VIRGIL
What's that look?
AMY
What look?
VIRGIL
I've never seen your face that way
before. It's.. .weird. What does it mean?
Before she can answer - a dance song breaks out - Betsy wraps her
arm around Duncan's.
BETSY
Come on Duncan - let's dance -
move those old bones.
Duncan only acknowledges Betsy's contact with a raised eyebrow to
Amy.
DUNCAN
What the hell it's my birthday -- nice to
meet you Virgil - see you at the opening.
And they're gone onto the floor. Virgil watches him - sees the ease
with which Duncan moves, handles things.
VIRGIL
Opening?
AMY
The lobby we designed. Virgil - you can't...
VIRGIL
Let's dance.
Virgil takes her arm and pulls her out on the floor. Amy - ready for
one of Virgil's wild dances takes hold of his hand. The music
blaring, Virgil starts to get into it - Amy starting to relax - then
Virgil slowly notices how everyone else is dancing - more
conservative.
He's even getting some looks from people. Slowly he winds down -
tries to mimic what everyone else is doing - ends up in just a slow
shuffle.
Amy watches him - sees he's uncomfortable - moves to him - but
Virgil turns on his heel and strides away. Amy follows after him.
INT. LOFT - CORNER - NIGHT
Virgil stands near the glass doors leading to an outdoor balcony.
Amy comes up to him - finds Virgil facing a wall - eyes shut.
AMY
What are you doing?
Virgil's head cocks slightly towards her - just like when he was
blind.
VIRGIL
I feel like Rip Van Winkle.
I've woken up from a thirty year sleep
- and the world's passed me by.
AMY
It's just dancing. Who cares?
Virgil whirls on her - his hand on her shoulder to steady his look
at her.
VIRGIL
No-no-no-no. It's not the Goddamn dancing.
I wanted to come here tonight - show you I
could "fit" in. Like the big boys do. Big
seeing boys. Yes. Well, I don't. Don't.
AMY
It's just going to take time.
You weren't ready. We shouldn't have come.
VIRGIL
No - I - me, shouldn't have come.
You want me to see - but you know what
- you know what - shit - I don't belong
in the wonderful world of seeing.
Amy reaches out to him.
AMY
Virgil … look ….
Amy realizes what she just said - Virgil pulls his arm away.
VIRGIL
No, I won't. I'm tired of looking.
Fuck looking and the horse it came in on.
And he spins to get away from her and takes a step crashing right
into the sliding glass door which explodes in a shower of little
crystals.
The party slams to a halt - Amy stands stunned. Virgil shaken - tiny
cuts on his face.
AMY
Oh my God, are you alright?
Virgil slams his eyes shut.
VIRGIL
Yeah, I'm just fine. Take me home.
INT. AMY'S LOFT - NEXT MORNING
Virgil, small nicks on his face, wakes up - rolls over - feels the
empty bed beside him. Looks up to see Amy pulling her coat on -
suitcase at her side.
AMY
Didn't want to wake you.
VIRGIL
You're going.
AMY
I'll only be a couple of days.
VIRGIL
This isn't working.
AMY
What - we're not working - your eyes
- what's not working?
VIRGIL
I get up every morning - I look in the mirror
- and I stare at a total stranger. I stare and
I stare - and no matter how hard I look - I
don't see Virgil there anywhere. And the more
I look at you...
AMY
What? You don't see me?
VIRGIL
I saw you better when I was blind.
AMY
Well, you're not blind any more.
I'm sorry if that disappoints you.
(beat)
I've got a plane to catch. I'm going
to go before we say things we don't mean.
And she grabs her bag and is out the door. As we hold on Virgil's
face.
AT THE WINDOW - Virgil looking out - watching Amy get in the cab.
As she drives away we see Virgil watch the car recede - then his
hand goes out.
HIS POV - his hand grasping at the tiny disappearing cab - trying to
hold onto it like in Times Square - trying not to let it go.
INT. FALK BOARD ROOM - DAY
CLOSE ON - Amy's sketches. The Mall has been integrated into the two
large trees - giving it shelter and shape.
FALK (O.S.)
I love it.
Amy and Duncan sit across from Falk, a man in his 40's - earned
everything he's got - no bullshit kinda guy.
FALK
But we already cut those trees down.
EXT. NYU CAMPUS - DAY
Kids milling about. A young couple neck unabashedly against a wall.
We see this is Virgil's POV - he's watching - people together.
INT. NYU HALLWAY - DAY
Virgil makes his way down the hall. Stops at an open doorway - a
sign next to it with raised letters in Braille. As his hand feels
across it - he also reads the visual letters - Dr. Ray Webster.
Peering inside - he sees a Lab - full of the NEWLY BLIND - some
TEENAGERS - a couple of ADULTS - a handful of SEEING IMPAIRED - all
learning to use a cane. The rapid tapping of their cane like a room
full of typewriters.
Virgil watches - the Blind working their way around a small obstacle
course - many of them running into desks, tables - it's tough,
frustrating work.
Suddenly Virgil feels someone next to him. Webster.
WEBSTER
You want to join us.
Virgil watches the blind.
VIRGIL
No - no - I'll wait for you
out here - when you're done.
As Virgil moves off to a hallway bench:
WEBSTER
Virgil
Virgil turns as Webster tosses his something. Virgil misses it - it
hits the ground - he reaches down - finding it, he picks it up -
it's an apple. He looks to Webster who smiles back at him.
WEBSTER
I'll be done in a minute.
INT. HOTEL LOBBY - ATLANTA - DUSK
Amy and Duncan walk through the lobby to their rooms. A little combo
plays music in the adjacent bar - a few people on the tiny dance
floor.
AMY
You'd think he would have told us.
I mean those trees were in the photos.
DUNCAN
We'll just have to win him over tomorrow.
Let me buy you a drink - get those
creative juices going.
AMY
(looks at her watch)
Aw - no - I really...
But Duncan has her by the arm - and in one spin has her in a dance
embrace. This move seems comfortable, familiar to them both.
DUNCAN
C'mon - listen, they're playing our song.
AMY
(laughs)
Mack the Knife was our song?
INT. WEBSTER'S LAB - LATER
Webster is cleaning up after class. Virgil watching some of the
Teenage kids and Adults find their way out of the room. As the last
of them leaves.
WEBSTER
OK - I'm just about done here - I got a place
for you - relax those eyes a bit.
INT. STRIP CLUB - NIGHT
A table front and center. Some empty beer glasses in front of them.
Two full ones in their hands - they're both a little in their cups.
A STRIPPER grinds and weaves her way about the small dance floor to
the sounds of Talking Heads "Burning down the House".
VIRGIL
(eyeing the girl)
You want to know the truth -- God's honest truth?
Seeing's been the shits.
WEBSTER
You got to be kidding me son. You can say
that - sitting here in these prime viewing seats.
Forget fixing your eyes - we're going to get
your head examined.
VIRGIL
I'm serious. I was better off blind.
People don't have these expectations of you
you can't live up to. You're blind -
fine - they deal with it.
WEBSTER
Didn't get what you expected did you?
VIRGIL
When I was blind - I had an image of
what everything was, up here...
(points to his head)
now - it's all different - not at all
what I'd expected - not what I'd hoped for.
WEBSTER
Virgil, let me explain something here.
When you were blind - you dealt with things
one at a time - sequentially right? A wall
led to a door to a tree to a car. That's
how you got to what you wanted - right.
(beat)
Seeing people - for better or worse -
deal with everything all at once - taking in
the whole picture - which sometimes confuses
the hell out of what they want.
(beat)
Virgil, my advice after three beers - don't be
afraid to take in the whole picture - just don't
lose sight of what you want.
VIRGIL
What I want is to make it work with Amy.
WEBSTER
And what does she have to say
VIRGIL
She just wants me to see.
WEBSTER
It's that important is it?
VIRGIL
You know what I learned a long
time ago. Seeing girls like seeing guys.
(beat)
I'm not going to let her down.
INT. HOTEL BAR - NIGHT 102
Amy and Duncan are dancing - they seem good together. Nothing fancy
- but they move as one about the floor.
DUNCAN
See - not so bad.
AMY
Not so bad.
DUNCAN
It's nice to dance together again.
AMY
Yeah.
DUNCAN
You remember...?
AMY
First time we danced - Connecticut. We
watched the leaves turn - so much to see
- I'd love to go back.
DUNCAN
So would I.
(beat)
What happened to us Amy? You're so intent on
fixing everything - why'd you give up on us?
AMY
I learned some things can't be fixed.
We got married for all the wrong reasons.
I don't think I fell in love with you as
much as I fell in love with architecture.
DUNCAN
(serious)
I never fell in love with architecture -
but I know I fell in love with you.
AMY
Now - that's bullshit.
DUNCAN
It used to work.
They smile at each other - everything's easy right now - pause -
they dance - Amy looks up at Duncan - who hesitates - then leans in
and kisses her.
A moment and Amy pulls away slightly - looks down for a second -
then she leans back in and they kiss again. We hold on this kiss,
then cut to:
INT. HOTEL ROOM - NIGHT
BLACK - we hear movement - then a light comes on in the bathroom.
Amy stands there clutching her clothes - staring into the mirror. In
the background we see Duncan curled up asleep in bed.
Amy stares at herself long and hard.
AMY
(whisper)
Oh, God.
And she starts to dress:
DUNCAN
Amy? - what's going on -
what time is it?
Click - he flicks the bedside lamp on - squinting - finds Amy. She
doesn't talk - keeps dressing.
DUNCAN
What's wrong?
AMY
What's wrong? This was' a mistake -
a big mistake. Go back to sleep -
you've got an important meeting tomorrow.
DUNCAN
I've got? - hold on here - you're not
bailing out on me - I need you.
AMY
(flat)
For the meeting.
DUNCAN
Of course for the meeting.
Dressed, she moves toward the doorway - Duncan sits up in bed.
AMY
I'm going home.
DUNCAN
To be a babysitter.
She stops at the door.
AMY
Can't we for once be adults - face the
fact that we've just made a colossal error?
DUNCAN
Fine - this was stupid, there - happy? -
but goddamit Amy - I still care about you.
Where do you actuallv think any of this is
going to lead with this guy?
AMY
I don't know - but the one good thing to come
of this mess tonight - I know I want to find out.
And she's gone - WHAM.
EXT. AMY'S LOFT - DUSK
A cab pulls up - Amy gets out - looks up at her loft - it's dark.
INT. AMY'S LOFT - DUSK
Kitchen light on - a pile of Ethan's blocks on the table. Amy makes
her way over to see it reads:
ON THE ROOF
EXT. AMY'S ROOF - DUSK
Amy opens the door and sees Virgil leaning against the parapet wall,
staring out at the night Manhattan skyline. After a moment, he walks
back to the other end of the roof, turns and slowly walk - toward
the parapet wall again - all the time staring at the skyline - with
a smile and look of amazement on his face.
AMY
Hi
Virgil turns - finds her.
VIRGIL
Hey.
Amy starts toward Virgil.
AMY
Whatcha doing?
VIRGIL
It's the craziest thing. You start back over
there - focus on a building. And when you walk
towards it - it changes - each step makes it
look different. I started out just looking
for the horizon.
AMY
You can't see it from here
- too many buildings.
VIRGIL
But it's still there - even though you can't
see it - right? You gotta have faith it's there.
Things exist beyond what I can see -
I just have to take it on faith.
She comes up next to him - Virgil, looking out over the wall turns
to her - studies her face:
VIRGIL
You have so many looks?
AMY There's something I have to tell you.
I was getting confused - which is no
excuse for how I've acted, but...
VIRGIL
Wait - no - this isn't your fault -
I'm the one's been a shit. You're too
hard on yourself - expect too much of yourself.
AMY
Virgil …
VIRGIL
(stopping her)
Let me say this. Every day of my life -
I've wished for just one thing.
AMY
To see.
VIRGIL
To be whole. For just one month. For just
one day or one minute. For one goddamned
half a second. And not just to be able to
run, or ride a bike, or drive a car.
(beat)
But for once not to have a bruise from
bumping into something or to stand in a room
and have to ask "is anyone here" and here
that dead silence, knowing someone is there.
Not to have food on my sweater, or have to
put my finger in my glass to know when it's
full. I just want to be whole.
(beat)
I went to see my father the other day.
Amy moves toward him.
VIRGIL
I couldn't face him. I felt like
I was letting him down. I feel
like I'm letting you down.
AMY
No …
VIRGIL
No, listen. I gave up years ago - I'm not
going to give up now. Amy - that day I met
you - for the first time in my life I felt
someone needed me as much as I needed them.
I don't want you to give up on me.
Amy out of breath - feels a surge of love for this man - moves in
kissing him. A long kiss - then:
VIRGIL
Besides I couldn't leave you -
I owe too much in back rent.
And as Amy pulls him into embrace - we hold on her face - then:
INT. LECTURE HALL - DAY
CLOSE ON - Dr. Aaron - harsh lights washing him out.
AARON
Up until the operation five weeks ago -
Virgil had been a touch person - someone
who's vocabulary, whole sensibility,
his picture of the world was based on
tactile -- non-visual terms.
INT. DOWNTOWN ATELETIC CLUB - DAY
A HEALTH INSTRUCTOR - 50's Jack LaLaine type - is giving Virgil the
tour of the facilities. They enter the weight/workout room. Various
shapes and sizes of people work out on various shapes and sizes of
workout machines.
Aaron's voice-over continues as Jack motions to Virgil to follow
him.. Virgil hesitates.
HIS POV - chrome, iron, plastic - but somehow it's more defined than
we've seen before.
Determined - Virgil starts his way into the gym - hand' out brushing
by what he sees in front of him.
AARON (CONT'D)
But - now - as a sighted person - by
focusing singlemindedly on his goal,
Virgil has a new found ability to
understand his own physical relationship
to objects in his life around him...
Virgil now drops his hand - starts moving through the maze of people
and equipment - actually "seeing" his way.
AARON (CONT'D)
Distance, size, shape - perspective -
now all have profound meaning to him...
EXT. HEALTH CLUB - DAY
Virgil negotiating a glass door - exiting the building.
AARON (CONT'D)
and though there are still miles to go in his
learning process - for all medical intents
and purposes - he is becoming a seeing person.
Virgil walking down the street - deftly dodging a kid on a
skateboard - throwing out his hand to hail a cab.
AARON (CONT'D)
This is an extraordinary achievement and
advancement for medical science and a
tribute to Virgil's determination to see.
INT. LECTURE HALL - DAY
AARON (CONT'D)
Ladies and Gentlemen - Virgil Anderson.
Applause and Virgil looking to Amy in the audience, stands - a
seeing man - and easily makes his way to the podium. Standing in the
lights he readjusts the microphone - moving it up from the much
shorter Aaron.
VIRGIL
(clears his throat)
Since this may be one of our last
sessions - are there any questions?
VOICE IN THE DARK
Mr. Anderson - is there something you
were surprised to see for the first time
- something that looked quite different
than you thought?
VIRGIL
Breasts.
(laughter)
No, really. Don't get me wrong - I love them
- they just weren't what I expected.
VOICE
What about your girlfriend?
VIRGIL
Whose did you think I was talking about?
Laughs.
ANOTHER VOICE IN THE DARK
Now that you're fully seeing -
what are you looking forward to most?
VIRGIL
Not having to do these sessions.
(laugh)
No - actually - being independent.
VOICE
Can you read yet?
VIRGIL
No, but...
VOICE
Will you ever be able to?
VIRGIL
I don't know.
VOICE
If you can't read - will you ever be able to drive?
VIRGIL
(suddenly somber)
I don't know.
VOICE
Well how can you say...
FAMILIAR VOICE
(interrupting)
Virgil. After so many years of darkness -
describe what it is to actually see.
Angle on the Voice in the dark. Webster.
CLOSE ON - Virgil - as he thinks about the question.
INT. ROSWELL-TREMONT - AMY'S OFFICE - LATE DAY
CLOSE ON - the Atlanta project. Miniature size. And a set of plans
laid out across Amy's desk. Virgil's hand comes into frame - touches
the model - moves to the plans - touches them.
ON VIRGIL - alone in Amy's office - looking at her work. We go to
his face - his eyes - we see that he is seeing Amy's work.
AMY (O.S.)
You're here.
Virgil looks up - Amy at the doorway.
VIRGIL
The Atlanta project - I thought it went away.
AMY
Duncan did some song and dance - Falk's coming
to the lobby opening tomorrow - see our work.
VIRGIL
I see it Amy.
AMY
What's that?
VIRGIL
Your world. What you do. The plans -
the work the ideas. The molding.
For the first time I really see what
you do - and not just up here...
(he points to his head)
but in here.
Virgil's hand goes out to her chest - places it on her heart.
AMY
(moves in close, sexy)
Tonight is your night something
special I want to show you
VIRGIL
What is it?
SMASH TO:
EXT. BUILDING - LATE DAY
AMY (V.0.)
Everything.
TOP OF THE WORLD TRADE CENTER
The sun starting to set - the whole of the five burroughs of New
York laid out in front of us. Virgil moves to the edge - looks out
over this amazing panorama.
Amy moves up next to Virgil - they take it in a moment.
AMY
That's the Brooklyn Bridge, Empire State
Building, Chrysler building just over there...
VIRGIL
Amy, look at me.
AMY
What?
VIRGIL
This face - this is everything. It's all
I've ever wanted to see.
(he watches her)
You have so many looks.
What do all those looks mean?
AMY
Well. Let's see. This...
(makes corresponding face)
... is sad. This...is frustrated.
This... is tired. This.. is confused.
This.. is happy. And this...
(her face softens)
... is what in love looks like.
Virgil puts his hand on her face - looks at it carefully.
VIRGIL
This look - this look I love.
Amy leans forward and kisses him - and he soon forgets it even
happened. As they kiss we pull slowly back and away as the sun goes
deep gold and we start to hear what sounds like rain:
We cut to:
INT. AMY'S LOFT - NIGHT
And they are still kissing - and we realize they are in the shower -
together - kissing - exploring - very sensual. As Virgil moves to
kiss her neck - her breasts - Amy's head tilts back in to the spray.
AMY
Virgil - it's raining.
And he moves up again - looks her in the eyes - and for a moment his
eyesight shudders ever so slight1y - it goes away and they kiss
again.
EXT. AMY'S LOFT - MORNING
Amy and Virgil on the street - each hailing separate cabs.
AMY
So - eight o'clock tonight.
VIRGIL
Eight o'clock - building opening -
I haven't forgotten.
She blows him a kiss and she's gone. Virgil watches her cab pull
away - clear something is bothering him.
HIS POV - his vision going in and out. Then clear, then clouded
again.
INT. DOWNTOWN ATHLETIC CLUB - DAY
Virgil's massage room. Not as organized as he had at Bear Mtn..
Virgil is working on an OVERWEIGHT MAN - his back is splotchy from
too much sun.
Virgil massaging - becomes preoccupied with his skin's imperfections
- losing his concentration.
OVERWEIGHT MAN
Hey, Virgil - I'm the one supposed
to fall asleep here.
VIRGIL
Yes - sorry.
He closes his eyes - gets back into his rhythm.
INT. ATHLETIC CLUB - LATER
Virgil, pack over his shoulder leaving for the day - about to cut
through the weight room - when it suddenly comes to a halt.
His POV - his vision fading in and out - and then suddenly quick
flashes of black. On the final BLACK:
We smash to:
INT. NEW YORK HOSPITAL - DAY
Virgil at the desk. The Nurse looks up.
VIRGIL
Daphne - I need to see Dr. Aaron
- right away. It's an emergency.
INT. NEW YORK HOSPITAL - EXAM ROOM - DAY
Dr. Aaron is again examining Virgil on the Electroretinogram. Done,
Aaron pulls the machine out of the way. Looks at Virgil - rubs his
hand across his face.
VIRGIL
What does that mean?
AARON
What?
VIRGIL
What you just did?
Virgil imitates him.
AARON
It means - the machine is only registering
sparks of activity - retinal sparks -
followed by nothing. How long has this
been going on?
VIRGIL
I don't know - first I thought I was
tired - some blurs - occasional cloudiness
but it's been getting worse. Today I'm
getting complete blackouts.
AARON
Your retinal function is down ten
percent. I'm afraid - your retinal
disease seems to have returned.
VIRGIL
You're afraid. What does that mean - I
thought you corrected it. You told me
I was a 'seeing person'.
AARON
Now, you've every right to be upset.
Maybe you didn't have the blood vessels
to supply enough oxygen to the retinas.
- Possibly some trauma - there are so
many variables...(beat)
to be honest, I don't know. I wish to God I did.
Virgil stands, anxious - starts pacing.
VIRGIL
OK. You're the expert. Tell me - what
do we do now - how do we repair this?
AARON
Virgil. I -- I wish there was a
nice way to say this.
Virgil backs away - doesn't want to hear it.
VIRGIL
No - there is no nice way to say it is
there. No nice way to let the man know
it's all over - that.. he's going blind again!
AARON
Virgil, I understand what...
VIRGIL
No you don't! Don't ever say that.
You'll never understand. Ever!
Aaron stands there - says nothing - tries to let Virgil's anger
dissipate. A long moment.
VIRGIL
How long?
AARON
Hard to say.
Month - few weeks -
(beat)
Days.
Virgil stands there stunned - then looking to Aaron.
VIRGIL
God, what do I tell Amy?
What do I tell her?
On Virgil's face.
INT. EYE INSTITUTE HALLWAY - DAY
Virgil steps into the hall - Sees:
A FIVE YEAR OLD BOY - blind - eyes half shut - hands reaching out,
plodding it' a half circle over to where his mother waits for him.
And we see the realization on Virgil's face of seeing his past - and
what he will return to:
EXT. STREETS - DAY
Virgil RUNNING, RUNNING, best he can - through the crowded street -
hands out - bumping into people - desperate - scared - trying to run
from himself - from his fate.
WHAM - he comes to a stop - out of breath - he looks left - right -
where do you go - then sees something off screen. His face torn with
fear - he moves forward - hand out - reaching to a window - to his
own REFLECTION.
And we push slowly in on the reflection as he touches the window -
his hand on his face - a face he may never see again - and a cloud
passes overhead and his reflection is gone.
EXT. CONSTRUCTION SITE - DAY
Virgil stands at the site - amidst the rubble and mud. His Father
walks slowly over to him - raising his arms to embrace him.
Virgil takes a step back - not, ready - his father stops,
understands - looks his son up and down.
FATHER
You look good. Hey - how do I look?
VIRGIL
I need some answers. Why'd you leave? Because
I'm blind - or because I quit trying to see?
FATHER
To the point - I like that -
something you got from me.
VIRGIL
Cut the bullshit - "dad". I don't hear from
you for over twenty years - then you find
out I can see and all of a sudden you show up?
FATHER
(looks around)
Hey. Virge - can we talk about this later, huh...
VIRGIL
No, not later. Now! Was my blindness so
wrong that made you tear our family apart.
Virgil's riled his father. He steps towards Virgil tries to speak
under his breath.
FATHER
Every morning I woke up and looked at you
and saw my own failures. If I couldn't get
my own son to see then...What difference
does any of this make - you can see now
- hell, I knew you could.
Virgil watches his father - this stranger. His eyes start to well.
VIRGIL
I'm going blind again.
His Father looks at him - stunned. He reels from the news - takes a
step back.
FATHER
No...
VIRGIL
The doctor told me today. You're the first
person I've told. I wanted to come see
you before it was completely gone.
FATHER
(speechless)
A beat and Virgil's father takes another step back, then turns and
walks away - forever.
EXT. NEW BUILDING - LATE DAY
Virgil standing across the street. Trying to take in the building
EXT. NEW BUILDING - LATE DAY
Standing at the front as a security guard opens the door.
GUARD
Sorry the building doesn't open until tonight.
VIRGIL
I know. I'm Virgil Anderson...with Roswell
Tremont. We did the lobby. I'm here to
check some details for tonight.
GUARD
Oh, okay, sure Mr. Anderson.
INT. LOBBY - LATE DAY
The lobby is pretty, straightforward. Open - a few plants - a large
central check in desk. Simple - unobtrusive - nothing exceptional or
unique.
Virgil moves his way about the lobby - looking at it carefully from
every possible angle - his hand grazing across walls, entranceways -
desperately committing as much as he can to memory - finally ending
up in the middle of the room in a final attempt to absorb as much as
he can.
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.
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 fucking
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:
SOPHIE bounding across the floor towards them - tail wagging -
tongue hanging out.
VIRGIL
Sophie!?
And he bends down to hug her. Sophie laps at his face. Virgil holds
her back to get a good look at her.
VIRGIL
Let me look at you.
You're so beautiful.. yes.
Jennie watches her brother - happy to have him home. Hoping to get
him back to 'normal'.
INT. VIRGIL'S HOME - LATER
Virgil walks around, touching things, seeing the simplicity of his
life. Nothing on the walls - no decorations - no plants. Everything
functional. He realizes this is a home designed by his sister.
He moves over to the photo of the family. He on his dad's shoulders.
Stares at it - at his father and mother for the first time.
JENNIE
Mom and dad.
Virgil just stares.
JENNIE
Everything's as you left it.
Nothing's changed.
VIRGIL
Jen - I'm pretty tired -
I'd like to be alone.
The PHONE rings. Rings again. Virgil doesn't move - his apprehension
is clear - he knows who it is. Jennie sees this and moves toward the
phone.
Virgil turns and walks out onto the front porch - followed by
Sophie, as his sister picks up the phone in the background.
EXT. VIRGIL'S PORCH - NIGHT
He sits down - looks into the night as we hear Jennie faintly on the
phone. A beat and she hangs up. We hold on Virgil:
EXT. PINECREST STREET - DAY
Virgil walks down Main street. Seeing his town - a town he grew up
in but now seems so foreign. Virgil seems oddly disturbed by what he
sees.
The yellow bus drives by - full of kids - Carl at the helm. Somehow
it's not what he expected.
INT. ROSWELL-TRRMONT DESIGN FIRM - DAY
Amy organizing all her work on the Atlanta project - - the original
designs - the new design with the trees - then she sees:
The sketch she made of the "dancing trees". Her eyes hold - and she
slowly shuts them - and with them tightly closed - her hand reaches
out and runs along the drawings.
EXT. PINECREST - END OF MAIN STREET - DAY
We find Virgil standing - looking out at the end of the street where
he stood with Amy. In front of him he sees:
The "dancing trees".
VIRGIL'S POV - a retinal spark - a quick glimpse of the intertwined
trees - one lover choosing between two others.
INT. FIREHOUSE - LATE DAY
Virgil - stands in the middle of the room. Looks about at what was
at one time so special to him. Now it just seems old and dingy - the
magic is gone.
He closes his eyes for a moment - listens - cocks his head to the
left - the right - but there is nothing there.
EXT. TOWN LIBRARY - LATE DAY
Virgil standing outside - staring at a building he's never seen -
never been inside.
HIS POV: flickering a moment.
INT. LIBRARY - SUNSET
Virgil now sits at a table. Stacks and stacks of LIFE magazine
splayed out in front of him. He is flipping through them at a rapid
rate - like a drowning man searching for air.
IMAGES - cars, JFK, the pyramids, Martin Luther King, houses,
flowers, Marilyn Monroe, that Napalm burned little girl in Viet Nam,
African masks, Dachau prisoners, Nixon, Warhol paintings, the Mona
Lisa, that vulture watching over the little baby, the Eiffel tower,
First Man on the moon, the Venus De Milo, that guy in front of the
tank in Tianaman square .. and the Pyramids.
The pictures go by fast and furious - Virgil soaking them up like a
sponge - life, beauty, horror, great people, great events...
And we move in on his face - absorbing these images for the last
time - a face filled with anguish at a world disappearing. And we
cut to:
EXT. AMY'S ROOF - SUNSET
Golden rays of the late afternoon sun. Amy on the roof - leaning on
the parapet - watching the horizon.
Then a thought comes to her. And mimicking what Virgil had done -
she walks back to the other end of the roof, turns and looks out
towards the skyline again ... then starts slowly walking towards the
parapet till she reaches the wall again.
The reaction on her face - she doesn't "see" it - not like Virgil
did.
INT. VIRGIL'S HOME - DAY
Virgil is shifting furniture in his house. A table - moves it to the
window - moves a chair to join it - stands back to have a look at
it.
HIS POV - a moment of clear - then haze - then dark - then haze.
Virgil rubs his head - these last days of sight have been painful
and exhausting for him.
JENNIE (O.S.)
Hello!
She's at the door. Virgil cocks his head in her direction.
JENNIE
I picked up some things at the store -
T-shirts, I'm sure you're out, some socks...
VIRGIL
Jennie, what's at the
end of Main Street?
JENNIE
Well - I think it's Vivian's little stationery...
VIRGIL
Beyond all the stores - past firehouse.
What happens when this is no more Main Street?
JENNIE
Well - there's nothing really - you know that. ~
VIRGIL
No! You told me that's all there was.
That's wrong. There's a helluva lot out there.
Jennie surprised at where this is going.
JENNIE
I told you what you needed to know.
VIRGIL
What was within my reach.
JENNIE
What more do vou want?
VIRGIL
Isn't there anything more that vou want?
JENNIE
Is this about our father -
he called told me...
VIRGIL
No. This isn't about him. Jennie -
you've spent your whole life as
blind as I was. The world doesn't
stop within our reach.
JENNIE
Virgil, please. This is your home.
Stop thinking about what's out there
- things that will never matter to you.
You're safe here where everyone...
VIRGIL
Where everyone what!?
JENNIE
Knows you.
VIRGIL
Can protect me?! (beat)
Jennie, this place was a wonderful safe
haven for me growing up. I know that.
(looking around)
And I can only imagine what you gave up
to keep this world for me. I thank you
and love you from the bottom of my soul.
But now I want to give you your life back.
JENNIE
Virgil, I - I can't...
VIRGIL
You can
Virgil reaches out his arms for her to join him.
VIRGIL
I'm reaching out, Jennie.
This gets Jennie and she goes to him, really hugging him for the
first time as tears flow from her eyes.
INT. AMY'S LOFT - LATE DAY
Amy, dressed in sweat pants and tee shirt sitting on the ground,
trying to piece the sculpture back together. It's a difficult fix.
KNOCK KNOCK
DUNCAN
Amy - you in there.
AMY
Go away.
She scrapes some plaster into a dust pan. We hear enters a key in
the door - and the door opens. Duncan
DUNCAN
I knew keeping this key would come in
handy one day. What a mess - what happened?
AMY
It broke - I'm trying to fix it.
DUNCAN
So - guess what?
AMY
I'm not in the mood for games.
DUNCAN
We got it. The goddamned Atlanta mall -
we got it!! Now - pull yourself out of this
slump - I want you to fly down this week to...
Continuing to work on the sculpture.
AMY
I'm not going.
DUNCAN
What are you ta1king about?
What's the problem here?
AMY
The problem?! Everything.
Nothing is right thank-you very much.
DUNCAN
You know what the problem is - you're
the problem - you met a blind guy you
thought was cool and spent the first
two months trying to change him.
AMY
Are you finished?
DUNCAN
Not even close. Let me tell you something
- you can't change people to solve you.
You tried to do it with me - you tried
to do it with Virgil. You ever think
some of the things you try to fix
- ain't broke.
And he's gone - as Amy slumps into a chair - confused, tired - then
slowly she starts to hear:
TAP - TAP - TAP...TAPTAP - TAP
The SOUND of a CANE in the stairwell! Amy's heart starts racing -
she takes a breath - jumps up quickly and moves her way over to the
door - unlocking it and swinging it open:
AMY
(excitedly)
Virg .......
The CANE - being held by Ethan - as he taps his way down the stairs.
ETHAN
Hey Amy.
AMY
Hi, Ethan. Sorry - I thought...
ETHAN
He's not coming back is he?
AMY
No - he's not.
Ethan sees she's covered in dust - looks past her into the loft.
ETHAN
Whatcha doin'?
He looks past her at the sculpture half repaired.
AMY
Cleaning up a mess - going to start over.
EXT. PINECREST - SUNSET
Virgil walks the path, Sophie following close behind. By the way he
walks, counting steps, touching landmarks, we realize he is using
sight very little.
EXT. HIDDEN VALLEY - SUNSET
Coming through the clearing, to the plateau where he took Amy, the
leaves now starting to turn golden colors - he stops - stands over
top of the pond.
VIRGIL'S POV - A retinal spark. The view across the valley, with
white clouds against the bluest sky.
His hand reaches out - to touch the edge of the world - to touch the
horizon.
And as he drops his hand, we see the clouds start to race by - while
the blue sky goes golden then drifts into darkness. Virgil doesn't
move from the spot. The screen goes almost black - then slowly the
sun starts to rise in the east.
Virgil makes no movement. A long beat - then - as the sun moves
across him - he realizes it's day. He stands and unfolds his cane.
It's clear he has returned to being completely blind.
As he turns and starts his way down the hill we hear:
VIRGIL (V.O.)
Growing up blind - I had two dreams.
One was to see. The other - to play
for the New York Rangers.
INT. LECTURE HALL - N.Y. EYE INSTITUTE - DAY
Virgil stands at the podium speaking - dark glasses on, cane in
hand.
VIRGIL
After the 'miracle' of my short period of
sight - I realize - I'd rather play for the Rangers.
(laughs from the dark)
It's not that it was so awful - I saw many
things - some good, some back some that
I'm already forgetting.
INT. WEBSTER'S LAB - NYU
VIRGIL (V.O.)
But I realized that our eyes aren't what
make us see. We only live in darkness
when we don't look - look at what is
genuine about ourselves - genuine
about others - you don't need eyes for that.
Virgil sitting with three young blind children - working through
Braille with them. Webster watches from the corner of the room.
EXT. NYU - DAY
Virgil - small brown bag in one hand - cane in the other - exits the
building and makes his way across the street to Washington Square.
EXT. WASHINGTON SQUARE - DAY
Virgil - taking in the sun - finishing off the last of his sandwich.
Balling up his paper bag - he taps his cane out - finds the garbage
can nearby - and tosses the bag - rim shot - it misses, hits the
ground. A hand reaches into frame and puts the bag in the garbage.
Virgil looks up - senses the presence.
VIRGIL
Did I miss?
VOICE (O.S.)
By a mile.
VIRGIL
Amy?
ANGLE ON Amy: watching Virgil - realizing his sight is gone.
AMY
Ray told me you were living in town
- said I could find you here.
(beat)
I rushed, didn't I? Fourteen steps
to the tree and I made us smash
right into it.
VIRGIL
We tried.
Amy sits next to him.
AMY
I finished the sculpture.
I'd love you to see it.
VIRGIL
Figure of speech.
AMY
Figure of speech. Virgil - when I
first met you - you saw more than
any sighted person I've ever known.
I didn't mean to take that away from you.
VIRGIL
Amy. I saw ... I actually saw
the horizon. You did that for me.
It's out there. You showed me you
just have to reach for it..
Amy smiles - her hand goes out - hesitates - then lands lightly on
his.
AMY
You want to walk?
VIRGIL
See what we see?
AMY
Yeah. Just see what we see.
Virgil smiles, nods. As he stands - he takes her arm - and as they
walk off into the park, we slowly FADE to BLACK and just LISTEN,
listen to the SOUNDS of the day - the percussion of the city.
THE END
