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At First Sight (1999) movie script
by Steve Levitt. Draft script.
More info about this movie on IMDb.com
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
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.
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.
Sign? I was looking for a sign? There's no...
Her attention is caught by something off camera. She stares out into
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.
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
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.
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,
… we have a full weight room, lifecycles,
stairmasters, a spa, yoga, aerobics, spin classes...
I'm really just looking for a quick fix, here.
Do you have anything that just involves lying down?
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
Virgil, Oh God..., right there. Yes.
Amy's interest piques - the woman's murmur continuing - deep ecstasy.
Yes there - a bit more...
(a small bell DINGS)
--wait - wait, you can't stop - one more minute - noo!
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.
Virgil, you have to come live with me.
And what would your husband say?
Amy, you out there? - c'mon in.
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.
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.
Sounds like you're a genius at this.
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.
Deeper is good - where I come from,
all you get is shallow.
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.
First time in Pinecrest?
Came in late last night..
missed the town completely.
If you came in broad daylight,
you could still miss the town completely.
Slow moving cuts of Virgil, working long strokes over Amy's body - -
his hands gracefully LENGTHENING and STRETCHING her muscles.
Too much compute? work.
Bad chair - you should think about a change.
Virgil reaches his hands all the way down her spine and makes a move
that causes Amy to release a very deep guttural sound.
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.
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.
Not since grade school.
I'm going to go now - unless you'd like me to stay.
Could you - just for a minute?
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.
You ever feel like a Martian's
invaded your entire body?
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.
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.
Hey Caroline, you look incredible today.
Quite a compliment, Virgil. See ya tomorrow.
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.
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
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.
Virgil turns - sunglasses on - looks directly at Amy.
It's Amy - Amy Tremont.
Of course - you were sleeping,
didn't want to wake you.
Yes thanks - you're the skater, right -
I saw you last night, coming in.
Pretty mean slapshot.
You play on some team or something?
Yeah, something. You a hockey fan?
Always liked it - never get around to
seeing a game. But I loved to skate
as a kid - unfortunately I have two left feet.
(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.
I love the view you get here.
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..
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.
As the kid moves off.
Well, I just wanted to apologize for back there -
blubbering like that - I was just in a weird place.
Now, I'm fine - so I wanted to
thank- you. For what you did.
For making you cry.
No, I made me cry - and you handled
it great - didn't freak or anything.
Is my mascara smeared or something?
You're just looking at me funny.
Virgil - lets move it.
As I said earlier - I just never get used to the view.
Virgil starts towards the bus, reaching behind to his pack. Pulls
See you tomorrow.
And CLICK, CLICK, CLICK - a WHITE CANE unfolds in his hand. And he
taps his way to the bus.
See you... oh my God.
You're, you're -- I'm so sorry.
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
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
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.
Get of f the couch, Sophie.
As the dog slides guiltily off the couch.
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.
Met a girl today - nice voice -
followed me out of the building.
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.
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.
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.
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.
From the spa. I made her cry.
You haven't done that since--
-- grade school.
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.
I'm fine. Your dinner's ready - chicken's
at 3 o'clock - rice is at...
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).
One day I'm going to switch them on you.
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
Ha - ha. You need new jokes.
Or a new sister.
I'd work on the jokes.
Picking up the books she moves past Virgil - pecks him on the head and
moves to the door.
You want to watch some hockey?
(at the door)
You want to grade some spelling tests?
I'll be next door you need me.
She leaves and Virgil pats the couch and Sophie hops up next to him.
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
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
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.
Ripping the towel of f her head - hopping around on one foot - she
Rubbing her leg - she limps/half walks to the door - opens it to:
Virgil: dark glasses, cane, smile
She pulls a towel in closer - then realizes it doesn't matter
My turn to apologize. I should have told
you I was blind it wasn't fair.
That's OK. You want to come in -
I just got out of the shower - give me
a minute to get changed?
(as he moves in)
Sure, I promise I won't look.
As Amy starts to get changed in the bathroom.
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.
See what we see?
Figure of speech
You mean right now, tonight?
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:
... 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.
Hey Virgil - got that book in for you.
Nancy's our librarian, brings in
any braille book I want.
The guy's nuts about the pyramids -
anything he can get his hands on...
Thank-you Nancy - you should get your
groceries home - your ice cream's melting.
Nancy laughs - as she moves off.
Nice place - you seem to know everyone here.
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.
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.
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...
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.
How do you...
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
This is the end of the street.
We should turn back.
What about past the end of the street?
What's out there?
He turns around.
No - there's an old run down
building off to the side...
Must be the old firehouse.
It had a fire so they shut it down. (Amy laughs)
Honest to God.
What else do you see?
A wall of shrubs -
a field with an interesting configuration of trees.
The wind has picked up a bit.
Tell me how you see it.
(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.
It's just - the image you just
gave me - "Dancing trees. - I like that.
Virgil stops - his head cocks slightly.
We should go - it's starting to rain.
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
I can't believe how fast it happens...
(she sees Virgil - his head cocked towards the ceiling)
Virgil's head turns toward her.
You like rain - I love the rain.
(moving to him)
What were you just doing there?
Virgil slowly moves his head about, sensing the room.
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
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...
--what's that - over there...?
Looks like it's...
No, listen for it - not what it
looks like - what it becomes.
Amy moves closer - Virgil puts his hands out on her shoulders - turns
her to the sound.
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
Yes - there - it's soft - like a shimmer
The wind blowing the rain against a window.
Like a cymbal. It's like our own
percussive symphony, isn't it?
Amy opens her eyes - looks about the room - listening.
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.
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.
You're cold, we should go.
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.
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.
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.
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.
You kidding? today, I'm looking
for a complete nervous breakdown.
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.
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.
Can I ask how long you've been blind?
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.
You see shadows?
No. Congenital cataracts. And a case of retinitis
pigmentosa thrown in for good measure.
This area needs to loosen up.
I think you're doing it.
No bright lights, nothing?
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.
You say something?
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.
You're very good.. at what you do.
Another breath exhales from her involuntarily as Virgil hits a
You enjoy it.
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
And this client...
Is very, very...
DING - and the spell is broken.
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.
Thank-you. For last night as
well - love to do it again.
How about I cook dinner then, tonight.
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.
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.
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.
Oh. Yeah. Anything serious?
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.
Yeah. Good. Well. I'll be here.
Virgil hangs up the phone - frustrated, he reaches for the frying pan
- and promptly burns his hand.
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.
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
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,
Fine - but you all know what kind of schedule we're on here?
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
Don't say it, I know. You were never happy with the design.
I wasn't going to say that.
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.
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
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.
What? I can't have a couple of ideas.
(even Betsy stares at her)
Fine, you want to know - I met a guy.
Too modern for me.
Sit down.Betsy. We're all friends here.
So - spill the beans.
Nothing to spill - he's a good guy -
smart, funny, blind...
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...
I knew you'd be understanding.
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.
Duncan, don't be a jerk.
You still work here.
He's just jealous.
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.
Everybody's gone for the day.
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.
What? I just want to know a little more
about what's wrong with him.
Amy? Friend to friend?
I hate to admit it but I agree
with Duncan on this one.
(back to the computer)
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.
You ever listened to rain -
I mean really listened?
This like that smell the roses thing?
(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
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.
Ah, here we go.
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
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.
Wayne Gretzky, look out.
Virgil slams to a halt in surprise - nearly toppling over.
Sorry -- sorry.
Didn't mean to scare you.
I said I'd come back.
How long ... how long have you been...?
Watching you? Just got here -
couldn't find you at the spa - took
a chance you'd be here. You're very good.
Skated since I was a kid. My dad taught me
- wanted me to play pro one day.
How do you like my pond?
Describe it for me.
OK. Let's see. Like cool
blue silk - you know blue?
I think so - keep going.
Blue silk stretched tight across
a bowl - surrounded by white
jacketed sentries of trees on
the horizon, protecting it from
the outside world.
Horizon's a tough one.
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?
Sorry, I didn't bring my skates.
Don't need them. Come on step hold of my stick.
Hockey stick. Here.
He holds the stick out like a cross bar. Amy moves cautiously forward
and takes hold of it.
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.
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.
Fine. Never been dumped so fast in my life.
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.
What do I say?
Virgil starts gliding across the ice searching for Amy.
(hearing her voice, veering in her direction)
Anything - how'd you become an architect?
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
And Virgil's suddenly there - going a little too far - tumbling off
the pond and into her.
You'd think I meant to do that.
A patented move.
They're close - in the snow together - face to face.
(Amy smiles, realizes)
This is tough.
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.
It doesn't matter.
Tell me what you look like.
I.. .1 don't know I'm...
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.
Eyes, mouth, chin, cheek..
you are very beautiful.
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
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
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:
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
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
Amy turns to see - Jennie, carrying a bag under her arm.
Jennie moves towards the kitchen.
I'm Jennie, Virgil's sister.
And you are..?
Virgil steps out - bathrobe - drying his hair.
Jen, this is Amy Tremont.
Jennie now at the kitchen - stares at the juice container - places it
back in the fridge - just so.
I was just at the market Virgil,
picking up a few things before
school - and I thought you might like some...
Apples and bananas.
Amy sees the fruit on the counter - impressed.
He's being a show-off, Amy - I always bring him these.
(putting them in the fridge)
The apples are on the bottom shelf...
At two o'clock. Oranges at 10.
I know, thanks.
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.
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
(moving to Virgil)
I'm sorry - I didn't know...
It was my fault. I'm OK.
Jennie still dabbing at his leg.
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.
I've got parent meetings tonight -
there's dinner in the freezer - left corner.
(turns to Amy) Nice to have met you, Amy.
Me too - and again - I'm sorry.
And she's gone - leaving Amy and Virgil together - a moment of
She seemed ... nice.
She seemed jealous.
Your leg is still bleeding.
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.
Let's see if I can get this right.
Chicken's at three - salad at seven -
vegetables at ten.
(picking up his fork)
Very good - thank-you.
This is nice.
They do this every weekend?
Every Friday - for the guests leaving. Supposed to make them want to
Love the music -
Gershwin - makes you want to...
She stops. Virgil, fork poised over his food, senses her
You like dancing?
Hmmm? Yeah - don't do it much.
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.
Nothing like a good pat of fat.
What do you say we dance?
No, really, I'm fine...
Virgil is up - pulling her hand.
She stands and Virgil puts his hands on the back of her shoulders.
And as she ushers him to the floor the music changes - a salsa -
lively. Amy stops:
Different piece - maybe we should...
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.
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
INT. AMY'S HOTEL ROOM - MORNING
Amy - on the phone - looking out her window.
Betsy - you were telling me about your father,
his cataracts - you said he had a problem.
How is he now?
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.
Virgil, I just got some great news.
(picking up speed again)
The Atlanta project?
No, no - I was talking to my assistant
this morning - her father had these
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...
You called this guy?
Virgil stops riding - starts to get off the bike.
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.
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.
I thought you'd be excited. What's the problem?
Virgil turns on her.
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
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.
Amy nods - starts towards her.
I'd like to talk to you if
I could -- about Virgil.
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...
What don't you understand?
If I was blind almost all my life --
and there was even a remote possibility
I could see - I'd jump at it.
When there's something you've adapted to,
accepted - you'd just want to change
it without even thinking about it?
We're very comfortable here, Amy.
Virgil has everything he needs.
I thought just maybe he'd like to not
be falling over things for the rest
of his life. Look, I see...
(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
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.
No, no - why - why?!
She hurries up the steps, reaching the open door where she sees
Virgil, his head in his hands.
I can't believe you're doing this to me.
What - Virgil?
Virgil turns sharply - Sophie jumps up - starts barking.
Sophie - stop it. Amy? C'mon in - it's just
the Rangers. I could check better than these
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.
Can I get you something - - Coke - beer?
No - I - I'm fine. I just wanted apologize
for stomping around in life like Bigfoot today.
Virgil turns towards Amy.
Amy, you see the big tree outside?
How far is it from my front porch?
Guessing, about thirty feet.
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.
I'm sorry. Told you - can't leave well enough
alone. I - I guess I should get back, start to pack...
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.
You know this dinner - this is really quite...
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
(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
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
Virgil - I have to go home tomorrow...
Wait, wait - you smell that?
No - what?
The winter pines - it's so strong at
night - drifts on the wind - wait -
hear the breeze then...
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.
Amy is sitting in a chair by the window.
I'm here - trouble sleeping.
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
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
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.
Yeah, yeah. Morning - Look,
something I want to say...
The leaving thing - I know - hate it too.
The other night - when we were dancing -
being with you - I felt different -
special - I don't know - whole.
That was whole?
Virgil puts his hand out - she takes it - he turns to her.
Just for a second I felt like I could see
you - all of you.
What you said about this Doctor, this eye guy -
I know how important it is to you...
(turns to him)
Are you sure you want to do this?
We're just going to talk to the guy
- what could it hurt?
Off Amy's smile:
EXT. GEORGE WASHINGTON BRIDGE - MORNING
A soaring shot. Amy's car - travelling across the bridge - heading
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.
Waitwaitwait - he hasn't said he
can even do anything yet.
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?
Yeah, I do. I was just a baby when it
happened - but there is one thing.
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.
OK - we're done.
Aaron bumps up the lights and wheels his chair back over to Virgil as
Amy moves to join them.
Some good news. You have grade 4
posterior subscapular cataracts.
And this is the good news?
Good news in that I should be able to
remove them with little or no damage
to your cornea.
So -- what does that mean -
they're gone - then what?
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.
(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.
So. Say you remove the cataracts -
do you have any idea what kind of vision I'd have?
Aaron looks to Goldman.
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.
So you're suggesting an operation
that may or may not be successful.
But there is a chance he
could regain his sight.
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.
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.
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.
What do you think?
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.
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.
From around the corner comes ETHAN COLVIN, eight, oversized Knicks
shirt. Amy tosses him his ball.
Sorry - my mom won't let me go
outside till she gets home from work.
Well, if the super catches you playing
ball in the hall, he'll have a coronary.
Never mind. Ethan,
this is my friend Virgil.
(seeing his cane)
Are you blind?
Cool. See ya.
And he turns and runs back up the stairs.
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.
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
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...
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.
Nothing. A sculpture.
My art school days - not very good.
Virgil continues to feel the sculpture from top to bottom, not
stopping during the dialogue.
It's a mother? - holding her child - up in the air
- like she's proud? It's beautiful.
It's not done yet -
one day I'll finish it.
Virgil turns - his hand to the wall - feels a window:
Does this window open?
I could use some air.
(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.
Virgil turns, concerned, makes his way to her.
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.
What is this - these plans?
Amy looks at Virgil - - his hand running across one of her plans.
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.
I've got to get to work. Tonight we'll do something
- we could listen to music or go out for dinner...
How about a movie?
Yeah. I haven't been in years.
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
We move in slowly and discover Virgil and Amy leaning in close to each
other - Amy quietly describing the scene to him.
There's these big pots and Woody's got
a huge lobster in his hand...
Lobster - what's a lobster?
(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.
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
And they lived happily ever after.
Woody and Diane...
And the lobster?
Stop with the lobster.
A song comes on the radio - Virgil's head turns.
Hey - you here that?
All she hears is the clatter of the subway.
Virgil turns towards the music - BAPPING his hands rhythmically on the
subway car wall.
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:
"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.
"Can't take that away from meee" - what?
People are watching.
Watching? Watching what?
You. Me. Everyone is staring at us.
Well - it can be embarrassing.
Oh - I see.
No - you don't.
"The way you make me see..."
(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...
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.
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
"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
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.
Coffee? It's really bad.
Jennie looks up - smiles takes the cup. Amy sits down next to her.
They both sip for a moment.
Virgil never mentions his parents
- do they know?
Our mother died when I was 20 - Virgil wasn't
even a teenager. And our father - he's been
gone for quite awhile.
I'm sorry. I didn't know.
Jennie looks into her coffee - takes another sip.
You're right this is bad.
It must have been very tough on you
- taking care of Virgil alone after
your mother died.
He's my brother.
You don't like Virgil
doing this - do you?
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.
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:
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.
(with a wink)
That makes us the Windex to the soul.
OK, both eyes done. Let's patch him up.
On a large monitor we see an EXTREME CLOSE-UP of Virgil's eye -
INT. NEW YORK HOSPITAL - LATER
Virgil being wheeled down a hall - head wrapped in bandages.
INT. EXAMINATION ROOM - DAY
As he enters:
Jennie's there - takes his hand.
How're you feeling?
OK - a little pain,
like a tequila hang over
- is Amy here?
Right here - Dr. Aaron said you did great
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)
There's camera guys here too.
WIDE - we now see the room has a small VIDEO CREW in it preparing to
document the event.
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?
Good. Great. Fine.
Aaron moves about the room closing blinds to let in just a few slats
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
(returning to Virgil)
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.
Okay - last phase -
we remove these patches and...
(suddenly apprehensive, hand up)
Okay - wait. So - so - what do I do?
I mean, what will I see first?
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
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:
And Virgil reacts - a startling look of recognition mixed with fear
crossing his face.
What is it 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.
Virgil - what do you see?
Jennie's reaction comes pouring out of her eyes in tears, first
slowly, then a dam break.
Virgil what's wrong?
Everything's fine -
it's going to take...
It's not fine -
don't say it's fine.
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.
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!
What is it - Stop!
Virgil's hand lashes out towards the camera crew - even though they
are 15 feet away.
What? The camera?
(to the crew)
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.
Alright - alright - they've stopped.
OK. Let's everybody just calm down
- we'll take it slowly.
Everyone settles - takes a breath.
Virgil. What can we do?
They all look to Virgil - breathing heavy - his eyes swinging back and
I gotta focus - gotta think -
gimme a second - OK, OK - get me a
He's thirsty - someone get him a drink!!
No - just a can - a bottle --
put something in my hands!
Amy reaches over - grabs an empty coke can.
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
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.
A can. Is it a can?
What's going on?
They all look at Virgil turning the can over and over in his hand -
staring intently at it - learning it.
(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.
Aaron looks to Amy and Jennie - they're still doubtful - he motions to
them to meet him outside.
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.
What just happened in there?
You saw it. Success.
Success - wait a minute - then why can't
he see me, his sister, anything.
He sees you. He just doesn't
understand that he sees you.
But he'll overcome it - I mean -
this is temporary right?
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.
You didn't think of this?
This is as much an accusation of Amy as of 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.
So what are we supposed to do now -
you saw him - it's like he's another
person in there.
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.
Isn't there some kind of therapy
he should be doing - someone to help him.
Aaron stares at her - hadn't thought of this.
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.
(can't believe this)
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.
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.
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.
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.
Jenny looks up - Virgil standing in the doorway, dressed.
No - it's Jennie.
She moves toward him - Virgil pulls back - hands out in front of him.
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.
This is you.
This is me.
INT. HOSPITAL HALLWAY - DAY
Angle on Amy moving down the hall - hearing the voices.
INT. HOSPITAL ROOM - DAY
Everything's going to be alright
- we just need to get you home.
No, no - I can't go home.
I need to be here - see the therapist
- doctor's. I want to be here.
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.
Amy? She's going to look after you?
She doesn't know anything about the blind.
I'm not blind anymore - and I'm not
going to let someone I care about
walk out of my life again.
(moves to him)
It's not your fault he left.
You can't keep blaming yourself.
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.
Amy turns - Jennie in the doorway.
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:
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.
Please believe me - I don't want him
to get hurt anymore than you do.
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
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.
This is just great - I don't believe this.
What's that saying - stop the world I wanna get off.
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.
That you Ethan?
It's me - and this is my mom.
Virgil - Karen.
Hi, Virgil - heard a lot about you.
You look funny.
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.
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?
It's OK - it's not a wall -
it's just a staircase. You're
going to have to trust me on
God, I feel like... like such a child -
I just thought seeing would be different.
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
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.
Man. Something exploded
in your apartment.
Amy laughs - pulls him into the room. Virgil trying to take it all in
- not understanding anything.
I wanted to do something
special for you.
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.
Okay - so - this is what
beautiful looks like.
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.
I can't believe this
- how nervous I am.
She kisses him then takes a step back.
What if you don't like what you see?
Do you want me to turn off the lights?
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.
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
(wrapping a house coat around her)
Virgil turns around - half faces her - the rain on the windows
decorating his face.
I can't sleep - I'm afraid if I close my eyes...
It'll be black when you open them again.
Virgil nods. A moment and his hand goes out to her sculpture.
You enjoy sculpting?
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.
But you never finish them.
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.
This is what rain looks like?
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.
You've got to alter each of
the windows by five feet...
These are the specs you gave me.
I know - I'm changing them -
this is better.
Betsy pokes her head in.
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.
Don't you have an appointment?
Amy looks to her watch. Starts for her jacket and the door.
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 steps out of his office. She turns - virtually out the door.
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
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.
Right - OK, Virgil - says here you went
blind at one - before you developed a
(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
You are mentallv blind. Neurologists
call this "visual agnosia".
I call it pretty screwed up.
Better term. I'll make a note of that.
Webster plops down a large book - flips through some pages, then
searching his pockets:
Glasses, can never find 'em.
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.
(referring to the book)
OK. Alberto Valvo "Sight Restoration after
Long Term Blindness" - blah-blah-blah. -
"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.
What do you mean - there - he's in limbo.
That's all you have to offer?
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.
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.
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.
You want a lesson? Right - here.
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.
It's an apple.
(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.
It's an apple.
(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.
So this is a joke? Is that what you're
saying - your eyes lie to you? Great
- looking forward to this.
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.
That's all it is right now - one big trick.
Nothing makes any sense. I can't function like this.
(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.
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...
Amy - last I checked - this isn't a game
of Parcheesi, it doesn't come with a set of rules.
I can't believe you're just...
Amy. Let's go.
No, wait, Virgil...
Thank-you Dr. 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.
I'm going to call Aaron -
get him to recommend someone else.
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.
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.
What's this - this thing?
Amy looks over.
What - it's a mailbox.
What color is it?
Virgil stares at it - tries to take it in.
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.
A cab veers across traffic - pulls up to them.
I want to walk. I want to see what's out there.
Fine. Let's walk.
Don't you have a job?
I'm going to make time for this. I promise.
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
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.
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.
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.
- 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
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
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.
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
- 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.
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
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
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.
Nice. Good. What do you think Virgil?
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.
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.
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
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.
-- meaning ... he has a total lack of visual
memory. This is an unexpected physiological
flaw. We are hopeful Virgil can overcome this.
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
A camera - it's OK -
taking your - picture.
What, by flashing me in the face?
FLASH - there's another - Amy tries to block the light.
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.
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.
Oh my God.
He leans forward - his interest piqued and he picks up the phone.
For a Jennie Anderson..
INT. RESTAURANT - LITTTE ITALY - LATER THAT NIGHT
A silver fork held up in front of us.
Virgil and Amy sit on the patio of La Mela. Virgil's hand goes out for
the fork. Amy pulls it away.
Uh uh uh. See it first.
No cheating. Concentrate.
Virgil stares hard at it.
A pen. I don't know - let me touch it.
She hands it to him.
Right.. Now put it down in
front of you. How far is it from.
You're not looking.
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.
I'm just trying to help you see.
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?
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.
What's this - looks like worms.
It's spaghetti - it's fine.
As Virgil tries to maneuver his fork - Amy reaches behind her.
I brought you a present -
good for hand eye coordination.
She hands him a TOYS R US bag. He peers inside.
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.
I'm here for you to wish me
happy birthday. How's it going?
OK. He's progressing, slowly
- doing the best he can.
I was actually wondering about the mall
designs. We're expected in Atlanta tomorrow
- with these plans.
I can't go to Atlanta tomorrow
- not with Virgil's problems,..
(Duncan moves in behind her)
I'm sorry. Things aren't going so well?
(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.
Do you ever wonder why
you do the things you do?
Didn't get what you expected did you?
Sometimes I think he's not going to make it
- that he's never going to be able to see.
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.
Yeah. Thanks Duncan.
(beat, a joke)
Now back to work.
As he starts out of the room, Amy turns stops him.
Hey, Happy Birthday.
INT. AMY'S LOFT - DAY
Virgil sits at the kitchen table staring at everyday kitchen utensils
- being held by Ethan.
Ethan shakes his head - no - it's a cheese grater. Virgil stares
again. Ethan mimes grating cheese.
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.
You're no help. How am I supposed
to do my homework if...
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.
You're lucky you got a cane.
Virgil looks over - sees his fascination.
You want it. I've been thinking
about throwing it out.
Ethan's up in a flash.
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.
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
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
Jenny looks at him, her eyes welling.
Virgil - it's me.
And suddenly Ethan is there - cane drawn like a sword.
Jennie startled - looks to Ethan then Virgil. What's going on?
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.
You want to tell me
what we're doing here?
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.
I can't - I can't see him.
Jennie looks to him.
I thought your eyes were better.
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.
He's our father. He heard about the
operation and he's asked to see you.
Look here he comes.
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.
She flicks on the light - to reveal Virgil has been sitting in the
dark. She looks over - sees the scattered blocks on the floor.
I'm here. I forget about the lights sometimes.
Look - about this party tonight
- it's no big deal - maybe we should just...
It's your partner's birthday. We should go
- besides you wanted me to meet your friends, 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.
Glass of wine? Red - white?
Amy reaches out - takes one.
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?"
Virgil - here let me.
Her hand darts in front of his.
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.
The Waiter - trying not to spill on himself.
Trust me - you're not the first -
or probably the last. Let me get a cloth.
The Waiter smiles - and as he walks off. Virgil nervously takes a
large drink of wine.
I hope you're driving.
Suddenly from the front of the room - MARSHALL, the host calls out:
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.
What - what's happening?
Amy moves to him in the near dark room.
It's for the surprise -
they turned off the lights.
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.
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.
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.
Here ya go Virgil.
Virgil turns - the Waiter stands there holding a glass of wine -
placing it carefully into Virgil's hand:
(over the noise)
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, standing with Duncan and Betsy.
Maybe he's blind again.
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
Virgil - I'm sorry - I went to get
Duncan. Duncan - Virgil. And this is
Hey Virgil good to meet you.
Heard a lot about you.
Heyyy! Yeah. Good to meet you.
Virgil thrusts his hand out - colliding it into Duncan's.
Sorry - things still get a
little cockeyed sometimes.
(holding up his drink)
Few more of these and I'll be the same.
Lemme get Kevin - my man -
he'll top you up. KE-VIN!!!
Uncomfortable - everyone stops.
Nothing. It's ok.
Amy, in Atlanta tomorrow...
Duncan - I told you...
I spoke to Falk and he...
Duncan pulls Amy in close to talk - shutting Virgil and Betsy out.
Amy said you had great hands.
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.
You know my father was blind for several
years, he had cataracts as well.
Somehow this comes out patronizing.
Really. I'm surprised I don't
know him. It's a club you know.
Kevin, the African American waiter comes up.
Virgil throws his arm around Kevin.
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.
I'll get you a drink.
Virgil looks to Amy.
What's that look?
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
Come on Duncan - let's dance -
move those old bones.
Duncan only acknowledges Betsy's contact with a raised eyebrow to Amy.
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.
The lobby we designed. Virgil - you can't...
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.
What are you doing?
Virgil's head cocks slightly towards her - just like when he was
I feel like Rip Van Winkle.
I've woken up from a thirty year sleep
- and the world's passed me by.
It's just dancing. Who cares?
Virgil whirls on her - his hand on her shoulder to steady his look at
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.
It's just going to take time.
You weren't ready. We shouldn't have come.
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.
Virgil … look ….
Amy realizes what she just said - Virgil pulls his arm away.
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.
Oh my God, are you alright?
Virgil slams his eyes shut.
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.
Didn't want to wake you.
I'll only be a couple of days.
This isn't working.
What - we're not working - your eyes
- what's not working?
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...
What? You don't see me?
I saw you better when I was blind.
Well, you're not blind any more.
I'm sorry if that disappoints you.
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
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
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.
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.
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,
Suddenly Virgil feels someone next to him. Webster.
You want to join us.
Virgil watches the blind.
No - no - I'll wait for you
out here - when you're done.
As Virgil moves off to a hallway bench:
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.
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
You'd think he would have told us.
I mean those trees were in the photos.
We'll just have to win him over tomorrow.
Let me buy you a drink - get those
creative juices going.
(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.
C'mon - listen, they're playing our song.
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
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".
(eyeing the girl)
You want to know the truth -- God's honest truth?
Seeing's been the shits.
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.
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.
Didn't get what you expected did you?
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.
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.
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.
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.
What I want is to make it work with Amy.
And what does she have to say
She just wants me to see.
It's that important is it?
You know what I learned a long
time ago. Seeing girls like seeing guys.
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.
See - not so bad.
Not so bad.
It's nice to dance together again.
First time we danced - Connecticut. We
watched the leaves turn - so much to see
- I'd love to go back.
So would I.
What happened to us Amy? You're so intent on
fixing everything - why'd you give up on us?
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.
I never fell in love with architecture -
but I know I fell in love with you.
Now - that's bullshit.
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
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
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.
And she starts to dress:
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.
What's wrong? This was' a mistake -
a big mistake. Go back to sleep -
you've got an important meeting tomorrow.
I've got? - hold on here - you're not
bailing out on me - I need you.
For the meeting.
Of course for the meeting.
Dressed, she moves toward the doorway - Duncan sits up in bed.
I'm going home.
To be a babysitter.
She stops at the door.
Can't we for once be adults - face the
fact that we've just made a colossal error?
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?
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.
Virgil turns - finds her.
Amy starts toward 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.
You can't see it from here
- too many buildings.
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:
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...
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.
Let me say this. Every day of my life -
I've wished for just one thing.
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.
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.
I went to see my father the other day.
Amy moves toward him.
I couldn't face him. I felt like
I was letting him down. I feel
like I'm letting you down.
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:
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.
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
Aaron's voice-over continues as Jack motions to Virgil to follow him..
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.
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.
Distance, size, shape - perspective -
now all have profound meaning to him...
EXT. HEALTH CLUB - DAY
Virgil negotiating a glass door - exiting the building.
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.
This is an extraordinary achievement and
advancement for medical science and a
tribute to Virgil's determination to see.
INT. LECTURE HALL - DAY
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
(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?
No, really. Don't get me wrong - I love them
- they just weren't what I expected.
What about your girlfriend?
Whose did you think I was talking about?
ANOTHER VOICE IN THE DARK
Now that you're fully seeing -
what are you looking forward to most?
Not having to do these sessions.
No - actually - being independent.
Can you read yet?
Will you ever be able to?
I don't know.
If you can't read - will you ever be able to drive?
I don't know.
Well how can you say...
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.
Virgil looks up - Amy at the doorway.
The Atlanta project - I thought it went away.
Duncan did some song and dance - Falk's coming
to the lobby opening tomorrow - see our work.
I see it Amy.
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.
(moves in close, sexy)
Tonight is your night something
special I want to show you
What is it?
EXT. BUILDING - LATE DAY
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.
That's the Brooklyn Bridge, Empire State
Building, Chrysler building just over there...
Amy, look at me.
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?
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.
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.
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.
So - eight o'clock tonight.
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
Virgil massaging - becomes preoccupied with his skin's imperfections -
losing his concentration.
Hey, Virgil - I'm the one supposed
to fall asleep here.
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.
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.
What does that mean?
What you just did?
Virgil imitates him.
It means - the machine is only registering
sparks of activity - retinal sparks -
followed by nothing. How long has this
been going on?
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.
Your retinal function is down ten
percent. I'm afraid - your retinal
disease seems to have returned.
You're afraid. What does that mean - I
thought you corrected it. You told me
I was a 'seeing person'.
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
to be honest, I don't know. I wish to God I did.
Virgil stands, anxious - starts pacing.
OK. You're the expert. Tell me - what
do we do now - how do we repair this?
Virgil. I -- I wish there was a
nice way to say this.
Virgil backs away - doesn't want to hear it.
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!
Virgil, I understand what...
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.
Hard to say.
Month - few weeks -
Virgil stands there stunned - then looking to Aaron.
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
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.
You look good. Hey - how do I look?
I need some answers. Why'd you leave? Because
I'm blind - or because I quit trying to see?
To the point - I like that -
something you got from me.
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?
Hey. Virge - can we talk about this later, huh...
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.
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.
I'm going blind again.
His Father looks at him - stunned. He reels from the news - takes a
The doctor told me today. You're the first
person I've told. I wanted to come see
you before it was completely gone.
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.
Sorry the building doesn't open until tonight.
I know. I'm Virgil Anderson...with Roswell
Tremont. We did the lobby. I'm here to
check some details for tonight.
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
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
You want to see that the thing work?
Thing? What 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.
No - not a bit.
What do you think?
She pivots for him.
You look great.
Really. Not too flashy?
(she looks in the mirror, she is nervous)
I'm going to change.
Virgil lets her go - calls to her.
This is an important night for you.
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, it's good - very good.
I'm proud of you. I love the detail
- planted pots in the corners,
It's got genuine lines.
Look around - do you see it?
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.
He extends his hand. Virgil, obliged slowly extends his - having
trouble focusing - but Duncan helps him - taking hold of it and
Still working on that hand shake
you'll get it don't worry.
Congratulations - the place looks great.
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.
Go - do your thing.
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
Quite a party. Love the detail of the building.
Sometimes the detail doesn't matter.
Virgil stops - turns to Webster.
Ray. What are you doing here?
Aaron called me. He was worried.
I've been trying to find you -
Amy's office told me you were
here. It's bad?
It's almost gone. Last few days
have been pretty bad.
Obviously Amy doesn't know.
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.
You can't avoid this forever.
Virgil turns back towards the rain.
So Ray? Is it better to have seen and
lost than never to have seen at all?
I thought it was loved and lost.
Amy comes up to them.
Dr. Webster - this is a surprise.
Virgil invited me - wanted to show
you off I think. The place is terrific
- he's got every right to be proud.
Thank-you. I need Virgil for a
moment - schmoozing time.
(as he's led away)
Thanks Ray. I'll call you.
ANGLE ON - Duncan standing anxiously with Falk and his wife Donna as
Virgil - I'd like you to meet Jack
Falk and his wife Donna up from Atlanta.
Pleased to meet you.
Amy tells us you were blind.
Amy spurts out a glass of wine. Virgil deflects the comment.
That's OK - nice to see someone so honest.
Amy tells us you're her inspiration.
Any help you can give us with our project?
I'm a little biased but I kind of
liked Amy's original design.
But could we do better.
Amy jumps in with.
We could do better, Mr. Falk - a lot better.
Good, I like that attitude.
Let's keep trying for perfection.
Everyone smiles - Amy wraps her arm around Virgil.
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.
You wanna walk - I feel like some air.
See what we see? Sure.
Can I take your arm - eyes a little tired.
As they walk.
You really made the place
come alive with that fountain.
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
A seeing celebration?
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?
You know - there is something
I'd like to see.
Of course, anything.
The Rangers play tomorrow. Season'll
be over before we know it - could be
our last chance.
The Rangers. Sure, why not?
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.
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.
Should we find our seats. Looks
like the game's already started.
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.
I love the stadium the
way it's structure...
Amy - the game...
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.
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.
What? That was good right?
Yeah - it was great - I was just...
Suddenly Virgil becomes transfixed. Walking down the aisle, away from
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.
Virgil, where are you going?
And he's on the stairs - carefully moving down the stairs toward the
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.
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.
Virgil, what's happening?
Just having a bad eye day.
A lot to take in.
Tell me. What's going on?
Nothing. I see almost nothing.
Amy: she feels like she's about to explode.
It's OK for you to cry.
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...
I saw Dr. Aaron.
There's nothing they can do.
Then we'll find another Doctor.
There's got to be someone else.
We'll find something that works.
Don't you get it -
I can't go through this again.
So just like that - we just forget it -
give up? Why the hell haven't you told
me what was going on?
(whirls on her)
Because of this!!
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.
Let's face it - it's over!!
Virgil, give it time, you'll see.
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.
What are you doing?
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
I'm going home.
Amy walks toward him, picking a battle, rejection.
So you're big sister can take care of you -
feed you TV dinners for of your life.
Virgil tries to side step her.
I'm not going to go through this bullshit again.
Amy moves in front - confronting him
Is that what this has all
been to you - bullshit?
Yes!! Who the hell were we fooling?
I'm blind - I'm not meant to see
- I don't belong here.
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.
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.
I am not turning my back on you.
You want me to give up on you
- you love the self pity.
I don't want you to give up on ME.
But you won't give up on me seeing.
Because there must be other options.
Virgil, avoiding her, sidesteps quickly past her - straight into the
lamp, which crashes to the ground and breaks.
A short few steps then a much larger crash - the sound of a large
heavier thing breaking.
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.
(going to him)
Is anything broken?
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.
It's finished - can't you see that!
We both didn't get what we wanted.
I never meant to hurt you.
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.
Did you ever think it would be OK
to have a relationship with a blind man?
Amy - a pause.. Too long.
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.
INT. HOME - NIGHT
Virgil and Jennie entering his place - to be greeted immediately by:
SOPHIE bounding across the floor towards them - tail wagging - tongue
And he bends down to hug her. Sophie laps at his face. Virgil holds
her back to get a good look at her.
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.
Mom and dad.
Virgil just stares.
Everything's as you left it.
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
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
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.
She's at the door. Virgil cocks his head in her direction.
I picked up some things at the store -
T-shirts, I'm sure you're out, some socks...
Jennie, what's at the
end of Main Street?
Well - I think it's Vivian's little stationery...
Beyond all the stores - past firehouse.
What happens when this is no more Main Street?
Well - there's nothing really - you know that. ~
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.
I told you what you needed to know.
What was within my reach.
What more do vou want?
Isn't there anything more that vou want?
Is this about our father -
he called told me...
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.
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...
Where everyone what!?
Can protect me?! (beat)
Jennie, this place was a wonderful safe
haven for me growing up. I know that.
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.
Virgil, I - I can't...
Virgil reaches out his arms for her to join him.
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.
Amy - you in there.
She scrapes some plaster into a dust pan. We hear enters a key in the
door - and the door opens. Duncan
I knew keeping this key would come in
handy one day. What a mess - what happened?
It broke - I'm trying to fix it.
So - guess what?
I'm not in the mood for games.
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.
I'm not going.
What are you ta1king about?
What's the problem here?
The problem?! Everything.
Nothing is right thank-you very much.
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.
Are you finished?
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:
The CANE - being held by Ethan - as he taps his way down the stairs.
Hi, Ethan. Sorry - I thought...
He's not coming back is he?
No - he's not.
Ethan sees she's covered in dust - looks past her into the loft.
He looks past her at the sculpture half repaired.
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
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:
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.
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
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.
Did I miss?
By a mile.
ANGLE ON Amy: watching Virgil - realizing his sight is gone.
Ray told me you were living in town
- said I could find you here.
I rushed, didn't I? Fourteen steps
to the tree and I made us smash
right into it.
Amy sits next to him.
I finished the sculpture.
I'd love you to see it.
Figure of speech.
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.
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
You want to walk?
See what we see?
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.