At First Sight

Synopsis: First Sight is true to the title from start to finish. Val Kilmer skates in the dark appears FIRST to Mira Sorvino car headlights driving lost searching for her retreat spa motel. Kilmers FIRST visual memory links him coincidently to his last. This is a true love drama with Nathan Lane providing laughs counseling visual therapy. All stars emotional vulnerability teach the audience learning love matters in art, architecture, education, parenting, massage and trees.
Genre: Drama, Romance
Director(s): Irwin Winkler
Production: MGM
 
IMDB:
5.9
Metacritic:
40
Rotten Tomatoes:
32%
PG-13
Year:
1999
128 min
436 Views


EXT. VALLEY - DUSK

Gold light dappling across a valley that seems to reach on forever.

We ease back, revealing more - taking in the visual feast - finally

discovering a seated figure facing out over the valley - a DOG at

his feet.

VIRGIL ANDERSON, life ahead of him - someone seemingly at ease with

himself. As we watch. him a moment - SOUNDS become prominent -

whistle of the wind through the grass - a bird's wings as it takes

flight - a tree branch creaking under its own weight. And as he sits

there, listening, we see the last rays of sunlight slip from the

day.

BLACK - and our TITLES come up.

Then out of the darkness come a pair of HEADLIGHTS. - and we're:

EXT. NEW YORK TURNPIKE - INTO PINECREST - DUSK

An old BMW 2002 making its way up the Taconic Parkway.

INT. BMW - DUSK

On the radio:
Whitney Houston's "I'll Always Love You". AMY TREMONT,

30's, driving, on the phone.

AMY:

I'm lost Betsy, and you know me -

I don't wear lost well - wait, wait I'm losing you...

(the cell phone glitches)

I'm pulling over before you disappear forever.

Amy pulls off the side of the road. Wrestles with a map and the

phone.

AMY:

Sign? I was looking for a sign? There's no...

Her attention is caught by something off camera. She stares out into

the night..

HER POV - A small iced over pond - and in the middle - moving about

is Virgil, ICE SKATING - hockey stick in hand - moving about the

rink with an imaginary puck.

AMY (O.S.)

(distracted)

Yes... I took the first ..... no, no, I'm listening...

Virgil winds up and takes a slap at the ice with his stick - throws

his hands up in the air like he just scored.

Amy smiles, peers off down the road. A sign: BEAR MTN. SPA AND

RESORT 1.4 miles.

AMY:

Wait, I got it - yeah. No don't call me.. right,

unless you hear from Atlanta. And fax me the

designs - I want to tinker with them a bit more

... I'm going to rest - bye - I'll see you in a week.

Beep she hangs up. Looks back out to the pond. It's empty. Shrugs -

about to pull out - that love song still blaring.

AMY:

Oh p-lease, Whitney.

CLICK - she shuts off the radio - and pulls back out onto the road.

EXT. BEAR MTN. HEALTH SPA - NIGHT

Amy pulling luggage out of her car. She takes a breath - clearly

she's exhausted - and starts towards the entrance.

INT. BEAR MTN. HEALTH SPA - RECEPTION DESK - NIGHT

Amy at the front desk with the Night Manager CAROLINE, 30'S,

annoyingly fit.

CAROLINE:

… we have a full weight room, lifecycles,

stairmasters, a spa, yoga, aerobics, spin classes...

AMY:

I'm really just looking for a quick fix, here.

Do you have anything that just involves lying down?

CAROLINE:

A massage.

AMY:

Great. I'll have one a day. Not too early.

INT. BEAR MTN. - MASSAGE WAITING AREA - NEXT DAY

Amy enters, wearing sweats, she checks her watch - looks toward a

closed door - about to grab a magazine when she hears from behind

the door:

WOMAN'S VOICE

Virgil, Oh God..., right there. Yes.

Amy's interest piques - the woman's murmur continuing - deep

ecstasy.

WOMAN'S VOICE

Yes there - a bit more...

(a small bell DINGS)

--wait - wait, you can't stop - one more minute - noo!

VIRGIL'S VOICE

Sorry, Susan - time's up.

I've got someone waiting.

And the door opens - and we see a woman, 60's,

SUSAN, Bette Midler type, backing out of the room.

SUSAN:

Virgil, you have to come live with me.

VIRGIL'S VOICE

And what would your husband say?

Amy, you out there? - c'mon in.

SUSAN:

That's it - I'm getting a divorce.

Amy smiles as she passes Susan and enters.

INT. VIRGIL'S MASSAGE ROOM - DAY

Virgil has his back to us as he prepares the table. The room is very

ordered - every vial, bottle, towel has its exact spot.

VIRGIL:

Hey, Amy, I'm Virgil - why don't you

get ready - hop up on the table.

Amy sees Virgil - his head turned slightly away - she drops her

sweats and lies on the table, face down - pulling the sheet to cover

herself.

AMY:

Sounds like you're a genius at this.

VIRGIL:

(laughs)

That's right.. Mozart, Einstein, Virgil Anderson, massage therapist.

Now I'm going to start working somewhat deep -

you let me know if you want anything deeper.

AMY:

Deeper is good - where I come from,

all you get is shallow.

VIRGIL:

I like that - deep it is.

CLICK - he hits a button on a CD player and as we hear the soulful

aria "Mira, 0 Norma" from Bellini's Norma.

VIRGIL:

First time in Pinecrest?

AMY:

Came in late last night..

missed the town completely.

VIRGIL:

If you came in broad daylight,

you could still miss the town completely.

Dissolve to:

Slow moving cuts of Virgil, working long strokes over Amy's body - -

his hands gracefully LENGTHENING and STRETCHING her muscles.

VIRGIL:

Too much compute? work.

AMY:

Uh-huh.

VIRGIL:

Bad chair - you should think about a change.

AMY:

(quiet)

Absolutely.

Virgil reaches his hands all the way down her spine and makes a move

that causes Amy to release a very deep guttural sound.

VIRGIL:

Too deep?

AMY:

No.. ..... just right.

Amy is now lost in another world - as Virgil shifts - working gently

- not caressing - but molding - like a sculptor.

A moment and Amy, surprisingly, begins to cry - softly. Virgil stops

- takes a step back.

VIRGIL:

I - I'm sorry - it was too deep...

She cries for another few beats - then takes a breath.

AMY No - it.. it's not you..

It's just things have kinda built up,

I don't know why I'm crying.. look,

this is embarrassing...

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Steven Levitt

Steve Levitt is the William B. Ogden Distinguished Service Professor of Economics at the University of Chicago, where he directs the Becker Center on Chicago Price Theory. Levitt received his BA from Harvard University in 1989 and his PhD from MIT in 1994. He has taught at Chicago since 1997. In 2004, Levitt was awarded the John Bates Clark Medal, awarded to the most influential economist under the age of 40. In 2006, he was named one of Time magazine's “100 People Who Shape Our World.” more…

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