Plot
At the behest of her ultra-conservative fiancé Warren, scatterbrained five-pack-a-day chain smoker and clairvoyant Daisy Gamble attends a class taught by psychiatrist Marc Chabot for help in kicking her habit. While undergoing hypnosis, it is discovered she is the reincarnation of Lady Melinda Winifred Waine Tentrees, a seductive 18th century coquette who was born the illegitimate daughter of a kitchen maid. She acquired the paternity records of the children housed in the orphanage where her mother worked and used the information to blackmail their wealthy fathers. She eventually married nobleman Robert Tentrees during the period of the English Regency, then was tried for espionage and treason after he abandoned her.
As their sessions progress, complications arise when Chabot begins to fall in love with Daisy's exotic former self and Daisy begins to fall for him, and his university colleagues demand he either give up his reincarnation research or resign his position with the school. While waiting for Chabot in his office, Daisy accidentally hears a tape recording of one of her sessions; and when she discovers Chabot's interest is limited to Melinda, she storms out of the office. When she finally returns for a final meeting with him, she describes fourteen additional lives, including her forthcoming birth as Laura and subsequent marriage to the therapist in the year 2038.
Read more about this topic: On A Clear Day You Can See Forever (film)
Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)