The GHOST stands in the hallway, MODERN BUSY PEOPLE rushing to work or walking dogs pass by.
GHOST
Peter? Peter? Have you seen Peter?
She RUNS outside, JUMPS and FLIES up to the main tower.
A beautiful dim sliver moon dangles in the sky, (screened through a barrage) of cherry branches. The night is quiet. The clouds are still.
EXT. TOP TOWER
CAMERA SWERVES in arc around the GHOST's front in MCU. The night is so cold we can see her breath in the thin, dark hair.
INT. HALLWAY - DUSK
The GHOST walks slowly through the hallway, stone faced, still, rigid. As if she is possessed by time. Stuck in it.
She RUNS down the stairway, frame just knee and below, blossoming skirt and working leatherette boots.
PIGEONS fly out as she opens the exterior door. She spins, in confusion, suddenly noticing modern day clothes she is dressed in. Suffocating sounds, the squaking of the breaks, the loud effacing rank of the motors, trucks. She clasps her ears. She's never been here before.
CARS whiz by, she doesn't know what to do. As if they are invading her well known territory, that she knew of cobblestone streets and horses; a more gentler time.
The traffic slows down, CRANE DOWN on a red light, wide angle.
The cars slow, she sees a yellow car (A taxi), the door reads in black ink: 1838.
YOUNG MAN, frame in front MCU and LONG shot walks down the promenade street, under the archway. Sunglasses over the eyes, blind stick in his left hand. Turns to the right.
YOUNG MAN
Can I help you?
INT. TAXI - NIGHT
The SAME MAN, wearing sunglassees, is the taxi driver. She is in the back seat. Glossy nylon plastic navy blue seats. He checks his sight to the right, we see his eyes shift. Despite the sunglasses, he is not blind.
MODERN GIRL
I...I...um...
RUDE GUY IN TRUCK BEHIND stands up on the ridge of his truck, out the window.
RUDE GUY
Come on budst! You're holding up traffic!
We see SAME MAN's eyes, theough the sunglasses but as mysteruous cinematic suspense. The WINK of his eye lashes. The TAP of his eight foot on the petal. The round playful tapping of his fingers on the steering wheel. Yet he is not inpatient.
Her eyes glance to an ad on the seat, a sub shop.
MODERN GIRL
(Befuddled)
Submarine.
DOLLY MOVES RIGHT through an alleyway towards an eatery. Three Figures talking, smoking in the cracks of the buildings.
MODERN GIRL (VO)
And then I'm looking for the glass elevator.
INT. CAR
The SAME MAN gulps.
SAME MAN
I've never taken anyone there before.
PART TWO.
EXT. STREET - NIGHT
PAN UP POV of the ghost on the grand exterior tower.
INSIDE, intricate thin elevator rigged by dummy, reels and wires of rusted steel.
Clearly, a sign from a past era.
(due to the technology)
The shafts are thin, hollow; holding nothing, yet they are moving.
Like vertical conveyor belts.
INT. DINER
A well-lit diner, yellow neon signs, The sounds of grilling.
XCU OVERHEAD SHOT on the counter. A man's hands sliding money, the SOUND of the ka-chink of a register.
He turns, LONG or MEDIUM WIDE, his EYES gaze into the CAMERA.
INT. THE INNER TOWERS
An intricate system of pulleys. Rusted red copper.
We hear no sounds, only watch.
INT. LOBBY
A BLIND MAN taps his right thumb to his forefinger, waiting by the elevator.
Inside, the
The numbers inside light up, with no one there.
2-3-4-5
As if a ghost is punching them to fool him, yet they light up on their own. No one pressing them.
HE TWISTS, XCU or CU, his left wrist inwards, to view his watch.
Frame his POV, as if standing,
A grand, well-lit exterior clock moves, somewhat faster than the second hand. On a high tower with triangle roof.
5, 4, 3, 2, 1
We see the numbers descend on the elevator on a gauge, ?not the elevator buttons? Or inside. The numbers loose their glow one by one.
Italics, title screen, white titles on black in a cursive a script
He's Not Blind.
He sweeps his walking stick, held in his left hand, walking through the archway towards the water's edge.
EXT Driveway dusk
CAMERA IN FRONT OF HIM, STEADICAM or something dramatic, sweeping from behind, showing the view of the water.
He stops.
MAN (Looking up to the windows of the second floor) out loud not voice over
A grand ballroom. The parlor.
FX SHOT
The hands of his watch turn backwards, fast but not on hyper speed. Lit in blue neon glow
We HEAR laughter from within. A modern cheese and wine party.
MAN (VO)
(whispers)
They're going to think I'm blind.
To the wide shot of him under the overpass, street in the background.
INT. ELEVATOR
pt 2#2 add*****