Visions

After a young woman bumps into an older man in a haste the two switch glasses. Arthur ends up seeing things in a new perspective. Link to finished film:

Visions

EXT. BUSY STREET " DAY

A young woman, ADELAIDE, runs in the streets from something. She scurries through the crowds of people. BEEPING CARS can be heard. 

She looks behind her frequently and sees a BLURRED FIGURE. She faces front and continues running, terrified.

Adelaide then bumps into an older man, JOHN.  During the collision, their glasses fall off. John picks up Adelaide’s glasses and Adelaide picks up John’s glasses unaware. They both put on the other’s glasses.

Adelaide rises from the ground, brushes herself off, and continues her sprint without apologizing to the man. Adelaide blinks her eyes at the adjustment of glasses.

John blinks his eyes at the adjustment and looks back at the running woman confused. He dismisses it and continues his commute.

EXT. LIGHTRAIL STATION " DAY

John crosses the street and he blinks his eyes rapidly. They start to tear up from the itchiness. He stops right in front of the Light Rail station’s sign that reads, 34^TH STREET STATION.

He takes off his glasses and rubs his eyes frantically. John puts his glasses back on, and dismisses the oddity. He walks to the platform, validates his ticket, and waits behind the yellow lines.

INT. LIGHTRAIL TRAIN " DAY

John sits down on the train and sighs loudly. He places his BRIEFCASE on the empty seat next to him. John takes out some paperwork from the briefcase and examines the legal documents. The man’s hands shake as he reads the document.

 

He looks at his quivering hands quizzically. He sets the document down, but his hands still shake. He stuffs his hands into his jacket pockets inconspicuously so he does not rouse suspicion.His hands stop shaking. He breathes a sigh of relief.

 

A WOMAN, enters the train and looks around for a place to sit. John smiles at the woman, stuffs his document into his briefcase, and sets his briefcase on his lap. She nods in his direction, sits down next to him, and takes out her MOBILE PHONE.

 

The man’s hands shake again. He hides them behind his briefcase.The woman gets off at her stop and John’s hands return to normal. He looks outside the train window and sees several POWERLINES in the city. His eyes begin to itch again. His vision begins to blur.

 

EXT. BUSY STREET " DAY

Adelaide runs in the direction of the local MCDONALD’S and looks behind her once more. Nothing is there. She slows her pace and looks puzzled. She tries to catch her breath. She stops. Adelaide takes off her glasses and cleans them on the cloth of her sweater.

 

She puts the glasses on again and looks up at the POWERLINES on the street before her. Her vision blurs and her head starts to throb. Adelaide cringes and rubs a hand over her forehead.

 

INT. LIGHTRAIL TRAIN " DAY

John is visibly in pain and shuts his eyes tightly. Everyone else on the train is unaffected.The passengers continue their daily CHATTER, while John cups his face into his hands as the pain grows stronger.

 

EXT. MCDONALD’S RESTAURANT " DAY

Adelaide puts on her hood and runs inside the venue.

 

INT. MCDONALD’S RESTAURANT - DAY

Adelaide sits at the first available booth. She breathes normally, her face relaxing, as the pain subsides.

 

Int. LIGHTRAIL TRAIN " DAY

John’s eyes are squeezed shut and his hands over his head. The train slowly moves further away from the visible powerlines and John’s pain eases as he takes his hands off his head. He hears an AUTOMATED VOICE.

Automated voice

    This stop, Exchange Place.

John looks outside the Light Rail window perplexed that he is already at his stop. He runs out of the train and towards the PATH station.

 

INT. EXCHANGE PLACE PATH STATION " DAY

John enters the station and sighs in relief. He proceeds to a MetroCard Vending Machine.

 

While he refills his METRO CARD, he hears LOUD FOOTSTEPS behind him that drowns out the usual hustle and bustle of PASSENGERS AND TURNSTILES. The footsteps grow louder as if supernaturally heightened.

 

John looks behind him and sees a FIGURE coming closer to him. John runs down the escalators quickly and gets into the train safely. He sighs in relief.

 

INT. MCDONALD’S RESTAURANT " DAY

Adelaide sits in a booth at the restaurant. Her vision of the setting becomes obscured when a younger woman, ASHLEY, sits across from her without asking. Adelaide looks at her confused.

 

The younger woman smiles brightly at Adelaide. Adelaide looks around the McDonald’s paranoid. Her head is turned away from the younger woman.

 

Adelaide hears Ashley clear her throat. Adelaide jolts in surprise but draws her attention back to the stranger.

Adelaide

Um, yes?

Ashley c***s her head slightly to the side, confused.

Ashley

Those aren’t your glasses are they?

Adelaide touches the side of her glasses instinctively.

 

Adelaide

    What do you mean?

Ashley smirks.

ASHLEY

He’ll know you switched them and will still find you. (Pause) Or whoever has your glasses. Who knows?

Ashley shrugs and exits the venue.Adelaide sits there puzzled. She looks out the window behind her and sees the younger woman walking away. After the young woman walks away, a blurry figure appears on the bench across the restaurant.

 

INT. PATH TRAIN " DAY

John breathes a long deep breath, relieved. He finds a seat on the train and looks up as he sighs. He smiles and notices there is a PASSENGER across from him, who is oddly blurry in his vision.  John takes off his glasses and cleans them on the bottom of his coat.

 

He raises his glasses in the air. Through the lenses there is a blurry train-goer. Outside of the lenses there is an empty seat. John gulps loudly and shuts his eyes hoping it’s a dream.

 

When he opens his eyes he sees the empty seat. He slowly put his glasses back on and sees the blurry train-goer flash him a sinister smile. 

CUT TO: FADE TO BLACK

SINISTER LAUGHING can be heard.

FADE OUT:

The End

 

 

Author's Note

Ignore formatting issues because this website messes up formatting.

Please do not try to pass off as own, if using this for reference etc. please credit me: Amanda Pabon