Paradigm Shift: The Hidden Order

 

FADE IN.

INT. SUBWAY

ELLIS, a young student, stands waiting near the edge of the platform, looking towards the end of the train tunnel. He observes the other people who also wait.

ELLIS (V.O.)
As a kid I recall looking out at a starlit sky and considering the rapidly increasing human population, and the many ways in which we were causing suffering and consuming the scarce resources of the planet. I extrapolated where this would bring us in the future, and that sooner or later we would find ourselves - collectively - in an impossible, unmanageable situation.

Ellis looks at the people around him with a peaceful benevolence in his eyes, as more and more of them gather on the platform. He sees the train approaching in the distance.

ELLIS (V.O.) (cont'd)
I then reasoned that before such point could be reached, humanity would experience very dramatic changes. Whatever happened we could not continue on this path for much longer. It became very clear that during my lifetime I would witness the necessary end to a set of patterns that had defined human civilization for thousands of years.

He closes his eyes as a whiff of wind catches his hair. He then looks down at the floor. As the train comes closer, he begins to scan the area a few feet around him.

ELLIS (V.O.) (cont'd)
As time went on, my quest was to unravel these patterns that exist all around us, seen and unseen; the infinite and mysterious forces that connect us to each other and to the universe; until they would finally become increasingly decipherable, even predictable.

Ellis picks a spot on the floor and steps sideways into it. The train whooshes past him, starting to slow down.

ELLIS (V.O.) (cont'd)
Soon, this vision of a transformed world became more and more evident, as well as the urgency with which is foundation was to be laid out, had we any hope of halting the oncoming catastrophes.

The train finally comes to a stop. C.U. on Ellis' feet reveals that he stands perfectly aligned with one of the doors of the train.

ELLIS (V.O.) (cont'd)
What does this mean, I thought, for human existence as we know it? We, alive today, may very well be standing at the threshold of a new evolutionary leap for mankind.

The doors open, several people walk in, then Ellis steps inside. The door closes.

CUT TO BLACK.

OPENING CREDITS SEQUENCE
An intense MONTAGE floats through piles of books, notes, schematics and diagrams, people's faces and motions, things mechanical and organic, equations, photographs in history books, highlighted manuscripts, drawers full of writing utensils, a lamp, thunder flashes, blood circulates and nerves pulsate, eyes and lips, finger tips slide along words and more words, skyscrapers rise from the ground, a million people march along the street, computer screens flicker, networks branch, the planet spins and clouds spiral, Ellis drowns in a world of information and the screen goes black.

CUT TO:

TITLE: PARADIGM SHIFT: THE HIDDEN ORDER

FADE IN.

INT. LIBRARY - DAY

Raindrops run against the window of the library. Ellis stares into the blue outside, an intense, pensive look in his eyes.

He walks up to a computer stall. With quick fingers, he enters a search, instantly recognizes the text he wants and scribbles down the code on a notepad full of other codes.

CUT TO:

Ellis walks through rows of books as though he knows exactly where to go, finds the shelf he wants and pulls out a book. PROCESS AND REALITY BY A. N. WHITEHEAD is the title. He swiftly finds certain pages, checks references, flips through the introduction and table of contents as though evaluating the text. He then takes a quick look at other books in the vicinity. A few notes are jotted down.

CUT TO:

A photocopier flashes its lights and scans the pages of the book. Ellis stands by, inserting the copies into appropriate folders, labeling the pages and logging all entries onto a list on his notepad.

CUT TO:

Stalls are lined up against the windows, Ellis picks one and plops his backpack on it. Soon he has a laptop, several books and a series of folders spread carefully across the table. We slowly zoom into his eyes as he furiously reads, highlights, separates and groups sheets together, fills out parts of a hugely detailed diagram, connects graphs and enters data onto a table on his computer. He puts his pen down, presses the return key and leans back, taking a deep breath.

The computer processes the data quietly. Ellis leans his head on the wall to rest. He starts to doze off.

C.U. of the papers on the table. Certain words stand out from the ocean of incomprehensible scribbles and print-outs.

(1) Reality = form (changing) + substance (changeless)

(2) Incompleteness theory, Kurt Godel: consistent system: not complete, logic not complex enough; inconsistent system: complete.

(3) Organic order: General Living Systems Theory; matter-energy/information processes James Miller, etc.

(4) Infallible: not defined by fallible terms -> language

(5) Hegel: actual history; analytical/critical history; reflective history

(6) LAWS identify the universe, don't define or restrict(?)

On a complex diagram, one bubble, with arrows pointing at it from all sides, remains unfilled.

Ellis awakens with a startle. The computer screen has gone black for some reason. He sits up. Reaching behind the laptop he finds that the power plug is still connected. Ellis frowns and rubs his eyes. We follow him under the table as he kneels down on the floor to check the outlet on the wall. The wire is unplugged from it.

Ellis looks suspicious. He struggles around in the tight space to reach for the wire. Behind him, something flashes quickly on the wall, and he turns around as though he's heard something. There is a stall behind his, facing the opposite direction. No one seems to be in it. Ellis quickly plugs the computer in, crawls out from underneath the table and scans the surroundings for any movement. One tall person paces away near the end of the hall, too quickly to be identified.

Checking the top of the table nervously Ellis finds nothing to be missing. He passes his hands an inch above the surface of his papers rather methodically, and seems to notice something strange, but begins to gather his materials to leave.

CUT TO:

INT. LOUNGE STUDY AREA - DAY

The remnants of a meal lay scattered carelessly around the table, nevertheless a pile of folders is neatly stacked in the middle. Ellis finishes the coffee in his mug and the conversation on his phone.

ELLIS
It has to do with pretty abstract thinking, sort of; we have to rethinking all the definitions we're used to in terms of philosophy, science, belief... because most everything so far has been based on a linear perception of the world, and history, and existence.

Clearing the table of some of the folders, he listens.

ELLIS (cont'd)
Well it means life just isn't simple, you know... "cause and effect"... these are just words that we use to simplify what is really a complex array of interrelated events, something much more complicated... and circular, and non-linear. Circular meaning something that doesn't just begin somewhere and end somewhere else, you know... you need to understand all of it before you can start talking about any part of it. So in other words, things happen because they're all related expressions of the same... Reality, capital R.

He puts the cup down.

ELLIS (cont'd)
It's hard to explain why, I just--

There is a pause.

ELLIS (cont'd)
Um, how's-- how are things with you anyway? (pause) That's good, I'm also-- oh, okay.

He sighs lightly as he waits on the line.

ELLIS (cont'd)
No that's alright. Um, I guess that was it-- I just wanted to... yea. I'll talk to you later.

He looks frustrated, rubs his eyes. After a moment he begins to dial on his cell phone again.

ELLIS (cont'd)
Hi, is this the right number if I'm looking for a listing of the student union organizations on campus? (pause) Well I was wondering if maybe there are unofficial groups that aren't-- yea, that aren't listed.

On the table is a card with a number on it for the student union. He quickly turns it around and scribbles down a different number.

CUT TO:

More numbers are written down. From a sofa in the lounge, Ellis continues to speak on the phone.

ELLIS (cont'd)
Professor... (looking at the card) Hankin? I'm sorry to bother you outside of your office hours, but I had a quick question. I'm aware that recently you haven't sponsored any student organizations but at the office of health and wellness they referenced you as one of the counselors for a certain club that... no it doesn't hold meetings anymore but... oh. Okay, it's Doctor... sorry can you spell that?

CUT TO:

C.U. of doodles on the front of a folder.

ELLIS (cont'd)
Is there a way I could get in touch with one of the past club members? Would there be a list of alumni then, that I could access?

CUT TO:

ELLIS (cont'd)
I understand I'm not authorized but we need his permission by tonight to print the information... for the school paper, yes...
He cringes with guilt for lying.

ELLIS (cont'd)
Well, we don't mention his name in the article but - no, that's the thing, I don't know his name. I don't, could I - look if I could just have a first and last name that'd make things a lot easier for us... great, thank you.

Ellis jumps up excitedly, and accidentally knocks over a bit of his coffee. The dark liquid spreads through the fibers of the paper as he writes down the name: LOREI FOWLKES.

CUT TO:

INT. CAMPUS BUILDING - DAY

A group of loud students storms by. Ellis makes his way through the busy room to look at the listing of departments on the wall. C.U. of sign: PUBLICATION ARCHIVES 4TH FLOOR.

CUT TO:

INT. ARCHIVES ROOM - DAY
With a key in his hand, Ellis searches for the right file cabinet. As he unlocks one of the shelves, a skinny guy leans on the wall next to him while opening his soda.

BEN
Ey, how's it going, Ellis?

ELLIS
Oh hey Ben, fine.

BEN
You just pokin' around?

Ellis flips through different folders without looking up.

ELLIS
Well they gave me this key at the front desk, actually, all I did was ask for it. I didn't know this but they keep an archive of every yearly publication of the phone directory here.

BEN
What, too shy to ask the girl for her number?

Ben grins and takes a sip out of his soda. Ellis pulls out a folder as though he didn't hear him.

ELLIS
The person I'm looking for doesn't go here anymore, I'm having to look all the way back to the 80's. See, I can trace back their campus phone line and then figure out where they lived in the dorms.

BEN
Mmm, if you're trying to find them, shouldn't you look for where they live now, though?

ELLIS
I tried, they won't tell me - they're not supposed to.

BEN
With a degree from this place they're probably living in the street by now anyway. This guy owes you money?

ELLIS
Even if he did, what good is his old address, right?
Ellis seems unsure of where exactly he's going with this.

BEN
Right.

Ben gets the impression Ellis doesn't want to share what he's doing. He starts to move back.

ELLIS
Ben, didn't you live in the dorms last year?

BEN
Yeah, why?

ELLIS
This is weird... Here's LOREI Fowlkes, Fall of 1983, his extension was 7512.

Ben moves closer to look at the two directories that Ellis is holding.

ELLIS (cont'd)
Spring 2004, look at this, extension 7512 isn't listed anymore. It goes from 11 right to 13.

BEN
I don't know man. Oh, you know what, some dorms they converted to storage rooms 'cause the windows were rusted shut or something.

ELLIS
Really? Then they probably won't let me in there. Man. Way to waste a whole dorm room just because of a broken window.

Ellis closes the folder and takes out his notepad.

BEN
Yeah I know, they coulda' just put the freshmen in there. What are you researching by the way?

ELLIS
This is just... well it's a...

He is caught unprepared to explain exactly what his investigation entails.

ELLIS (cont'd)
Research on a lot of different things, basically. A combination of philosophy, history, biochemistry, metaphysics, religion, mathematics...
He closes the file cabinets and stands up to leave. Ben follows him.

BEN
Wow, what kind of a class is that? Those are some pretty... uh, different subjects, Ellis.

ELLIS
It's not for a class really, but I'm trying to make it into my final thesis. And I mean, they're not different at all if you think about it.
We follow them out of the room and down the hall. They pass shelves of books.

ELLIS (cont'd)
It's like the deeper you go into each of those subjects the more you realize they are part of the same. It's like reading the same novel in different languages.

Ben reacts with a combination between a shrug and a nod.

BEN
I try not to over-analyze things, you know.

Ellis takes no offence and nods. They arrive at the main lobby and he decides to split.

ELLIS
I'm going this way, I'll see ya.

BEN
Alright, hope that LOREI guy helps you out. Later man.

Picking up a phone on the wall, Ellis dials extension 7511.

ELLIS
Hi, I had an envelope delivered to me but it's the wrong address. Is your last name Kern? ... Oh great, let me bring it up to you, what's your room number? 317, got it.

CUT TO:

INT. DORM BUILDING, OUTSIDE ROOM 317 - LATE AFTERNOON

C.U. of door. An advertisement for a dance club is shoved on the side, next to the number 317. PAN to reveal Ellis across the hall kneeling beside a different door. He seems to be fiddling with the doorknob.

CUT TO:

INT. ROOM 318 - LATE AFTERNOON

C.U. of doorknob from the inside of the room. A coat-hanger, twisted into a loop, emerges from below. After a couple of tries, the wire catches the doorknob, it is pulled down, and Ellis enters.

The tone of the room is mysterious. Boxes are piled high, the walls are completely bare and weak sunlight peers through the shades. Ellis checks the windows, they are not rusted shut. In fact they open quite easily.

The boxes in the room seem to be of no interest to Ellis. He steps back and tries to observe the walls instead. He holds his hand in front of the vent. No air flows. The light-switch does not turn on any lights. Small bits of tape form a square on the wall where there would have been a poster. He finds tiny holes that suggest things were pinned all over the walls at one point.

Underneath some boxes Ellis uncovers a dusty table. He clears a spot on it and runs his fingers over the surface. There are crevices and scratches that make it seem like furious handwriting was done on that surface over long periods of time. In the drawers there are stains of rust and wax.

Ellis is piecing something together but he is not quite sure what it is. As he is about to leave, he stops in his place and glances over his shoulder at something he forgot. The ceiling.

CUT TO:

Ellis' head peeks over the ceiling where he has pushed aside one of the tiles. Eventually he finds a small notebook with wrinkled pages, as though they had been soaked at one point.

C.U. of notebook as Ellis examines it under a flashlight.

It looks like a weekly planner, but most of the black ink writing has been blotted out. The year is 1983-84.

One page near the end contains a list of dates.

ELLIS (whispering)

Meeting dates... October 19th, January 8th...

As he flips the pages, Ellis realizes the extensive list begins to cover the following few years, going through until the end of the decade, and further.

ELLIS (whispering) (cont'd)
April 1987... December '89... '92... '96... what the... 2001... 2002...
He turns to the final page and finds dates for meetings in 2003, 2004 and 2005.

CUT TO:

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