OPENING CREDITS
MIXTURE OF SHOTS, SOME OF THE “PLATFORM” (FOR ARCHITECTURE) ITSELF, OTHERS OF THE ACTORS INTERACTING IN A VARIETY OF DOMESTIC AND PROFESSIONAL SCENARIOS (EATING, WORKING, RELAXING, ETC.) MUSICAL ACCOMPANIMENT IS “Makin’ It.” MUSIC AND LYRICS BY FREDDIE PERREN AND DINO FEKARIS.
ACT ONE (Kitchen)
FADE IN:
INT. “COUNTER” – MORNING
“Makin’ It” theme song fades out as HUGH stands at the counter preparing breakfast while RUTH sits on nearby step examining her phone and drinking coffee.
The unexpected sound of a loud timpani startles HUGH.
HUGH
(looks up)
What was that?
RUTH
I got some new ring tones!
HUGH
It sounds awful!
RUTH
Well, I’m working on arranging my day by sounds.
Brings phone to show to HUGH.
RUTH
For each thing I need to do, I have a different sound—so I know immediately what it is! I’m working on a streamlined live/work balance—you know, “meet with client,” “drawing set due,” “take out the trash,” and so on.
HUGH examines the phone screen.
HUGH
You have 48 alarms set for today?!
RUTH
Yes, today’s an easy day. You should see Thursdays!
There is the sound of a ringing phone.
HUGH looks expectantly at RUTH, who studies her phone quizzically, then goes back to drinking coffee.
HUGH
(curious)
What was that one for?
RUTH
Huh? Oh, I’m not sure, I don’t recognize that sound.
HUGH looks skeptical.
HUGH
It sounded like a phone ringing.
RUTH looks at phone and sees that there is a message.
RUTH
Oh, you’re right! I always forget that this is a phone!
HUGH rolls his eyes and returns to kitchen work.
RUTH holds phone to ear to listen to message and makes a variety of faces while listening.
HUGH looks at RUTH for feedback, but gets no indication of who has called, so he goes back to making breakfast.
RUTH continues to listen and eventually hangs up the phone, but does not speak.
HUGH
Well?
RUTH
Hmm? Can I ask you a hypothetical question?
HUGH
No! The answer will be no.
RUTH
I didn’t ask yet.
HUGH
You don’t need to, I can already tell.
RUTH
No . . . it’s not what you think!
HUGH
Let me guess—
A ray-gun sounding alarm goes off. HUGH sighs loudly and continues to work in the kitchen. RUTH looks timidly at the phone, then avoids HUGH’s gaze.
HUGH
So, what is this hypothetical question, anyway?
RUTH
You tell me, you seem to know so much.
HUGH
Ok, let me think . . . someone wants us to design a whole project, in advance of getting the commission. And, if we do a good job and they like the design, they may consider hiring us, but in the meantime, they can only pay us in coupons.
RUTH
BUZZZ! Wrong!
HUGH
Really?
RUTH
There was no mention of coupons.
HUGH
So why are you happy about that?
RUTH
Well, I’m not happy about THAT, per se, I just wanted you to know that you were wrong.
HUGH
Alright, fine. But what do we get out of it? Hypothetically?
RUTH
Well, hypothetically, it’s the same thing we always get—the opportunity to design something.
HUGH
But, hypothetically speaking, don’t you think it would be good to occasionally have the opportunity to pay our bills?
Sound of a loud drum rim shot.
HUGH
What in the world is THAT one?
RUTH looks at phone and turns it off.
RUTH
It’s a reminder.
HUGH
A reminder to what?
RUTH
To pay our phone bill.
A long silence follows. RUTH busies herself with checking e-mails and other things on her phone. HUGH continues to make breakfast.
HUGH
Ok, I’ll bite. What is so great about this project that you want to do it?
RUTH
Remember when we did that feasibility study for converting a gas station into a gastro-pub?
HUGH
Yes, I remember. That was fun.
RUTH
It was!
HUGH
They’re ready to move forward with the project?
RUTH
Nooo. No way, much too expensive, as we did such a great job of pointing out in our study. But, they did give our name to another restaurant called “JIB,” and they want one of us to come for an interview today.
HUGH
Well, that doesn’t sound so bad, but first let’s just find out—
Very loud reveille bugle call is heard.
HUGH
(startled)
WHAT was that?
RUTH
Just another reminder.
HUGH
What now?
RUTH
That we should have started working hours ago!
HUGH
Are you sure that wasn’t just for you? I mean, I started working half an hour ago. (taps forehead) In my mind.
Laughter and applause combine with an instrumental version of “Makin’ It,” as the camera pulls out to reveal the “kitchen” platform elevation.
FADE OUT:
END OF ACT ONE
-COMMERCIAL (VersaBlock)-
[In the style of 1950s toy ads like Wham-o and Hasbro]
LOUD MALE ANNOUNCER
Kids! Do you ever find yourselves sitting around, overwhelmed by boredom?
Staring aimlessly out the window?
So bored time seems to stand still?
Bored enough you actually start twiddling your thumbs?
Well never fear, VersaBlock is here!
What do you say, Billy? Give them a try!
VersaBlocks are expertly designed to allow for hundreds, even thousands of possible configurations.
You will never be bored again.
Let’s have a look . . . not bad.
How about a tower?
Look at him go.
Better pay attention.
Awww . . . that’s OK, Billy.
VersaBlocks are not afraid to fall.
Let’s see how high you can go.
Now, that’s a beauty.
Nice job, Billy!
Versatile, Colorful, Fun.
It’s VersaBlock. Give them a spin.
Buy the starter kit today.
Forget the Clock. VersaBlock.
FADE OUT:
ACT TWO (Office)
FADE IN:
INT. “TABLE” – DAY
HUGH and RUTH are sitting at the table working on laptops across from each other, partner-desk style. Models and drawings are strewn about the table.
RUTH
What exactly did you say to them?
HUGH
(looks up) Nothing much, just the typical introductory stuff.
RUTH
Like when you explain that low budgets are an opportunity for innovation? What do you call it, an “invitation to innovation”? Or did you use The Three Little Pigs to explain zoning codes?
HUGH
Please, this was a sophisticated presentation. I did not bring up The Three Little Pigs.
RUTH
Then what happened? We just got an e-mail, telling us to forget about the project. What did you actually say?
HUGH
(looks mildly confused, then registers recognition) I don’t remember exactly, but it’s possible that communication broke down at one point.
RUTH
Oh? What did you do?
HUGH
Well, I was trying to let them know that we’re interested in traversing the liminal space that seems to separate the architect as self-serving artiste and the client as demanding Philistine.
RUTH
You said those words?!
HUGH
Which ones?
RUTH
“Liminal,” “Artiste,” “Philistine”?
HUGH
(sheepishly) I may have.
RUTH
You do realize the irony of sounding so pompous while trying to convince someone how down to earth you are? Why didn’t you just say that we’re interested in common ground?
HUGH
I don’t know! I got a little nervous, and the only words that came quickly to mind were either pretentious or profane. I must have panicked—after all, I only had a few minutes to put together a decent proposal.
RUTH
So you made an indecent proposal? Just like the movie!
HUGH
Oh, you know that movie drives me crazy! Especially when Woody Harrelson’s architect character sits on his bathroom floor sketching his dream house!
RUTH
Yes, that was pretty bad.
HUGH
Though not as bad as the lecture he gave to students about Louis Kahn.
RUTH
You mean the “what does a brick want” speech?
HUGH
Yes, but I wish they hadn’t got it wrong.
RUTH
What’s the real quote? Doesn’t Kahn say he asked a brick what it wanted, and it wants to be an arch?
HUGH
More or less, specifically meaning that one needs to understand the nature of materials.
RUTH
What does he say in the movie?
HUGH
Something about a common ordinary brick wanting to be MORE than what it is, and that, like the humble brick, we should try to make more of ourselves! But that’s not what Kahn meant!
RUTH
I think they were going more for dramatic effect than strict adherence to architectural principles . . .
HUGH
(becomes increasingly agitated) For God’s sake, the brick doesn’t suffer from low self-esteem—the brick knows what it is. It’s a brick, and it CAN be an arch, not by denying itself, but by UNDERSTANDING itself!
RUTH
Well, I guess it’s not so easy to portray architecture faithfully in movies. Complex issues tend to come off as extremes—too good or too bad; too ridiculous or too serious, which is what makes it legible to an audience.
HUGH
I guess you’re right, but surely there are more subtle depictions of architects out there?
RUTH
Can you name one?
HUGH
(looks triumphant) Yes! Death Wish!
RUTH
(snorts) With Charles Bronson as a hard-boiled loner fueled by vengeance and rage?
HUGH
But also an architect, I think it’s a uniquely nuanced portrayal.
RUTH
(dismissively) I don’t know if blood-thirsty lunatic counts as nuanced.
HUGH
Yes, he was a vigilante, but he was also the architect of some surprisingly sensitive buildings, low slung desert houses with passive solar orientation. Anyway, better architect as maniac than as uptight lothario, like the architect in Hannah and Her Sisters who cries at the opera in order to get dates.
RUTH
Ok, you’re right, but that movie did give us a few lines about Adolf Loos and organic form.
Yes, it did, by playing them for a cheap laugh.
RUTH
Aha! You’ve proved my point.
HUGH
How?
RUTH
By putting both Adolf Loos and organic form in the context of a lovesick woman trying to impress a narcissistic architect, ipso facto, these are pretentious and laughable issues that architects care about. It’s an extreme of being too serious, and as a result, becomes ridiculous to an audience.
HUGH
What about The Towering Inferno? That was the best of all worlds: macho architect and exciting disaster movie!
RUTH
Sure, but what if The Towering Inferno were all about Paul Newman having meetings with electrical consultants and code officials? Sure, I could watch three hours of Paul Newman doing anything, but most people aren’t interested in a movie that might have avoided the inferno in the first place!
HUGH
So you really think people wouldn’t want to watch a realistic depiction of architects engaged in actual design efforts, the way they actually happen?
Both become quiet as they settle back into working. The work is a steady clicking of computer keys, shuffling of papers, sketching, etc., with very little drama.
Laughter and applause combine with an instrumental version of “Makin’ It,” as the camera pulls out to reveal the “office” platform elevation.
FADE OUT:
END OF ACT TWO
-COMMERCIAL (Units)-
(In the style of IKEA, Superstudio’s Supersurface and Charles Wilp’s Afri-Cola ads.)
COMPUTERIZED FEMALE NARRATOR
Units, Units, Units.
Why pay for all the extras?
Through our careful analysis of the
way people occupy space, we here at
studioAPT have developed the UNITS
system to maximize the conditions of life within a small area.
Each of the UNITS has both character and use.
The table, the steps, the bed, the
bar, the climber, the landing, the
ziggurat, and the utility infielder.
In isolation, or in combination,
these UNITS provide flexibility,
efficiency, and design.
UNITS, more than furniture, less than a house . . .
just what you need.
FADE OUT:
ACT THREE (Living Room)
FADE IN:
INT. “COUCH” – NIGHT
RUTH comes to sit on couch while HUGH sits reading and enjoying a drink.
HUGH
Where’ve you been?
RUTH
Sorry, I was just watching The Towering Inferno . . . again. Why, what’s up?
HUGH
We just got a message!
RUTH
Oh, from who?
HUGH
The JIB group.
RUTH
What? I thought we were out of the running.
HUGH
We’re back in! Actually, we got the job!
RUTH
You’re kidding. What happened?
HUGH
They said they loved what we sent them, and can’t wait to work with us.
RUTH
But what about when they e-mailed earlier saying to forget it?
HUGH
It was a mistake. Somebody put the wrong address in. I have a really good feeling about this. The main guy, Steve, said he could tell we’d be a good fit. AND he’s interested in seeing what he can do about hooking us up higher in the corporate structure.
RUTH
(looks relieved and excited) That’s great! He sounds like he could be our patron!
HUGH
(looks satisfied with himself) Yes! This could be big for us!
RUTH
I’m sorry I got after you for using fancy words. I underestimated Steve and the JIB Group.
HUGH
Well, obviously he’s pretty sharp, and incredibly intelligent for liking our work.
RUTH
So what’s next?
HUGH
We’re meeting tomorrow, on site.
RUTH
Oh! Do you think we get to eat there? I can’t believe I’ve never even heard of this place! It must be very exclusive!
HUGH
Hang on, let me look up the address.
HUGH pages through computer tablet in search of address on map.
RUTH
Is it downtown?
HUGH
(confused) No. Wait, I don’t think this is right.
RUTH
Where is it?
HUGH
Next to the mattress place on Frontage Road.
RUTH
(confused)
What’s it called again?
HUGH
JIB.
RUTH
Gib? Like giblets? Do you think it’s like locally sourced artisanal chicken?
HUGH
No. It’s J.I.B. All caps.
RUTH
Hmmm.
HUGH continues to consult tablet, looking increasingly distressed.
HUGH
I think I’ve been here before.
RUTH
I thought you said you hadn’t.
HUGH
Well, when I thought it was a place called JIB, I hadn’t.
RUTH
If it’s not JIB, what is it?
HUGH
Jack. In. the. Box. J.I.B.
RUTH
You ATE there?
HUGH
That’s where the meeting was today.
RUTH
It didn’t occur to you that the meeting was there because they are the clients?
HUGH
I thought they were being ironic.
RUTH
Hold on, do you even know what the actual project is?
HUGH consults tablet again.
HUGH
Well, the e-mail was titled “A Vision for Universal Design in Dining.”
RUTH
I know that. I spent all morning preparing a presentation on culinary advancements in terms of the Vitruvian ideals of commodity, firmness and delight. But what is the ACTUAL project?
HUGH thumbs through tablet some more.
HUGH
Let me just open this attachment.
HUGH hands computer tablet to RUTH, who sighs heavily.
RUTH
Handrails to the restrooms? That’s it? Replace the handrails?
HUGH
(sheepish)
You know, I asked a handrail what it wanted to be, and—
RUTH glares at him, and a brief silence ensues.
HUGH
Maybe we should stop answering Requests for Proposals. Or stop answering the phones.
RUTH
Or maybe we should go back to trying to get projects by doing competitions.
HUGH
Don’t you think that’s a step back?
RUTH holds up tablet.
RUTH
A step back from this? From handrail replacements in a fast-food restaurant bathroom?
HUGH
Ok, you’re right. I guess competitions can be fun—they’re like open mic night for architects.
RUTH
Exactly! You get to try out new material while trying to win over an audience.
HUGH
You know, it was my childhood dream to be a comedian.
RUTH
Oh, yeah?
HUGH
I even brought it up with my guidance counselor in high school. I said I wanted to be either an architect or a comedian, and he advised me that I wasn’t smart enough.
RUTH
To be an architect?
HUGH
No, a comedian.
RUTH
Ouch. Well, anyway, we should get to bed. After all, we do have that invitation tomorrow.
HUGH
To what?
RUTH
To innovation! Those handrails aren’t going to recognize the potentials within their limitations without our help—
A startling gong alarm sounds. HUGH and RUTH look at RUTH’s phone and then each other.
Laughter and applause combine with a karaoke version (backing, but no lead vocals) of “Makin’ It,” as the camera pulls out to reveal the set elevation and the actors turn to face the camera.
FADE OUT:
END OF ACT THREE
CLOSING CREDITS
CONTINUOUS OVERHEAD JIB SHOT OVER THE WIDTH OF THE PLATFORM, ACCOMPANIED BY THE INSTRUMENTAL VERSION OF “MAKIN’ IT”
Executive Production, Script and Direction
studioAPT
Ruth Crawford
as Ruth
Hugh Maguire
as Hugh
Editor
Will Martin
Managing Producer
Jacques Mersereau
Lighting
Jeffrey Alder
Audio
David Greenspan
Camera Operators
Jacques Mersereau
Walter Lin
Rown Niemisto
Colin Fulton
Christopher Schaublin
Set Design
Julia & John McMorrough with Jordan Hicks
Engineering and Building
Al McWaters, SkyShips Design
Painting
Dan Erickson
Fabrication Facility
Maker Works, Ann Arbor
Recorded At
Duderstadt Center Video Studio at the Digital Media Commons of The University of Michigan
Sponsored By
Research Through Making Grant from the Taubman College of Architecture and Urban Planning University of Michigan
© studioAPT 2013