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Funding for The Eleventh Hour by announcer. Charitable orgs overlay The Eleventh Hour (darkened) graphic.

Tilt down view of studio, Host Robert Lipsyte sitting on chair next to unknown (yet) guest.

Pan out from Host Lipsyte to Willensky seated next to him and then announces to an off site segment. They both turn and look at small tv screen next to them.

A rendering of same aerial view of the city but with a highway going through the middle of Central Park.

Front entrance Carnegie Hall 1980's with window cards announcing upcoming shows - New York Youth Symphony on December 11, 1988, others obscured.

POV helicopter hovering over a 76 acre vacant area on the upper west side of NYC, circa 1988-89.

Cutaway back to studio pan out from small TV to Lipsyte and guest Elliot Willensky, Co-Author, AIA Guide to NYC.

Host Lipsyte breaking away from interview for a segment on architectural plans in New York City, plans or "political performance art" that allow people to look at the city in a new way.

Aerial of Manhattan with a proposed climate controlled glass dome over Mid-town proposed by architect, Buckminster Fuller i 1968 (to protect against pollutiona and atomic radiation.

Fade in to the studio, Lipsyte and Willensky looking at small television.

Host Lipsyte announces three Architects coming up but cuts to a segment on "some New York fantasies from the fevered pages of Spy Magazine"...

Film transitions to scene of traffic jam at night in NYC - huge movie screen hovering above the traffic

Sunset over Hudson River, west side of New York with view of New Jersey on other side - silhouette of two people looking over river to Jersey but now a huge reflector reflecting the New York skyline is seen, obliterating the view of Jersey.

The Eleventh Hour graphic

Host Lipsyte Introduces guests: Lebius Woods, Internationally known for his futuristic urban landscapes; Michael Sorkin, Former Architecture critic Village Voice now working on a model city; Unknown Man in a Welders Mask(?).

Pan in on tv screen to the proposed Donald Trump construction site - artistic shots of different steel girders and industrial ruins standing alone against an orange sunset sky, old rail yards.

The 'bones' of an abandoned structure with high rises in bkdg.

Pan out from a complex of huge apartment high rise buildings of at least 15-20 stories, mostly windows - stark and unattractive buildings and overlooking the West Side Highway.

Wide shot of the studio. Host Lipsyte introduces next segment, a short documentary film, "Voices of Times Square" on the vision of the architects, Lebbeius Woods, Michael Sorkin and Elliot Willensky and their proposals on Times Square.

Film opens with narration on a homeless man hanging around by a pile of garbage, and another homeless man sleeping in a doorway. it

Film cuts to a slate: Michelin Guide to New York City 2010 Edition Timesquare***

Black.

film continues- more abstract renderings and narration about Times Square.

Back in the studio with Lipsyte and architect guests..
INTERVIEW

Robert Lipsyte
Okay, I like that a lot. But I read The Fountainhead I saw The Towering Inferno. I know what architects is supposed to do in the society, it seems something kind of very self indulgent about all that. What do you got in mind?

Lebbeus Woods
Well, what is self indulgence, I mean, what we set out to do here was to examine the real human possibilities for the site, not simply to invoke a lot of architectural imagery. That's why at least half of those images are images of people, of places that don't necessarily talk about architecture, per se. So I don't find it self indulgent, I think it's exploring

Robert Lipsyte
Wait a minute, this is a city. This is a city that needs houses for people to live in. This is a city that needs people like you guys going to the South Bronx, going to Brooklyn, and creating places that people can live in, instead of, you know, cute science fiction.

Michael Sorkin
Let me contextualize this for a moment. One of the things we're reacting to Yes, with the fact that this site is the property of the very Prince of self indulgence, who proposes to erect a monument to himself 150 stories high on this very site.

Robert Lipsyte
I've interviewed this man, and he's not as animated as that. You're, you're invoking Donald Trump.

Michael Sorkin
We are invoking Donald Trump, who we consider to be,

Lebbeus Woods
can we just invoke Donald Trump immediately goes down, I don't think I don't think Donald Trump is important. And I think what is what is important is the future of this city. And this site, being a kind of ruin and his present state, which has been studied and re studied 100 times at least, for development into some sort of megalith of capitalism needs to be explored as a site for human use for for human life, as we understand it in New York, specifically New York. And so what we set out to do, and our conversations into the drawings was find a way to express the energy in life in New York,

Robert Lipsyte
by putting in danger, and

Lebbeus Woods
that's part of it. Its not only the danger it's the diversity is the complexity is

Robert Lipsyte
to crop up itself of its own, it doesn't seem to have to be

Lebbeus Woods
We're not putting danger in it. The danger element, you can't draw, I can't draw dangerous,

Elliot Willensky
but it's pretentious to say that you will insert these things, the Time Square that we know was not planned to have that inserted, it evolved cities evolved time is what

Michael Sorkin
Well isn't exactly our point.

Elliot Willensky
I'm not certain it is time is one of the critical issues you have here an individual who is the anonymous, whatever you want to call him. But time plays a role. The architect cannot establish everything that will be even through such beautiful images as you've created.

Michael Sorkin
We couldn't agree with you more. And indeed, I think that we proposal is not about the inscription of these images, we've proposed images that are in effect impossible. And that I think, is our message to not bother about architecture

Robert Lipsyte
If it's impossible why not

Michael Sorkin
Let me get back to the question of danger. Danger is something I mean, we see what is happening in the Current Time Square. And that's one of the reasons that we've elected to call our project Times Square. And one of the things that's happening in Times Square is people like our late friend here, and his ilk, attempt to associate the idea of the dangerous with the, what the Empowered class is considered to be undesirable elements. In fact Times Square, which is a place of recreation for for people, Times Square, which is a place of diversity and energy is being wiped off the face of the earth. And the argument that is presented in order to enable developers to appropriate this property, which is the scene of an incredible unpredictable diversity, something we celebrate the argument behind which they advance is the idea that it is, quote unquote, dead Dangerous. We would like to propose something that is dangerous to that mentality.

Robert Lipsyte
Elliot, you're a preserver.

Elliot Willensky
Yes.

Robert Lipsyte
Would you preserve Time Square this kind of slime alley that it's become,

Elliot Willensky
I think to call Times Square slime Alley is to forget, again, time Times Square used to be a place, which was the great living room, the great recreation room for everyone in New York City. And what we see in Times Square today is not as important because it's Time Square, it's important because it reflects the nature of the city and how it has changed. I learned a lot about being civilized, I hope I'm civilized to this day, in Times Square by meeting people I would never meet in any other place, with my family with my mother. And Father. I think that was a wonderful thing for a city to have it no longer has, you're talking about. I'm talking about the years between 1940 and 1950

Robert Lipsyte
worked in Times Square in the late 50s and 60s, and it was a tough place. And it's a dangerous place as it is

Lebbeus Woods
now can I interject something? I think that we have a short amount of time. And it's important to understand where we were coming from on this project. I think that we can debate Times Square and danger and all of these factors for hours on end. But what was important for us because we are parts of an architectural profession that is involved in these proposals for luxury housing on this site, and other types of kind of greed based proposals, we wanted to to use the instruments of architectural design drawing text, to say that there is another way to project an idea of the future onto this site other than the usual sort of plan section elevation, the technical drawings that architects normally distancing themselves from all the social issues. By producing only technical documents, we tried to produce, whether it's for good or ill, whether it works or it doesn't work, we tried to produce a more human, a broader idea through our text and drawings than the normal architect does. So in that sense, it was an experiment in architectural design, that encompassed a much broader idea of the architects responsibility, the architects task, his skills, and so on.

Robert Lipsyte
If we called it commentary. Would we come closer to what it really is?

Lebbeus Woods
Only in the sense that any plan for the future is loaded with a certain amount of bias or a certain point of view?

Robert Lipsyte
Are you proud to be an architect to be called an architect or stuff that's being thrown up?

Lebbeus Woods
No, well I'm not proud of that stuff. No. And I detest most of it. And in fact, that's why most of my work is involved with paper architecture, if you will

Robert Lipsyte
you're not getting to build what you want to know.

Lebbeus Woods
Well, what I want to build is is not profitable for the people who, in our society today have the money to build

Robert Lipsyte
this guy is not giving you any money.

Lebbeus Woods
I don't want his money as a matter of fact, and I wouldn't accept it,

Robert Lipsyte
you wouldn't know why not.

Lebbeus Woods
Because he would control the ends that it would produce. Not the city, not the people of the city, not the architect, he would control it. And I don't think that he is wise enough. Or others like him, he's just one of many. There are many others who are less celebrated,

Robert Lipsyte
We are going to have to leave it there. the people who have the money don't often have the dream.

Pan out from a sort of scenic view through trees of the Hudson River to steel girders of the West Side Highway and down to the ground.

Wide shot cement wall covered in graffiti, man standing amidst garbage, steel beam in foreground.

Homeless Black woman, with wool hat, scarf, sweater, standing near chain link fence speaking to unseen unknown interviewer about how she has lived homeless for five years and has taught

Credits over scenes from the program.

End Reel.