Saturday, April 28, 2012

eassy

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I like having fun and doing work with friends because I believe that more heads is better than one. When I was in year 8, I was the captain of Year8 basketball team of my school. I understand that teamwork is the key to the victory in this competitive sport. Playing basketball is not only the physical game, but also a game full of strategies. And I think that doing business has some kind of common with playing basketball. Leading a basketball team is just like running a business, the courts are like our commercial world, a good leader can create a great team which always survives in the challenging fields. It was a great experience in my life and I know that I can never learn it from the books. And now I¡¯m a member of school Formal Representative Committee. This year, with everyone¡¯s good efforts, Taylor¡¯s school formal was successfully held with praises. With the influences of my father, the great interest of the commercial world and the passion of creative, I want to choose entrepreneurship for my uni study, and Rmit is the one of the best schools that provides this exciting course, so I¡¯m looking forward to be one of the student in this course. My greatest academic interest is in Economics and it is reflected on the annual award for the most distinguish year 11 Economic student at Taylor¡¯s college. My efforts and interest continues in year1 as I always discuss the current issues with my teacher in the class. I am also good at mathematics; the class award given by my teacher is a confirmation of my ability.





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Friday, April 27, 2012

art

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rising to meet in the apex. Some were originally as high as 750 feet. The pyramids were built by taking blocks of granite to the workshops, measuring the blocks down the size, shaping the block and placing it into the body of the pyramid. Then on top of the built structure workers put the limestone going from the top to bottom. Egyptians left two empty rooms to place the pharaoh’s mummy and his belongings in. They sealed pyramids so well that it took four hundred years for robbers to get in. It is believed that the pyramids would be standing intact today if it were not for later destruction by robbers and invaders and for use as a building material. As it is, the massive stone buildings are rising right now outside of Cairo. The interiors of these huge stone structures contain a series of a narrow passages, ending in several large chambers. The central chamber was the burial room, always reached by a passage from the north, and containing a false stone door on the west side, representing an exit for the deceased soul. The roofs of these chambers were formed of layers of stone beams, lying on top of another, each layer weighing more then 0 tons. The passages into burial chamber was often hewn out of the rock directly from the outer edge. As well as Egyptian pharaoh Mayan rulers like Giant Jaguar was buried in his tomb with hundreds of offerings-vases, jade, jewels and so on. Mayan temple-pyramids usually contained one or more rooms, however, the rooms were so narrow that they could only have been used on ceremonial occasions and were not meant for public consumption. Most of the Egyptian pyramids were built by six pharaohs of the Old Kingdom, and were considered sacred shrines. On the contrary to general beliefs pyramids were built by free citizens, drafted to public work, not by slaves. Thousand experts worked on the design of pyramids all year round. An extra work group about ninety-five thousand men worked on the construction site during the four month period of the inundation ( the time of enforced idleness for farmers, since the fields were covered with the water of Nile) (Payne 4). The most famous Egyptian pyramids are the three pyramids five miles southwest of Giza, which is three miles southwest of Cairo. The largest pyramid, 481 feet high and 786 feet along east side of base, was built for Khufu, who reigned between 00 and 877 B.C. The pyramid of Khafre, who reigned about 85 B.C. is slightly smaller, but it is on a higher ground so that the apex is higher. The smallest pyramid (yet not small at all) was built by Menkure about 800 B.C. (Casson 5). One of the most famous sites of Mayan culture is Tikal in Guatemala. Numerous buildings stayed almost intact at the Great Plaza the Temple of the Giant Jaguar (700 A.D.), the Temple of the Masks (6 A.D), and the North Acropolis. At the heart of the Temple of the Giant jaguar is the tomb of high priest. The sanctuary for worship at the top of the structure sits on a nine-tiered pyramid. In each cultures each pyramid was built for the body of only one man. Usually, caskets full of jewels, furniture in laid with ivory and gold, silver and alabaster bowls and vessels, chests filled with clothing and precious ornaments, jars filled with food and wine were put in the room next to the room with the mummy. Among the objects found in the Egyptian pyramids were the shabtis. Shabtis are small statues in the form of nude humans, often wrapped in linen and placed in model coffins. They were inscribed with a prayer for food offerings, although they probably also functioned as alternative abode for the ka. By the Middle Kingdom (05 B.C) the figures had become mummiform in shape, and their inscriptions clearly join the deceased with Osiris, the god of the underworld, who rose to prominence during this period. By late Dynasty XII (1850 B.C.) The statuettes’ original function as residence for the ka has expanded greatly. Although the original identification with the tomb owner was never lost, the figures were seen primarily as workers who performed a service for the deceased, and they became known by the ancient Egyptians as shabits. Rapidly shabit-figures came to represent the deceased’s servants in the afterlife and were so popular that they replaced the model servant statues previously deposited in upper-class graves


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Forensic Science-Fatal Voyage

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A Chicago native, Kathleen J. Reichs is an award winning international bestseller, winner of the 17 Ellis award for best first novel. Her novel D�ja Dead was only the first in a series of books. She went on to write four more novels Death du Jour, Deadly Decisions , Fatal voyage and Grave Secrets. Kathy Reichs is a internationally recognized forensic anthropologist working on cases around the world, from examining the tomb of the unknown soldier, and working at ground zero, New York, to being an expert witness between Charlotte and Montreal were she currently divides her time. These experiences are what gave birth to her novels, each of her stories is based on her own personal experiences.


Evil exists in every human being, the closest most get to this evil is by criminal activities. But, most people also have a natural need for justice when this evil called crime is committed. Justice is often acquired through the means of forensic science, or simply forensics, the application of science to law. Scientific procedures, methods, and technologies are used in investigating these crimes and proving the guilt of an accused suspect in a court of law.


After the evidence is gathered from a crime scene, and photographs have been taken. A crime involving a body normally begins with the Medical Examiner ( also referred to as the ME) conducts an autopsy, the examination of the body after death. The ME studies the deceased to determine his or her identity, as well as the cause, method, mode and time of death.


The ME determines the time of death by pathology. When a human dies he or she shuts down in stages, the bodies live temperature of 8,6 degrees, is maintained for one to two hours after death, then begins to cool, till it finally drops to it‘s surroundings temperature. But, this method is only used if the body has been discovered within 48 hours. For those cadavers found weeks after death a forensic entomologist enters the scene and uses his or her knowledge of insect life to determine the time and date of death.


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Insects are attracted to a decaying corpses odour. This may smell bad to humans, but for an insect it’s chow time, and a perfect place for laying eggs. Since insects go through different stages of life at different times, a forensic entomologist (FE) will take samples of the insects surrounding the body, and identify what species they are. Then the FE will cultivate the larvae to discover the time each stage takes. Once the species and stages of their life has been established, the entomologist can determine how many hours and days the body has gone unfound. Insects can also tell if the body has been moved after death by comparing the local insects found around the body and the insects inside the body.


Identifying a corpse is sometimes very simple, people usually carry with them a wallet or some kind of identification, it’s a simple task to simply examen the contents of a wallet. But, in some infrequent circumstances a body is not carrying any identification and no one is able to identify him or her. Under these circumstances, the ME, and other forensic specialists are brought in to work with the evidence and make an identification. The easiest things to do are to describe the victims appearance and search the missing persons reports.


The next step would be to take the body’s fingerprints and compare it with the federal fingerprint files. Since no two people have the exact same fingerprints and the pattern is unchanged through life if a match is found the deceased has an identity. Fingerprints can also link a suspect to his crime, fingerprints found at the scene of the crime are compared to a suspect’s fingerprints establishing absolute proof the suspected was there.


If a body part or a bodies skeleton his found, enter the forensic anthropologists to identify the victim’s remains. A forensic anthropologist must suggest the age, sex, stature, ethnic group, and other unique characteristics of a descendent with anthropology, the study of human beings. In the novel Fatal Voyage, author Kathy Reichs has her heroine, forensic anthropologist Dr. Temperance Brennan, investigating plane crash victims. Body parts have been scattered and Dr. Brennan must determine which body parts go together to identify the body by comparing her description to the description of the passengers on the plane. In other cases without a passenger list investigators can take the description made by the forensic anthropologist and compare it to missing persons files.


Forensic science depends on evidence to help solve a crime, and bring criminals to justice. Evidence is a reliable witness, it can be anything and everything in the physical universe that helps establish the facts. From a single hair, to a trail of blood, we humans are made of a cocktail of biological materials that can be left behind at the crime scene, which all can be used to identify the criminal with DNA analysis. Other evidence can suggest contact between the victim and the suspect.


Like Sherlock Holmes depended on his trusty magnifying glass, the forensic scientists of today depend on their tools of the trade to uncover evidence. Without these technologies some evidence needed to solve the crime would be obsolete and others not even uncovered. An example would be the chemical luminol, used to highlight blood that has been washed away from the crime scene. .


Many books, television programs and movies have based themselves on the idea of forensic science and detective work, from Sherlock Holmes to the popular television show CSI Crime Scene Investigation. These stories show a glimpse of the work involved in forensics, but only a glimpse. On the television and in movies the hero or heroine often reveals the identity of the criminal with one piece of evidence, one clue, that solves the hole case. The real investigators are much harder working and cannot reveal the criminal that instantly. Very often the cases cannot be solved due to an insufficiency of evidence.


The search for justice is a hard and long process, which involves many scientific methods procedures, and technologies. For some the search of justice is to strenuous, but for others who remind themselves that justice is needed in a society of laws, it’s a living. Kathy Reichs describes the reasons for doing what she does in her book Fatal Voyage when her heroine Dr. Brennan says, ”I want to serve both the living and the dead. The dead have a right to be identified .To have their stories drawn to a close and to take their places in our memories. If they died at the hands of another, they also have a right to have those hands brought to account.” Forensic scientists require extensive knowledge, training, and skill. They also require a healthy appetite of curiosity, a quean eye of observation, the emotional stamina to work with human tragedies, and to be able to view the evil of man.





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Thursday, April 26, 2012

Book Review on Thomas Jefferson: An Intimate History by Fawn M. Brodie

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Thomas Jefferson An Intimate History by Fawn M. Brodie, incorporates the overall views of the author and the use of primary and secondary sources as well as Jefferson’s personal perspectives of the revolutionary goals, and commoner’s experiences.


Fawn M. Brodie’s view of Thomas Jefferson is that of a positive attitude. The author’s purpose is to penetrate deep into Jeffersons personal life and psychological ways to better understand Thomas on a personal level. Brodie’s perspective of Jefferson is that of admiration and is apparent particularly when stated, ..the heroic image remained untarnished and his genius undiminished. (pg.18) Fawn tries to obtain an optimistic perspective of the reasons for Jeffersons actions towards things and is clearly conspicuous when she states, “The fault, it can be held, lay not in Jefferson but in the society which condemned him to secrecy. (pg. 17) Jefferson is viewed as “compulsive” in orderliness and utterly prudent.


The author’s use of primary and secondary sources is very efficient. Brodie incorporates Thomas Jefferson’s own writings throughout the biography. Her primary sources mainly consist of letters, pamphlets, autobiographies that were written by Jefferson himself. The Author uses primary sources to “dissect” and identify Thomas Jefferson’s views and problems in his personal life that may have contributed to his writings therefore emphasizing his personal “semi-transparent shadow” (pg. 7) life. She includes several of the primary sources throughout the book and includes an appendix where numerous sources are found as well. Brodie uses secondary sources mostly for those who were acquaintances, or relatives of Thomas Jefferson such as Martha Jefferson, Patrick Henry, and others.


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Thomas Jefferson’s perspectives of the American Revolution are clearly visible throughout the text. Jefferson himself states Our minds were circumscribed within narrow limits, by an habitual belief that it was our duty to be subordinate to the mother country in all matters of government, to direct all our labors in subservience to her interests, and even to observe a bigoted intolerance for all religions but hers, (pg. 10) in which he views America as a secondary and not a primary part of Britain. Jefferson believes that the causes of the Revolution were Britain’s lack of listening, and providing. He believed the empire’s cheating; unfairness, taking back what was rightfully the Americas’, punishment of the innocent, and playing favorites towards America were causes as well.


The goals of the American Revolution, according to Thomas Jefferson, are conveyed efficiently in Brodie’s text. Jefferson viewed slavery as “an infamous practice” (pg. 10) which therefore had to be extinguished and appointed as a goal of the revolution. This goal was one of Jefferson’s ambivalences of the revolution; for he showed a “..kind of seesawing, obvious uncertainty..” (pg. 104) Also, Jefferson believes a goal of the revolution is to not separate from the mother country (Britain) unless the “island” does not recognize America as primary.


Fawn M Brodies descriptive text also expresses Thomas Jeffersons view of the commoners experiences during the American Revolution. Brodie clearly conveys Jefferson’s belief that the commoners were being “lashed like slaves” (pg. 11) because of Britain’s subordinate attention. He also believes that the commoners were not entirely safe, but affected during the revolution. He believed they were united and whatever hurt one man hurt the rest.


Thomas Jefferson An Intimate History by Fawn M. Brodie was indeed thorough in Thomas Jefferson’s life because of Brodie’s emphasize of Jefferson’s psychological side and penetration into his deep and personal life. Doing so, one is able to identify Jefferson’s ideals and a general perspective as well as Brodie’s; therefore providing the reader with a side of Thomas Jefferson unseen by the rest of humanity.


-Ethereal Bibliography


Brodie, Fawn M. Thomas Jefferson An Intimate History. New York W. W. Norton and


Company, 174.


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Dream Thieves

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Dream-Thieves


Readers would not imagine it, but several things happened in Langston Hughes’s 11-line poem “Harlem,” which was written in 151. In “Harlem,” the author formally implies the many ways African American dreams can be deferred. In our American culture, 151 was a year which still involved much segregation, so all the dreams of the Harlem Society could not become reality. Langston asks the readers to find the relationship of dreams that are being postponed and why.


To begin with, the very first line of the poem states “What happens to a dream deferred?”(Line 1) well it is obvious that the author might be substituting characteristics of irony, because the first line should not have been a question. The line simply should have been a statement; dreams are being deferred, if Harlem does not like it, then tough! The dreams were not being put off by the dream-seekers; they were clearly being automatically removed from African Americans as if they had no choice. The rest of the lines in the poem show what is happening to those dreams being deferred, Hughes uses metaphors, similes and analogies, to show the reader that, instead of being blunt. Many readers may agree or disagree with Hughes’s answers to the first question of the poem; his answer’s being the questions that he is asking the reader. For example, when he clearly asks “Does it dry up like a raisin in the sun?” (Lines -), he is in all actuality giving an answer to his question, believe it or not. This quote is stating that dreams are going to disappear and shrink up and get smaller and smaller until somebody makes a


stand.


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-1-


Furthermore, if one read this poem then they would come up with several explanations of maybe why Hughes wrote this poem or why the author uses questions instead of just stating the answers. The obvious reader knows that this poem was written not only about the Harlem Society but more or less the whole African American Society in America. Hughes was just starting out when he experienced the Harlem Renaissance, which occurred in the 10’s through the 10’s. When Hughes wrote this poem, it was in between the years which the two had started, the Harlem Renaissance and Civil Rights Movement, which wouldn’t have started for another 10 years. This poem was written for one sole purpose, merely nothing more than a message that needed to get to the people of Harlem. The author might be implying this poem as a secret encoded message to the African Americans, telling Harlem what to do, and to start a movement towards the dream-thieves. This poem might as well have been a secret message that Hughes wanted to get out to the public, because Hughes knew for sure that the white people were not going to read his poems. The author states, “Does it stink like rotten meat?” (Line 6), which is very good example of imagery. To further understand this quote from the poem you have to look past the imagery and find its true meaning. Perhaps the quote is stating that the dream has been put off too long, and if it does not get its attention that it needs in a timely fashion, then it is more then likely going to decay and become rotten. Langston Hughes uses several rhetorical questions in his poem, but they all have true meanings


when, the reader looks past the imagery.


The “dream” is a goal in life, and something that someone wants to accomplish,


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because it means so much to them. A dream is not something that only occurs while sleeping; it comes to a person in reality. Hughes never states what the dream might be, but it is up to the reader to plug-in a dream and to ask each and every question from the poem to see what might happen to their dream. Nevertheless, the author stands clearly with his position that any important dream that might be put off or delayed can have serious negative affects. To find out those affects, we look at each question that Hughes asks and it gives the reader the answer. While reading the poem, it seems to the reader that every question is negative, until the following quote arrives “Or crust and sugar over-like a syrupy sweet?” (Lines 7-8). As the reader comes to this quote, they might be thinking, well maybe it isn’t so bad after all, because syrup is sweet and it is good too. Well there is another way of looking at it too, if you happen to let syrup sit without being used for a long time then it is guaranteed to crust over. The dream is being crusted over, and now the syrup cannot be used, just like someone might be trapped in between ice walls, the contents of the wall are hard, and now it might be impossible for someone to chisel and break through that wall.


In conclusion, it could be possible that the author is inferring that Hughes is the subject here, and that Hughes’s dreams were deferred, just as well as everyone else’s during that time period due to segregation. Proving another point, that if Hughes can do it, anyone can accomplish their dreams, as long as they do not let obstacles turn their dreams into hopes. In Hughes’s poem he writes, “Or does it explode?” (Line 11), meaning that the people of Harlem are busting through the obstacles with explosiveness, and are going to steal their dreams back from the dream thieves.


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Wednesday, April 25, 2012

THE FAILURE OF THE LEAGUE OF NATIONS

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Technically, the League of Nations was still active until the end of the Second World War. However, by 15 it was clear it could no longer perform its main role - that of keeping peace.


1. THE MANCHURIAN CRISIS


In 11 Japan invaded the Chinese province of Manchuria. China was in the middle of a civil war and was not able to defend Manchuria. China appealed to the League of Nations for support against Japan. After much delay, the League condemned the Japanese and called for Japan to leave Manchuria.


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However, instead of leaving Manchuria, Japan left the League of Nations. Japan remained in control of Manchuria and the League of Nations did not try to stop the Japanese occupation there.


This event marked the beginning of the end for the League of Nations. Britain and France were not willing to support the League in taking action against Japan. The Manchurian crisis seemed to signal that aggression would not be punished by the League.


. THE ITALIAN INVASION OF ABYSSINIA


In 15 Abyssinia was one of the few countries in Africa not under the control of a European power. It had defeated a previous attempt by Italy to invade in 186.


ɨ In 15 a well-equipped Italian force invaded Abyssinia again.


ɨ Haile Selassie, the leader of Abyssinia, appealed to the League of Nations for assistance.


ɨ The League condemned Italian aggression and imposed ECONOMIC SANCTIONS against Italy. However, they were not effective. Italy was still allowed to buy oil and other essential supplies.


ɨ Mussolini completed his invasion of Abyssinia and then left the League of Nations just as Japan had done.


Why did the League not act more decisively?


The League depended on leadership by Britain and France. In 15 France and Britain did not want to offend Mussolini in case he joined forces with Hitler. The British Foreign Secretary even worked out a plan with the French (called the Hoare/Laval pact) to offer Mussolini most of Abyssinia. However, he was forced to resign when the plan became public. 1The effects of the Abyssinian crisis were very serious for the League. It marked





Why did the League of Nations fails as a peacekeeping organisation?


 It could no longer be taken seriously


 It showed that its members were not willing to use force to stop aggression.


 The secret deal - the Hoare/Laval Pact - had also shown Britain and France undermining the League.





No one, it seemed, was prepared to go to war in order to keep the peace. The Leagues credibility as a peacekeeper was damaged beyond repair. Force and aggression had clearly triumphed again. The world now seemed a much less secure place and certain states were encouraged to pursue aggressive policies to achieve their aims. This weakened the determination of Britain and France to resist them.





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chaucer

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on chaucer. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality chaucer paper right on time.

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How and what Techniques does Chaucer use to criticize the charectors in their portraits During ‘The General Prologue’?


Chaucer is political and subtly a comical writer who evidently uses different techniques to criticize certain characters during the General Prologue by mostly satirising them. Some of the pilgrims mentioned are presented entirely by listing, describing and possibly exaggerating visual details and features. For example with the monk especially in satirical portraits, Chaucer mentions these characteristics and describes them ironically with admiration and enthusiasm which the pilgrims themselves are particularly proud of. Because Chaucer did not respect or admire these pilgrims he regularly commends them on attributes they do not deserve to be commended on which then allows the foolish pilgrims to give themselves away.


Probably the best example of this is during ‘The Monk’ whose macho ness, fine horses, healthy diet and who loved hunting which is quite obviously very wrong and hypocritical for a monk especially of his stature. This technique is also evident during ‘the prioress’ where Chaucer also describes the women’s fashionable features “entuned in hir nose ful seemly.” which describes the way in which the nun sings fashionably for the present time. Which for an ecclesiastical figure was quite wrong as they should not be concentrating in the goings on of other secular people but should just be basing there entire life devoted to their god and religion.


However, Chaucer criticisms become less obvious as he uses more satirical techniques talking about the prioress. As Chaucer talks as if he is impressed by the glamorous looks of the nun and even noticing her outstanding breasts. This is hardly the impression a prioress should have on a man. Now this is were Chaucer leaves it open for the reader to make up their own mind on the opinionated characteristics of the prioress which is the beauty of satire. However it is cleverly and quite strongly hinted towards the possibility that this is exactly the impression that the prioress wants to give to the opposite sex, and quite possibly flaunts her body to be noticed in maybe sexual manner. Which again would completely against the way of life for a nun. A similar connection with love is given away in ‘the monk’ toward the end but in this case as more of an obvious way and easier for the reader to assume this as a very negative attribute of the monk “A love-knot in the gretter ende ther was.” Which quite strongly suggests that there is some kind of connection with love outside the church, which is prohibited for a man of his ecclesiastical position. However this brings me back to talk about Chaucer’s technique of a strong satire, all these things we have concluded about these pilgrims have only been given to us based on hints based on facts. So therefore Chaucer quite cleverly and very purposely does not actually criticize the pilgrims directly himself but just gives the facts and the knowledge to draw our own conclusions which are however hinted at, to say the least.


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Chaucer also continues this technique throughout The General Prologue. Another pilgrim that requires a close observation is ‘the Wife of Bath’. This section is mixed with some obvious and some less obvious satirical suggestions. A good example of an obvious one would be “in al the parisshe wif ne was ther noon that to the offrynge before hire sholde goon;” which is quite simply stating that no one would receive communion before herself, which leads to the suggestion that maybe she considers herself to socially exceed the importance of others in the church. Which we all know that there is no reason that this should be the case. A less obvious example would be a connection from the wife to the word scarlet “hir hosen weren of fyn scarlet reed”. Chaucer only speaks of the link between her and the colour scarlet only by her tights but however, the word scarlet also can be an adjective describing someone that is quite sexually active and again the conclusion is up to the audience. This linking with the word scarlet is quite significant as the mention of the word scarlet would be irrelevant without the possibility of the conclusion hinted at as there are other words that could substitute the word if it was just referring to a colour i.e. crimson. The other statement of this type is just after “Housbndes at chirche dore she hadde fyve” now at this time it was incredibly difficult to get a single divorce let alone four or five. This sort of thing would have generally been frowned apon but there is no evidence shown of this happening and in fact quite the opposite. She is appeared to be quite well respected amongst the church community.


One of the points that Chaucer quite strongly emphasises isthe pilgrims strong connection with fashion. Which again could arguably suggest that these ecclesiastical people have too much connection with the secular world and not enough devotion to their religion and in the monk and prioress’s case their community. Another point made by Chaucer is the vast amount of possessions owned by the monk which contradicts with their lifestyle. Again Chaucer only comments on these as facts and does generally not comment on them but leaves us to make our own conclusions and accusations. “Ful many a deyntee hors hadde he in stable” a monk should not be allowed any possessions whatsoever apart form their bible and the clothes they stand in, so therefore to own several fine horses would be quite criminal. The list of possessions goes on. “he hadde of gold ywrogte a ful curious pin” this is all Chaucer has to state to impose an opinion on us. However, there is another technique used by Chaucer when he does use a personal opinion. This technique comes as a part of satire and is irony.


Chaucer’s irony takes place as he places a personal opinion or agreement on one of the pilgrims attributes and he in fact means the opposite. In the case of The General Prologue, Chaucer will seem as if he is complementing or agreeing with the pilgrim under scrutiny but is actually doing the opposite. This may sound slightly like sarcasm but in the case of irony the victim him/herself would not actually know the comment is false and probably accept it kindly as a complement. So throughout the general prologue the audience should approach all of Chaucer’s complements and even opinions with caution, as they are not likely to portray the initial meaning you may think. An example of this in ‘The Monk’ is; “and I seyde his opinion was good” where Chaucer is talking about the monk’s opinion on ‘his book’. The Monk himself would probably take this as a compliment as Chaucer would seem to clearly agree with him but from the observer it would be apparent that he Is actually continuing to criticize the monk and his mislead, flamboyant lifestyle.





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Tuesday, April 24, 2012

THE MALADIES OF THE MIND

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She was in her thirties, pale faced, tearful, agitated, , holding her head in her hands. I recognized her � It was her second visit with almost same complaints to the emergency department, in which I was working as a junior casualty medical officer.


While giving her history she told me that she had similar episodes of throbbing head ach over the past several years. She also told me of having multiple other symptoms, such as pain in her legs, the rapid beating of the heart and abdominal pain in the past years, which no doctor had been able to determine the cause. After taking history and doing physical examination - that was unremarkable - I came to the conclusion that she was suffering from a somatoform disorder, a mental illness. I consulted my senior Casualty Medical Officer and gave her a painkiller injection - a common practice in that department to give symptomatic treatment to such patients without bothering to know the cause. After one hour she was symptom free. She thanked me and went away.


When she left I felt guilty � a practice, one quits as one becomes old in our profession - it was not a proper way to deal with such a patient. I should have told her that she was suffering from somatoform disorder, not physical but a mental illness and she should consult a psychiatrist. But in our country to refer someone to a psychiatrist means you are thinking that person is mad. It was not easy to deal with, despite that I regretted for not guiding her properly.


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It is now a well known fact that a large proportion of patients visiting general out-patient departments or private clinics do not have organic disease requiring medical treatment. It is very likely that these patients have somatoform disorder. Somatoform disorder or more commonly known as hysteria, is the presence of physical symptoms without an organic cause. In this disorder patient is not malingering, as wildly believed, but truly believes that he or she has an organic disease. There are five subtypes of somatoform disorder


· Somatization disorder


· Conversion disorder


· Somatoform pain disorder


· Hypochondriasis


· Body dismorphic disorder


It is not my aim to go in detail of each subtype. But in each type, though the symptoms are physical but there is no organic cause determined. Laboratory or other physical diagnostic procedures are normal or can not be related with patient’s symptoms. There is strong presumption that symptoms have a psychological origin. In these cases psychological conflicts may be translated into physical problems or complaints.





Person with this disorder present with multiple complaints of physical ailments over a long period. These begin before age 0. Most of the time there is a history, over the years, of chronic headaches, back pains, arthritis, muscle aches and cramps, or pelvic pain. It may also cause gastrointestinal problems, such as nausea, vomiting, diarrhea and food intolerance. It can also cause problems with sexual function. Some time there is one or multiple episodes over the life time, of abrupt loss of physical functioning such as muscular weakness, paralysis, loss of speech etc. Rarely even blindness may occur. Mostly in response to psychosocial stress such as pressure at home or working place, death of a spouse or loosing a job. These patients do not think themselves having a psychological problem and do not seek psychiatric treatment. They have long history of futile visits to doctor without proper diagnosis. To make the situation worst, mostly these patients are women - already a deprived section of our population. Who are never taken seriously by their families. Their sufferings are undermined. They suffer at the hands of doctors as well as society, and never get sympathy and proper treatment which they deserve. Their symptoms may be quite severe and persistent and effect their occupation and interpersonal relations. These patients more than often, suffer complications at the hands of physicians who can not perceive the psychological basis of their physical symptoms and may prescribe unnecessary medication which have their own side effects.


In our department they were never taken seriously, often jested as “functional” means they have no organic disease and sometime they were teased and mocked. Never even acknowledged as patients, they were none of our business. Not knowing how to deal with them they were gotten rid of, by prescribing them pain killers - the very convenient way of disposing them of. They were never properly guided and left for, doctor shopping, a term used in psychiatry books for their seeing different doctor, but never getting appropriate treatment. It would be unjustified, to solely blame the doctors. If doctors, who could not see their plight and were well aware of their disorders, would try to guide them properly. Nine out of ten patients were resistant to advise - specially their families. They felt insulted and were afraid if their disease disclosed, society would not accept them. They would not listen advise and insist on being treated by same doctor and never visit a psychiatrist.


In my opinion, the first and foremost measure which should be taken to


improve the situation of these unfortunate people is, to increase the literacy rate


of the country. Which has fallen to a critical level and is root cause of many vices in our society. It will be much less time-taking and pains-taking for doctors to advise a literate person on mental maladies and their treatment. On the other hand it will be much easier for a literate patient and her family to understand these disorders. They will be able to understand and take mental diseases like, other body disorders, which have their own specialists. Society with good literacy rate will also play its constructive role. Patients of mental maladies will not be made ashamed of their diseases by people around them.


Second measure - a less difficult task to accomplish than the above one - should be taken in giving psychiatry the importance, which it deserves. In most of our medical colleges psychiatry is not only not treated as other subjects but it is completely ignored. As a medical student we are taught every thing about a human body - its structure, its functions and its malfunctions - but its mind. Forgetting that it is the only thing which makes a man superior to other species. It is pity that only doctors who come into contact with psychiatry are those who have to take a medical licensing exam abroad. Rest of the doctors when start practicing medicine they see patients, who posses only bodies, completely ignoring their minds. When patient with psychiatric problems comes to a non-psychiatrist. Because poor patient never perceives him having a psychological problem often goes to a physician. The doctor is unprepared and helpless to deal with such patient. With proper education of psychiatry doctors would be familiar with basic mental disorders so that they could be recognized and treated appropriately.


Words 1165





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Feeling the Wind or The Pavement

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Feeling the Wind or Feeling the Pavement


Most motorcyclists will attest to the slogan “Live to ride” but shouldn’t it also be “Ride to Live”? In South Carolina, a person can drive a car at the age of sixteen or buy cigarettes at eighteen, but if they are twenty or older they don’t have to wear a helmet while riding a motorcycle. South Carolina should institute a mandatory helmet law for motorcyclists even though it will take away a personal freedom it will be replaced with personal safety. Some motorcyclists insist that wearing a helmet is against their right to choose, or that they don’t feel as independent and free, and wearing a helmet can impair their vision and hearing, thus endangering them more. The fact is helmets do save lives and prevent injuries.


In America, a personal freedom to choose is paramount, and most motorcyclists believe that it is their personal freedom whether to wear a helmet or not. However, motorcyclists do not operate alone on the roads. There are many other vehicles involved and they may not always be looking for the motorcyclist. In support of this, Republican Alan Powell of Georgia believes that helmets can cause as much injury as they prevent. Even though statistics from the Brain Injury Association of Georgia show that riders who don’t wear helmet are three times more likely to be injured or to die in crashes (Williamson,C1). In California, motorcycle-related deaths dropped nearly forty-five percent since the helmet law was passed in 1 (Morain, A). A person’s right to choose is one of America’s greatest freedoms and gives one a personal feeling of independence, but with freedom comes responsibility and not everyone is as responsible as they should be.


Helmet laws are to protect motorcyclists as are seatbelt laws there to protect vehicle passengers.


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The personal freedom of the motorcyclist stops when it starts to infringe on someone else’s freedom. Since most unhelmeted motorcyclists have been found to uninsured medically, the costs of their hospital bills are left for the individual taxpayer. Over a one-year study of unhelmeted motorcyclists injured, it was found their charges were .75 times higher than those of helmeted riders due to the head trauma received. In 18, the NHTSA estimated 66 million dollars was saved because of helmet use and an additional 454 million could have been saved had all motorcyclists been wearing helmets (NHTSA).


The feeling of the wind blowing through your hair when riding is an unbelievable feeling of independence and freedom, but at what price does that feeling come? A study from the National Highway Traffic Safety Administration released some statistics on riders who wear helmets and those who don’t. These are a few


- States without helmet laws have nearly doubled the death rate of those who require helmets.


- Within the 50 states, the average death rate varies from 8 to 7 percent lower for those riders who wear a helmet than for those who don’t.


- Cyclists who don’t wear helmets are 40 percent more likely to die from brain injuries than those who do.


- Between 184 and 10, helmets saved an estimated 4,100 motorcyclist across the nation (State).


Despite these statistics riders still say that helmet laws restrict their personal freedom.


Although there are many designs of helmets that are made to help with this problem. The full faced helmet does cut down a riders hearing and peripheral vision, but the helmet known by slang as a “skull cap”, which is DOT approved, gives a rider full vision and the ears open. A simple solution


to curb the death rates and injuries of motorcyclists would be for the government to implement similar laws as the have for seatbelts. This law is that if a state doesn’t require wearing a seatbelt then their road and highway funding will be cut. If this were begun the rider’s choice, freedom and vision and hearing may be hindered, but it seems a small price to pay for a life or for reducing the chance of one’s brain being damaged for the rest of their life.








Williamson, Laura. “Biker Shifts His Opinion on Helmets.” The Atlanta


Journal and Constitution 7 Jan. 16.


Morain, Dan. “Assembly Panels OK Helmet and Balloting Bills That had


been Bottled up Under Democrats.” Los Angeles Times. January 16.


State Legislative Fact Sheet. http//www.nhtsa.dot.gov. January 000.


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Monday, April 23, 2012

Creon's Struggles in Sophocles' "Antigone"

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In many stories, characters experience a number of struggles which may cause them to unwillingly modify their lives. In Sophocles Antigone, Creon is faced with difficult challenges, but he manages to keep hope in his attempts to overcome them. A reader usually feels sympathy for the characters who are challenged throughout their lives. Although Creon, at first, may not seem deserving of the readers sympathy, due to the occurences of the play, he becomes a very admirable character. Creon is deserving of the readers sympathy because he is under pressure, he changes his state of mind, and is faced with death.


Creon is under pressure to portray the image of a strong ruler for his people and he should be given the readers sympathy. Because of his political power, Creon has no choice but to act cruel throughout the beggining of the play. He is a newly appointed ruler who has to rescue his people from the civil war brought on by the rivalry of Polynices and Eteocles. Therefore, Creon is forced to formulate unpleasant laws so that political trouble makers will think twice before attempting to start conflicts. Objection to Creons laws is seen by nearly all the characters in the play. Creon understands the objections and recognizes his mistakes, but in order to maintain his exemplary position as the absolute powerful ruler, he attempts to conserve his laws. Creon admits that he did not wish to be the king, it was brought upon him, and he is doing his best. Extremely concerned for the peoples well being, Creon stays true to his initial rulings, and does not change in order to gain the trust of his people.


Additionally, Creon is deserving of the readers sympathy because he attempts to change his state of mind and reconcile with Antigone. Recognizing that Antigones reasons for her actions are reasonable, Creon says to Antigone, I shall have to have you killed. And I dont want to. He is affraid of his own decision and begs her to have pity on him by changing her mind. The rebellious and determined Antigone refuses, and pities Creon for his weak spirit. Creon again attempts to change her mind by urging her to seek happiness in love and life by marrying Haemon. Again Antigone fights back, even though she is now more understanding and somewhat sad. Creon is sick at heart over not being able to change the mind of the stubborn Antigone.


Creon has become a completely changed man, but no one takes pitty on him. As he has positively changed his state of mind, his son and wife kill themselves. This horrible tragedy leaves Creon alone in his throne for eternity. Althouth it is unkown to the reader, Creon may be left to face depression in the future due to the unexpected deaths of his loved ones. Creon is left wondering that if when one changes their state of mind for a good cause, he is left with nothing but tragedy. For the rest of his life, Creon is left with guilt. He will never achieve peace with his conscience and is left mentally scarred forever.


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Indeed, Creon makes mistakes as a ruler, but attempts to correct them, only it is too late for him to acquire forgiveness. Creons solitude results from his ignorance. Perhaps, Creon is a changed man who will continue to live his life concerned for his people, or in contrary, Creon is so deeply left with depression that he may take his own life. As a result, Creons fate is left to the readers imagination which enhances the beauty of the play.


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The Fatal Consequences of Obsessive Love in Nathaniel Hawthorne's "Rappaccini's Daughter"

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Rappaccinis Daughter is generally regarded as one of Hawthornes best stories (Adams 171). The story centers around a young man who innocently falls in love with a poisoned girl. The girls father, a typical Hawthorne character, is an obssessive scientist who puts his work above all. Snipes states that Hawthorne is known for suggesting that the scientist in his intellectual pride might destroy the natural blessings that God has provided (188). Although the scientist and his malice serves as a basis for the storys theme, Giovannis love for Beatrice is a more significant theme. It suggests that when infatuated by love, ones perception of good and evil can become distorted, if not fatal.


The plot of Rappaccinis Daughter centers on a young mans forbidden love for a poisonous scientists daughter. The story begins with the protagonist, Giovanni Guasconti, moving to Padua to attend the university. His room had a window that overlooked a beautiful ancient garden. One day, while looking at the garden, Giovanni noticed an old man dressed in black, Dr. Rappaccini, who avoided getting too close to the flowers or inhaling their scents. He immediately called his daughter Beatrice to help him with a poisonous flower. Beatrice held the flower close to her chest and called it sister; she referred to its perfume as the breath of life. Instantly, Giovanni was struck by Beatrices beauty.


Eager to learn more about Rappacini and his daughter, Giovanni talks to Professor Baglioni, a friend of his father. The professor told Giovanni that the flowers in the garden were poisonous, and alerted him that Rappaccini is a man of pure science and would sacrafice anything for an experiment. Out of curiosity, Giovanni continuously watched Beatrice from his rooms window. He observed several unhumanly behaviors expressed by Beatrice. Giovanni saw Beatrice breathe on a fly and kill it. Also, the protagonist gave Beatrice a bouquet of flowers and watched it die in her hands. Moreover, Giovanni witnessed a lizards death in the garden by a drop of poison from a flower.


Even though Baglioni warned Giovanni that he may be part of Rappaccinis next experiment, Giovanni disregarded Baglionis warnings and entered the garden to personally meet Beatrice. The protagonist and Beatrice walked and talked in the garden, as Giovanny hopelessly fell in love with Beatrice. As they walked through the garden, Beatrice pulled Giovanny back from touching a flower, insisting that it would kill him, and rushed out of the garden. The next day, the protagonists hand was burned where Beatrice had touched him. Regardless, Giovanni began to eat and sleep his love for Beatrice.


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As days passed, Baglioni tried to sway Giovanni away from the garden and Beatrice, and gave him a poison antidote to give to Beatrice so that she could live as a normal person. Right away, Giovanni noticed that his breath was deadly and his touch poisonous. He confronted Beatrice and she denied having a knowing part in her fathers scheme of turning Giovanni into Beatrice. As a solution, the protagonist proposes that they both take the antidote. Beatrice agreed and demanded to take the antidote first. The antidote killed her instantly. From Giovannis window, Baglioni yelled down to his rival Rappaccini, Rappaccini! Rappaccini! and is this the upshot of your experiment? (0).


Throughout the story, Giovanni Guasconti is portrayed as a complex character confused with love. Giovanni is good looking, but also very naive and shallow. He rapidly fell in love with Beatrice and was blinded by love. In addition, the protagonist disregarded Baglionis warnings about Beatrice and Rappaccini, and followed his own intuitions. Giovanni was very persistant in getting to know Beatrice, and once he does, he discovers that he is confused. According to Roger, Giovanni believes that poison corresponds to evil and that health and beauty correspond to goodness, so when Beatrice appears to be poisonous he is bewildered by the disjunction between her apparent health and beauty and her apparently poisonous nature (65). Eventually, he was so overtaken by Beatrices beauty, that it caused him to disregard her poisonous nature. This proves the protagonists inability to distinguish good from evil.


In Rappaccinis Daughter, Giovanni is faced with three antagonists. First, Giovanni is challenged by an innocent but poisonous girl, Beatrice. Her outside beauty overshadows her poisonous nature. She presents a challenge for Giovanni. Her attractiveness and innocent nature persuades Giovanni into disregarding Baglionis warnings about her. Beatrice has no intentions of poisoning Giovanni, but due to her poisonous nature, she does so unknowingly. She presents Giovanni with the conflict of choosing between his own goodwill, and his love for her. Dauber notes that Giovanni is incapable of accepting the fact that Beatrice offers both sin and eventual redemption (6).


Moreover, Baglioni and Rappaccini are antagonists who use Giovanni as a subject for their long term competitiviness. They have been rivals for years. Baglioni tries to warn Giovanni about Rappaccini and his daughter. Baglioni is doing so intentionally as to prevent Rappaccinis usage of Giovanni in his upcoming experiment. In a sense, Baglioni is of good nature for he is trying to prevent Giovanni from becoming poisonous. In contrast, the professors interest in giving Giovanni the antidote is to terminate Rappaccinis experiment and to eliminate any competition Beatrice might bring upon him in the future. Baglioni is using this opportunity to kill Beatrice for the sake of his career, and not others. Meanwhile, Rappaccinis character is more concerned with his experiment than anything else. He makes his own daughter poisonous and shows no remorse for his wrongdoing. Rappaccini thinks of people as subjects for his experiments. Giovanni is just another subject enhancing Rappaccinis experiment. By creating his own daughter poisonous, Rappaccini is viewed as a character who feels no sympathy for his own daughter and is not concerned with her or others well being. Therefore, Rappaccini is nothing but a malignant scientist attempting to play god of his garden.


Next, the conflict of this story is developed through two key scenes. First, when Giovanni is shown the secret entrance to the garden, the conflict of the story starts to develop. As he hesitates for a second before entering the garden, shows the internal conflict he has about persuing his infatuation for Beatrice or Baglionis advices. He is unsure on whether to trust his heart or Baglioni. The protagonist is so overtaken by Beatrices innocense and beauty, that he enters the garden immediately. Second, when Giovanni first realizes that his hand was burned where Beatrice had touched him also contributes to developing the storys conflict. Giovanni starts to realize how Beatrice may be evil, but at the same time he is deeply in love with her. The protagonist notices how he has never truly touched Beatrice whenever he has seen her. Everytime they see each other, they speak of their love for one another, but never physically express their feelings. There is a doubt in the back of Giovannis mind about Beatrices good nature, but his love for her is so much greater that it overshadows his doubts.


By not following Baglionis advices, Giovanni eventually becomes poisoned by Beatrice. He becomes part of Rappaccinis experiment and finally realizes that Beatrice is poisonous. As the climax of the story approaches, Baglioni gives Giovanni the antidote in which he must give to Beatrice in order to make her unpoisoned and normal. The protagonist believes that this antidote will allow for them to be together as lovers, but instead it kills her. Giovanni will eternally be alone in the garden, forbidden of touching or being touched by others. As Rappaccini had planned, Giovanni became Beatrice. This story is an all around tragedy for everyone involved. Baglioni blamed his own enemy Rappaccini for the outcome, when the one who should have been blamed was himself. The professor planned the outcome. Beatrice played her part in willingly drinking the antidote and Giovanny played his part by giving it to her. Perhaps the true vilain of the story is Baglioni.


Through the use of foreshadowing, imagery, and symbolism, Hawthorne invites the readers interest on the story and its events. Foreshadowing is used several times in the story by Hawthorne. Baglionis warnings to Giovanni about him becoming poisoned and a part of Rappaccinis experiment foreshadows Giovanni turning into Beatrice. In addition, the incident of Beatrice killing a fly with her breath foreshadows the protagonist later beeing able to do the same. Moreover, descriptive imagery was used throughout the story in the description of the garden, and Beatrice. Hawthorne describes a shrub set in a marble vase in the midst of the pool, that bore a profusion of purple blossoms, each of which had the lustre and richness of a gem; and the whole together made a show so resplendent that it seemed enough to illuminate the garden(18). This description allows for the reader to vividly picture the heavenly garden.


Symbolism was also used to keep the readers interest in the story. Beatrice is a symbol for Eve in the Garden of Eden, and Giovanni is Adam. Since Rappaccini created them both, he is God. Because Beatrice is poisonous, and her touch deadly, she also represents death. In contrast, Beatrice also represents life. To others she is death, but she herself is full of life. The villains, Rappacini and Baglioni, each represent evil dominating over good. They are both manipulating the good Giovanni and the innocent Beatrice.


Giovanni and Beatrices unforbidden love lead to her death and a miserable life for Giovanni. He is unable to distinguish good from evil and as a result, his lover dies. The protagonist and Beatrice were never able to fully express their emotions through physical touch. Perhaps in the future, Giovanni and Beatrice will meet in the heavens above since they were both innocent and a product of the rivalry of two malignant scientists.





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Sunday, April 22, 2012

Business strategy

If you order your custom term paper from our custom writing service you will receive a perfectly written assignment on Business strategy. What we need from you is to provide us with your detailed paper instructions for our experienced writers to follow all of your specific writing requirements. Specify your order details, state the exact number of pages required and our custom writing professionals will deliver the best quality Business strategy paper right on time.

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Dear Alison,


My name is I was speaking to you last week regarding a university essay that you may be able to help me with. The essay title that I have been given is to select a retail Organisation and write a report for the business that assess their industry environment and their competitive position within it.


I would be very grateful for any information on the below topics that you could assist with. As I mentioned to you last week I would like to concentrate on the restructuring of the cosmetics department within Debenhams Belfast.


I have to conduct a Political, Economical, Social and Technological analysis of the department. Within this I would be hoping to look at,


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-How many counters are currently in the department?


-Why Debenhams felt the need to expand?


-How many new counters are being introduced?


-What they expect to gain from the expansion?


-Was planning permission needed? If so how did they go about getting it?


-Has there been any new health and safety laws introduced that may effect the department?


-Has Debenhams felt the impact of the increase in the minimum wage? Did they adapt any strategies to cope with the increase?


-Who would be considered as Debenhams (cosmetic department) Belfast, main competitors?


-What are the main threats the department faces from these competitors?


-How do they plan to over come these?


-What are the strengths and weaknesses that the department has?


-Are there any further opportunities or threats that the department faces?


It would be of much help if you could answer these questions or have any additional information that you may feel I could include. I also understand that you are very busy and finding the time will be hard but I will be grateful for any help that you can offer.


I can be contacted via E-mail or through the MAC counter in store.


Thank you





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FIGHT CLUB By Jim Uhls PG 1 SCREEN BLACK JACK (V.O.) People were always asking me, did I know Tyler Durden. FADE IN INT. SOCIAL ROOM - TOP FLOOR OF HIGH-RISE - NIGHT TYLER has the barrel of a HANDGUN lodged in JACKS MOUTH. They struggle intensely. They are both around 0; Tyler is blond, handsome, eyes burning with frightening intensity; and JACK, brunette, is appealing in a dry sort of way. They are both sweating and disheveled; Jack seems to be losing his will to fight. TYLER We wont really die. Well be immortal. JACK oor -- ee-ee --uh -- aa-i -- JACK (V.O.) With a gun barrel between your teeth, you speak only in vowels. Jack tongues the barrel to the side of his mouth. JACK (still distorted) Youre thinking of vampires. Jack tries to get the gun. Tyler keeps control. JACK (V.O.) With my tongue, I can feel the silencer holes drilled into the barrel of the gun. Most of the noise a gunshot makes is expanding gases. I totally forgot about Tylers whole murder-suicide thing for a second and I wondered how clean the gun barrel was. Tyler checks his watch. TYLER Three minutes. Jack turns so that he can see down -- 71 STORIES. PG JACK (V.O.) The building were standing wont be here in three minutes. You take a 8-percent concentration of fuming nitric acid and add three times as much sulfuric in a bathtub full of ice. Then, glycerin drop-by-drop. Nitroglycerin. I know this because Tyler knows this. Jack manages to SHOVE Tyler away. Then, he leaps onto him and they fall onto a table, then roll off onto the floor. The gun falls and slides. They wrestle with each other, then dash for the gun. Tyler gets there first and grabs the gun. DURING THE ABOVE JACK (V.O.) The Demolitions Committee of Project Mayhem wrapped the foundation columns of this building with blasting gelatin. The primary charge will blow the base charge, and this spot Tyler and I are standing on will be a point in the sky. Tyler drags Jack back to the glass wall and forces him to look out at the city skyline. TYLER This is our world now. Two minutes. JACK (V.O.) Two minutes to go and Im wondering how I got here. MOVE IN ON JACKS FACE. SLOWLY PULL BACK from Jacks face. Its pressed against TWO LARGE BREASTS that belong to ... BOB, a big moose of a man, around 5 years old. Jack is engulfed by Bobs arms in an embrace. Bob weeps openly. His shoulders inhale themselves up in a long draw, then drop, drop, drop in jerking sobs. Jack gives Bob some squeezes in return, but his face is stone. JACK (V.O.) Bob had bitch tits. PG PULL BACK TO WIDE ON INT. HIGH SCHOOL GYMNASIUM - NIGHT All the men are paired off, hugging each other, talking in emotional tones. Some pairs lean forward, heads pressed ear-to-ear, the way wrestlers stand, locked. Near the door a temporary sign on a stand REMAINING MEN TOGETHER. JACK (V.O.) This was a support group for men with testicular cancer. The big moosie slobbering all over me was Bob. BOB I owned my own gym. I did product endorsements. JACK You were a six-time champion. JACK (V.O.) Bob, the big cheesebread. Always told me his life story. BOB Were still men. JACK Yes. Were men. Men is what we are. JACK (V.O.) Bob cried. Six months ago, his testicles were removed. Then hormone therapy. He developed bitch tits because his testosterone was too high and his body upped the estrogen. That was where my head fit -- into his sweating tits that hang enormous, the way we think of Gods as big. Bob hugs tighter, then looks with empathy into Jacks eyes. BOB Maybe its just seminoma. With seminoma, you have a hundred percent survival rate. The Leader steps forward and signals everyone. LEADER Okay. Group hug. PG 4 Everyone converges into a cluster with arms thrown around shoulders, making a big mass of sobbing, smiling goodwill. JACK (V.O.) No. Wait. Back up. Let me start earlier. INT. JACKS BEDROOM - NIGHT Jack lies in bed, staring at the ceiling. He hears VOICES from beyond the wall. A FLY buzzes over his face. He swats at it, missing. JACK (V.O.) For six months. I couldnt sleep. INT. DOCTORS OFFICE - DAY Jack, eyes puffy, face pale, sits before the Doctor, who studies him with bemusement. DOCTOR No, you cant die of insomnia. JACK Maybe I already died. Look at my face. DOCTOR You need to lighten up. JACK Can you give me something? JACK (V.O.) Little red-and-blue Tuinal, lipstick-red Seconals. DOCTOR (overlapping w/ above) You need healthy, natural sleep. Chew valerian root and get more exercise. The Doctor ushers Jack to the door. They step into the INT. HALLWAY Where the Doctor starts moving away from Jack, picking up a chart on a door. JACK Im in pain. PG 5 DOCTOR (facetious) You want to see pain? Swing by Meyer High on a Tuesday night and see the guys with testicular cancer. The Doctor moves into the other room. Jack stares after him somberly. MOVE IN ON JACKS FACE. PULL BACK TO WIDE ON INT. HIGH SCHOOL GYMNASIUM - NIGHT Jack stares at a group of men, including Bob, who are all listening to a group member speak at a lectern. The speaker has death-white skin and sunken eyes -- hes clearly dying. SPEAKER I ... wanted to have three kids. Two boys and a girl. Mindy wanted two girls and one boy. We never agreed on anything. The Speaker cracks a sad smile. Some men chuckle, happy to lighten the mood. SPEAKER Well ... she had her first girl a month ago ... with her new husband. Thank God, because she deserves ... The speaker breaks down and WEEPS UNCONTROLLABLY. Jack is riveted. He barely breathes. CUT TO INT. GYM - LATER A Leader herds people into pairing-off. LEADER Find a partner. Bob starts toward Jack, shuffling his feet. Jack watches him, still moved by his experience, face full of intense empathy. JACK (V.O.) The big moosie, his eyes already shrink-wrapped in tears. Knees together, invisible steps. Bob takes Jack into an embrace. JACK (V.O.) He pancaked down on top of me. PG 6 BOB Two grown kids ... and they wont return my calls. JACK (V.O.) Strangers with this kind of honesty make me go a big rubbery one. Jacks face is rapt and sincere. Bob stops talking and breaks into sobbing, putting his head down on Jacks shoulder and completely covering Jacks face. JACK (V.O.) Then, I was lost in oblivion -- dark and silent and complete. Jacks body begins to jerk in sobs. He tightens his arms around Bob. JACK (V.O.) This was freedom. Losing all hope was freedom. Jack pulls back from Bob. On Bobs chest, theres a WET MASK of Jacks face from how he looked weeping. JACK (V.O.) Babies dont sleep this well. INT. JACKS BEDROOM - NIGHT Jack lies sound asleep. JACK (V.O.) I became addicted. INT. SMALL PROTESTANT CHURCH - NIGHT Jack moves into a group hug of sickly people, men and women. In view is a sign by the door Free and Clear. JACK (V.O.) I felt more alive than Ive ever felt. INT. OFFICE BUILDING BASEMENT - NIGHT Jack pulls back from a group hug of more sickly people. They pair-off. Jack stands with a weeping middle-aged WOMAN. He gingerly takes her in his arms, pats her back. He begins to cry along with her. In view is a sign by the door Onward and Upward. PG 7 JACK (V.O.) If I didnt say anything, people assumed the worst. They cried harder. I cried harder. INT. CATHOLIC CATHEDRAL - NIGHT Jack is in an embrace with a YOUNG MAN. They are both weeping. JACK (V.O.) I wasnt really dying. I wasnt host to cancer or parasites; no, I was the warm little center that the life of this world crowded around. INT. PUBLIC BUILDING CONFERENCE ROOM - NIGHT Everyone settles in their seats and a Leader takes the microphone. LEADER Okay, everyone, close your eyes. Imagine your pain as a white ball of healing light. Go down your secret path to your cave and join up with your power animal. EXT. ENTRANCE OF CAVE (JACKS IMAGINATION) Jack walks up to the entrance and out comes a PENGUIN. The penguin looks at him, smiles. PENGUIN Slide. EXT. STREET - NIGHT Jack walks out of a doorway, saying goodbye to people. He walks down the sidewalk, his face shining with peace. JACK (V.O.) Every evening I died and every evening I was born. Resurrected. CUT BACK TO PG 8 INT. HIGH SCHOOL GYMNASIUM - RESUMING Jack still hanging in an embrace with Bob. JACK (V.O.) Bob loved me because he thought my testicles were removed, too. Being there, my face against his tits, getting ready to cry -- this was my vacation. MARLA SINGER enters. She has short matte black hair and big, dark eyes like a character from Japanese animation. MARLA This is cancer, right? She raises a cigarette to her lips. The men gape at her, dumbfounded. JACK (V.O.) And she ruined everything. CUT TO INT. HIGH SCHOOL GYMNASIUM - LATER Everyone paired-off. MOVE THROUGH ROOM and catch snippets of intimate, painful CONVERSATION. FIND JACKS FACE as it stares, over Bobs shoulder, eyes full of deep hostility. JACK (V.O.) Liar. Faker. Liar. MOVE THROUGH ROOM, hearing more CONVERSATION. FIND MARLAS FACE, over the shoulder of a MAN shes being embraced by, SMOKING, blowing smoke rings. JACK (V.O.) This ... chick ... Marla Singer... did not have testicular cancer. She had no diseases. She was a liar. I saw her at We Shall Overcome, my melanoma group Monday night ... INT. SMALL PROTESTANT CHURCH - NIGHT Marla sits with the group, smoking, while a member speaks. Jack glares at her. PG INT. CATHOLIC CATHEDRAL - NIGHT Everyone sits with eyes closed while a speaker takes them through a meditation. Various COUGHING around the room. Jacks eyes open and he glares at Marla. Her eyes are closed and shes smoking a cigarette. JACK (V.O.) ... at Seize The Day, my tuberculosis group Friday night. CUT BACK TO INT. HIGH SCHOOL GYMNASIUM - RESUMING Jack continues to glare at Marla. Her eyes briefly catch his, then roll. Another puff of the cigarette. JACK (V.O.) Marla -- the big tourist. The faker. With her there, I was a faker, too. Her lie reflected my lie. And all of a sudden, I felt nothing. With her there, I couldnt cry. INT. JACKS BEDROOM - NIGHT Jack, fully clothed, lies on top of his bed, holding a cordless phone to his ear. He stares at the ceiling and swats at a fly. JACK (V.O.) So, once again, I couldnt sleep. Jack hears something on the phone. He sits up. JACK Ive been holding for thirty minutes. Spread all over the floor by Jacks feet are INVOICES for CREDIT CARDS. JACK Yes, thats right. Yes, but I transferred part of my balance to my Visa to get the lower rate. Oh, wait. No, it wasnt your Visa. Okay, I transferred all of the MasterCard ... to ... (MORE) PG 10 JACK (CONTD) Look, can I just come down in person? I live here -- in Wilmington. Yes, all my credit cards have main headquarters here. No? Why not? Why cant I speak to an account rep? No, wait, dont put me on -- Jack reacts to being put on hold. INT. BATHROOM - MOMENTS LATER Jack sits on the toilet. He digs through a magazine rack. IKEA catalogues, Pottery Barn catalogues and more of the kind. Jack opens an IKEA catalog and flips through it. JACK (V.O.) I had become a slave to the IKEA nesting instinct. If I saw something like the clever Njurunda coffee tables in the shape of a lime green Yin and an orange Yang -- Move in on PHOTO of the tables. CUT TO INT. JACKS LIVING ROOM - NIGHT Completely EMPTY. JACK (V.O.) I had to have it. The Njurunda tables APPEAR. INSERT - PHOTO OF SOFAS JACK (V.O.) The Haparanda sofa group ... INT. JACKS LIVING ROOM - NIGHT The sofa group APPEARS. JACK (V.O.) ... with the orange slip covers by Erika Pekkari. The Johanneshov armchair in the Strinne green stripe pattern. The armchair APPEARS. PG 11 JACK (V.O.) The Rislampa/Har lamps from wire and environmentally-friendly unbleached paper. The lamp APPEARS. JACK (V.O.) The Vild hall clock of galvanized steel. The clock APPEARS. JACK (V.O.) The Klipsk shelving unit. The shelving unit APPEARS. INT. BATHROOM - RESUMING Jack flips the page of the catalogue to reveal a full-page photo of an entire kitchen and dining room set. JACK (V.O.) I would flip and wonder, What kind of dining room set defines me as a person? Jack drops the catalog down, open to this spread. PAN OVER to the magazine stack -- theres an old, tattered PLAYBOY. JACK (V.O.) It used to be Playboys; now -- IKEA. INT. JACKS KITCHEN AND DINING ROOM - CONTINUOUS -- Looking exactly like the photo in the catalogue. Jack walks in with the cordless phone still glued to his ear. JACK I want to transfer my balance to get a lower interest rate. Jack looks over the whole kitchen, dining room, and the living room beyond. JACK (V.O.) The things you own, they end up owning you. Jack opens a cabinet, takes out a plate. PG 1 JACK (V.O.) My hand-blown green glass dishes with the tiny bubbles and imperfections, proof they were crafted by the honest, simple, hard-working indigenous peoples of wherever. He rummages through the refrigerator. Its practically empty. Jack takes out a jar of mustard, opens it and uses a butter knife to eat it. INT. BEDROOM - LATER Jack lies on the bed, phone still at his ear. JACK I want to talk to a live person. Jack reacts, listens, impatiently punches a single number; waits, listens, punches another single number; listens. He rolls over, looks at one of the bills on the floor and punches an entire credit card number. JACK (V.O.) Next support group, after guided meditation, the white healing ball of light, after we open our chakras, when it comes time to hug, Im going to grab that little bitch, Marla Singer, squeeze her arms down against her sides and say ... JACK Marla, you liar, you big tourist. Get out. Jack yawns, rubs his eyes. They stay wide open. He punches another number into the phone. He sees a LEVITATING, STEAMING Starbucks paper coffee cup move from side to side in front of his face. INT. COPY ROOM - DAY Jack stands over a copy machine. The Starbucks cup sits on the lid, moving back and forth as the machine makes copies. JACK (V.O.) With insomnia, nothing is real. Everything is far away. Everything is a copy of a copy of a copy. Other people make copies, all with Starbucks cups, sipping. PG 1 INT. OFFICE AREA - DAY Floor-to-ceiling glass instead of walls. Industrial low-pile gray carpet. Walls of upholstered plywood. There are four small offices connected by a hallway to one large office. INT. JACKS OFFICE - SAME Jack, sipping from a Starbucks cup, stares blankly at his Starbucks bag on the floor, full of newspapers. JACK (V.O.) When deep space exploitation ramps up, it will be corporations that name everything. The IBM Stellar Sphere. The Philip Morris Galaxy. Planet Starbucks. Jack looks up as a pudgy MAN in his late thirties, enters. Starbucks cup in hand, pulls up a chair, and slides a stack of reports on Jacks desk. He pats Jacks back in a superficially-friendly way. PUDGY MAN Im going to need you out-of-town a little more this week. Weve got some red-flags to cover. JACK (V.O.) It mustve been Tuesday. My Boss was wearing his cornflower-blue tie. JACK (listless management-speak) You want me to de-prioritize my current reports until you advise of a status upgrade? PUDGY MAN - BOSS You need to make these your primary action items. JACK (V.O.) He was full of pep. Mustve had his latte enema. BOSS Heres your flight coupons. Call me from the road if theres any snags. Your itinerary ... Jack hides a yawn and pretends to listen. PG 14 JACK (V.O.) When you have insomnia, youre never really awake and youre never really asleep, either. INT. SMALL PROTESTANT CHURCH - NIGHT Jack walks in and joins the crowd. LEADER Okay, everyone. Chloe. Jack catches sight of Marla, scowls at her. Taking the lectern is CHLOE, a pale, sickly girl whose skin stretches yellowish and tight around her bones. She wears a head bandage. OVER the beginning of her SPEECH JACK (V.O.) Chloe looked the way Joni Mitchells skeleton would look if you made it smile and walk around a party being extra nice to everyone. CHLOE My status update is ... Im still here -- but I dont know for how long. Thats as much certainty as they can give me. Im in a pretty lonely place. No one will have sex with me. Im so close to death and all I want is to get laid for the last time. I have pornographic movies in my apartment, and lubricants and amyl nitrate ... The LEADER hardly knows what to do. He inches his way to the lectern, and gingerly takes control of the microphone. LEADER Thank you, Chloe. Everyone, close your eyes for meditation. Go to your cave and find your power animal. EXT. ENTRANCE OF CAVE (JACKS IMAGINATION) Jack walks up to the entrance and finds MARLA -- smoking a cigarette blowing smoke into his face, rolling her eyes in condescension. MARLA Slide. PG 15 INT. CHRUCH - RESUMING Jacks eyes snap open and turn to Marla. He glowers, watching her smoke with her eyes closed. INT. CHURCH - LATER The Leader, smiling opens his eyes and looks around the group. LEADER Good. Now. Pair off for the one-on-one. Pick someone special to you tonight. Everyone stands and mills about, slowly pairing-off. Jack sees the ghastly spectre of Chloe coming towards him. He smiles at her. She smiles back; it takes her some time to amble to him. CHLOE Hello, Cornelius. JACK (V.O.) I never gave my real name at support groups. CHLOE Im showing signs of improvement. JACK (V.O.) Everyone was always getting better. They never said parasite; they said agent. She smiles at him with a twisted, dying mouth. Her eyes eerily bright with desperation. Jacks lip trembles as he, in a sincere attempt at levity, chokes out JACK You ... look ... like a pirate. Chloe laughs, a little too much. Jack squeezes out a laugh. Then, he sees Marla, off by herself. Someone is heading for her. Most people have paired-off. Jack gives a quick nod to Chloe and darts for Marla, grabbing her. Chloe watches in sad surprise. STAY ON JACK AND MARLA as he drags her off to the periphery. He whispers into her ear. JACK We need to talk. PG 16 MARLA O - kay. Sure. JACK Youre a faker. You arent dying. Okay, in the brainy brain-food philosophy way, were all dying. But youre not dying the way Chloe is dying. LEADER Tell the other person how you feel. MARLA Youre not dying, either ... (reading his nametag) ... Cornelius. LEADER Share yourself completely. JACK These are my groups. I found them! MARLA I saw you practicing this. JACK What? MARLA -- Telling me off. Is it going as well as you thought it would? JACK Ill expose you! MARLA Go ahead. MEDIATOR Let yourself cry. Marla puts her head down on Jacks shoulder as if she were crying. Jack pulls her head back up. She deadpans at him. JACK Ive put in some serious time on these groups -- Ive been coming for a year. MARLA Mustve been tough to pull off. PG 17 JACK Anyone who mightve noticed me in that time has either died or recovered and never come back. MARLA Why do you do it? JACK Why do you? No answer. The Leader passes right by Jack and Marla. LEADER Open up. share with each other. JACK ... If people think youre dying, they really listen, instead of just waiting for their turn to speak. Everything else about credit card debts and sad radio songs and thinning hair goes out the window. MARLA It started with a lump. I went to a breast cancer support group. The lump turned out benign. But I still needed my Monday fix. So, I went to lymphoma, just to check it out. Dying people are so alive. JACK It becomes an addiction. MARLA Yeah ... Jack almost smiles, then turns sullen. He pulls back from her. LEADER Now, the closing prayer. JACK Look, I cant go to a group with a faker present. Marlas mood hardens. MARLA Well, I cant either. LEADER Oh, bless us and hold us ... PG 18 JACK Well split up the week. Marla starts out of the room. Jack follows her. LEADER ... help us and help us. EXT. CHURCH - NIGHT - CONTINUOUS Marla gets to the sidewalk, moving quickly along. JACK You can have lymphoma, tuberculosis and -- MARLA No, you take tuberculosis. My smoking doesnt go over well. JACK I think testicular cancer should be no contest. MARLA You have your balls, dont you? Technically, I have more of a right to be there than you. JACK Youre kidding. MARLA I dont know -- am I? Jack follows Marla into INT. LAUNDROMAT - CONTINUOUS As she walks with authority up to an unwatched DRYER. She takes out all the clothes, sets them on a table and sorts through them, picking out jeans, pants and shirts. MARLA Ill take the parasites. JACK You cant have both parasites. You take blood parasites and -- MARLA I want brain parasites. She opens another dryer and does the same thing again. PG 1 JACK Okay. Ill take blood parasites and Ill take organic brain dementia and -- MARLA I want that. JACK You cant have the whole brain! MARLA So far, you have four and I have two! JACK Well, then, take blood parasites. Now, we each have three. Marla gathers up all the chosen garments and heads back for the door. She whooshes past Jack. EXT. SIDEWALK - CONTINUOUS Jack follows, bewildered. JACK You left half your clothes. HONK! Jack starts. Marlas led him into the street with traffic barreling down. She defiantly stomps in front of the cars, which screech to a halt and blare their horns. Jack dashes across. Marla heads into a THRIFT STORE. Jack follows. INT. THRIFT STORE - CONTINUOUS Marla drops all the clothes on a back counter. An old CLERK sifts through the clothes, marks on a pad. JACK What are you doing? Youre selling those clothes? Marla steps down hard on Jacks foot. He jerks, wincing in pain. MARLA (for the Clerk to hear) Yes, Im selling some clothes. The Clerk starts to ring up the various amounts hes assessed. PG 0 MARLA So, we each have three -- thats six. What about the seventh day? I want ascending bowel cancer. JACK (V.O.) The girl had done her homework. JACK I want ascending bowel cancer. The Clerk gives Marla and Jack a strange look as he hands over money to Marla. MARLA Thats your favorite, too? Tried to slip it by me, huh? JACK Well split it. You get it the first and third Sunday of the month. MARLA Deal. They shake hands. Jack starts to withdraw his; Marla holds it. MARLA I guess this is goodbye. JACK Lets not make a big deal out of this. She walks toward the door. Jack watches her go. MARLA (not looking back) Hows this for not making a big deal? EXT. SIDEWALK - CONTINUOUS Jack dashes out and catches up to her. JACK Uh, Marla. Should we exchange phone numbers? MARLA Should we? JACK In case we want to switch nights. PG 1 MARLA Uh-hunh. Sure. He takes out a business card and a pen. He writes his home number on the back and hands it to her. She takes his pen, grabs his hand and writes her number on his palm. She gives him a quick grin, slaps the pen back into his palm, then saunters out into the middle of the street, causing more screeching of tires and honking. She turns back, holding up the card. MARLA It doesnt have your name on it. Who are you? Cornelius? Any of the stupid names you give at group? Jack starts to yell, but the traffic noise is too loud. Marla just shakes her head at him, turns, and keeps moving away. A bus moves into view and stops, obscuring her. JACK (V.O.) Marlas philosophy of life, I later found out, was that she could die at any moment. The tragedy of her life was that she didnt. INT. AIRPLANE CABIN - DAY As the plane touches down for landing and the cabin BUMPS, Jacks eyes pop open. JACK (V.O.) You wake up at OHare. INT. AIRPLANE CABIN - DAY Jack snaps awake again, looking around, disoriented. JACK (V.O.) You wake up at SeaTac. EXT. HIGHWAY - DUSK The rear end of a car is visible sticking up by the side of the road. Jack stands near the car, marking on a document. The SUN SETS behind him. INT. AIRPORT - NIGHT Jack walks up to a gate counter. An ATTENDANT smiles at him. ATTENDANT Check-in for that flight doesnt begin for another two hours, Sir. PG Jack looks at his watch, steps away and looks at an overhanging clock. His eyes are bleary as he reads it, adjusts his watch. JACK (V.O.) Pacific, Mountain, Central. You lose an hour, you gain an hour. This is your life, and its ending one minute at a time. INT. AIRPLANE CABIN - DAY Jacks eyes snap open as the plane LANDS. JACK (V.O.) You wake up at Air Harbor International. INT. AIRPORT WALKWAY Jack stands on a conveyor belt, briefcase at his feet, moving slowly with the flow of the belt. His tired eyes watch people on the opposite conveyor belt, moving past him. JACK (V.O.) If you wake up at a different time and a different place, can you be a different person? Jacks eyes catch sight of TYLER -- who we recognize from the opening sequence -- on the opposite conveyor belt. They pass each other. INT. AIRPLANE CABIN - IN FLIGHT - NIGHT Jack sits next to a BUSINESSMAN. As they have idle CONVERSATION, we MOVE IN ON Jacks fold-out tray. An ATTENDANTS HANDS set coffee down with a small packet of sugar and a small container of cream. JACK (V.O.) The charm of traveling is everywhere I go -- tiny life. Single-serving sugar, single-serving cream. CUT TO The hands place a plastic dinner tray down. Jack opens the various containers. JACK (V.O.) Single-serving butter, single-serving salt. Single-serving cordon blue. PG INT. HOTEL ROOM - BATHROOM - NIGHT Jack brushes his teeth. JACK (V.O.) Single-use toothbrush. Single-serving mouthwash, single serving soap. Jack picks up an individual, wrapped Q-TIP, looks at it. He moves out of the bathroom into MAIN AREA And sits on the bed. He turns on the television. Its tuned to the Sheraton Channel and shows WAITERS serving people in a large BANQUET ROOM. Jack stops brushing his teeth, feels something near him on the bed, finds it, lifts it. Its a small MINT. INT. AIRPLANE CABIN - IN FLIGHT - NIGHT Jack sits next to a frumpy WOMAN and they chat. Jack turns to look at his food and takes a bite. He turns back and its -- a BALD MAN sitting next to him, talking. He takes another bite, turns back and its -- a BUSINESSMAN sitting next to him. He takes another bite, turns back, and its -- a BUSINESS WOMAN sitting next to him. JACK (V.O.) The people I meet on each flight -- theyre single-serving friends. Between take-off and landing, we have our time together, then we never see each other again. INT. AIRPLANE CABIN - LANDING Jacks eyes snap open. JACK (V.O.) You wake up at Logan. EXT. CONCRETE LOT - DAY Surrounded by cinderblock walls. Two TECHNICIANS in uniform lead Jack to a WAREHOUSE door. They open it, revealing a BURNT-OUT SHELL of a WRECKED AUTOMOBILE. They move into the PG 4 INT. WAREHOUSE - CONTINUOUS And Jack sets down his briefcase, opens it, and starts to make notes on a FORM. JACK (V.O.) Im a recall coordinator. My job was to apply the formula. Its simple arithmetic. TECHNICIAN #1 Heres where the baby went through the window. Three points. JACK (V.O.) Its a story problem. A new car built by my company leaves Boston traveling at 60 miles per hour. The rear differential locks up. TECHNICIAN # The teenagers braces locked around the backseat ashtray. Kind makes a good anti-smoking ad. JACK (V.O.) The car crashes and burns with everyone trapped inside. Now do we initiate a recall? TECHNICIAN #1 The father mustve been obese. See how the fat burned into the drivers seat, mixed with the dye of his shirt? Kind like modern art. JACK (V.O.) You take the number of vehicles in the field (A) and multiply it by the probable rate of failure (B), multiply the result by the average out-of-court settlement (C). A times B times C equals X. If X is less than the cost of a recall, we dont do one. INT. AIRPLANE CABIN - TAKING OFF - NIGHT Next to Jack, a chubby, middle-aged LADY gawks at him, appalled. LADY ... Which ... car company do you work for? PG 5 JACK A major one. LADY Oh. Jack turns his attention to the window as the PLANE ASCENDS. The ladys VOICE FADES. Jack sees a PELICAN get SUCKED into the TURBINE. His face remains bland during the following The plane BUCKLES -- the cabin wobbles loosely. People begin to panic. Oxygen masks fall. JACK (V.O.) Life insurance pays off triple if you die on a business trip. A forceful IMPACT with the ground and people -- except for Jack -- LURCH FORWARD, some jerking against their seatbelts, magazines and other objects fly forward. JACK (V.O.) No more expense accounts, receipt required for over twenty-five dollars. A BALL OF FIRE swoops forward from the rear of the cabin and INCINERATES EVERYTHING AND EVERYBODY -- except Jack, who remains in his same position in his seat, with the bland expression. JACK (V.O.) No more haircuts. Nothing matters, not even bad breath. DING! -- the seatbelt light goes OUT. EVERYTHING IS NORMAL. JACK (V.O.) Always the same fantasy. But -- no such luck. Jacks eyes are closed. He seems asleep. From next to him, a VOICE weve heard before. VOICE There are three ways to make napalm. One, mix equal parts of gasoline and frozen orange juice. PG 6 Jacks eyes snap open and he turns to see Tyler, who is staring out the window. Without turning to Jack, he continues TYLER Two, mix equal parts of gasoline and diet cola. Three, dissolve crumbled cat litter in gasoline until the mixture is thick. Jacks smile fades. Tyler turns to him and grins. He reaches down under the seat in front of him and pulls up a briefcase. Jack looks at it with trepidation. JACK (V.O.) This is how I met -- Tyler offers his hand, Jack takes it and Tyler squeezes firmly and shakes hands. TYLER Tyler Durden. You know why they have oxygen masks on planes? JACK Supply oxygen? TYLER Thats a sharp answer. The oxygen gets you high. Youre taking in giant, panicked breaths and, suddenly, you become euphoric and docile, and you accept your fate. Tyler grabs a safety instruction card from the seat pocket and shows Jack the passive faces on the drawn figures. Tyler imitates the face. Jack laughs; he is completely beguiled. JACK What do you do, Tyler? TYLER What do you want me to do? JACK I mean -- for a living. TYLER Why? So you can say, Oh, thats what you do. -- And be a smug little shit about it? Jack laughs. He points to his own briefcase, under the seat in front of him. PG 7 JACK We have the same briefcase. Tyler pops the latches on his briefcase. A beat, while Jacks expression turns nervous again about whats inside. Tyler swings the lid up, revealing a full bounty of quaintly-wrapped bars of soap. TYLER I make and sell soap. He gives Jack one. Jack takes it, looks it over. TYLER If you add nitric acid to the soap-making process, you get nitroglycerin. With enough soap, you could blow up the world. Jack now looks at the bar of soap nervously. He looks at Tyler, slowly smiles and shakes his head. Tyler takes out a blank BOARDING PASS. He takes out a small stencil, scrapes a pencil over it, creating a seat number which looks printed. Then, he takes out a stamp and ink pad. He stamps the pass. JACK Uh ... why are you going to Wilmington? TYLER I live there. JACK Me, too. Tyler shuts his briefcase and stands. TYLER Excuse me. Jack stands, allowing Tyler to pass into the aisle. JACK So, uh ... we should hook up sometime. Jack hands Tyler a business card. Tyler snatches it, writes down a number, hands it back to Jack. JACK Tyler, youre by far the most interesting single-serving friend Ive ever met. PG 8 A beat as Tyler stares at him, deadpan. Jack, enjoying his own chance to be witty, leans a bit closer to Tyler. JACK You see, when you travel, everything is -- TYLER I grasp the concept. Youre very clever. JACK Thank you. TYLER Hows that working out for you? -- Being clever. JACK (thrown off) Well, uh ... uh ... great. TYLER Keep it up, then. Keep it right up. Jack sits and watches Tyler walk up to the curtain dividing First Class. Tyler show the bogus boarding pass to an ATTENDANT, who leads him through the curtain. INT. BAGGAGE CLAIM AREA - WILMINGTON - NIGHT Utterly empty of baggage, and, except for Jack and a SECURITY TASK FORCE MAN, utterly empty of people; quiet. The Security TFM, smirking, holds a receiver to his ear from an official phone on the wall. SECURITY TFM (to Jack) Throwers dont worry about ticking. Modern bombs dont tick. JACK Throwers? SECURITY TFM Baggage handlers. But when a suitcase vibrates, the throwers have to call the police. JACK My suitcase was vibrating? PG SECURITY TFM Nine times out of ten, its an electric razor. One out of ten, its a dildo. Sometimes its even a man. Its airline policy not to imply ownership in the event of a dildo. We gotta use the indefinite article A dildo. Never Your dildo. JACK (V.O.) I had everything in that bag. Six white shirts, two black trousers, six pair underwear, alarm clock, contact lens stuff, and ... cordless electric razor. SECURITY TFM (into phone) Yeah? Oh, fuck, now a recording. The Security TFM punches a few code numbers into the phone, waits. CUT TO EXT. EMPTY RUNWAY - NIGHT A solitary SUITCASE sits on the concrete. KABOM! The suitcase explodes. CUT TO INT. BAGGAGE CLAIM AREA - RESUMING The Security TFM still on hold, entertains Jack. SECURITY TFM (to Jack) You know the industry slang for flight attendant? Air Mattress. (into phone) Yeah? Really? The Security TFM, turns to Jack, shakes his head, hangs up the phone; shrugs. EXT. AIRPORT DRIVE - MOMENTS LATER Jack waits by the curb as a TAXI approaches. JACK (V.O.) Things could be worse. A spider could lay eggs under the skin in your face and the larva could tunnel around and baby spiders could burst from your nostrils. PG 0 INT. TAXI - MOVING - NIGHT Along a residential street. Jack looks ahead, sees a tall grey, bland building on the corner. JACK (V.O.) Home was a condo on the fifteenth floor of a filing cabinet for widows and young professionals. The taxi approaches the intersection. JACK (V.O.) The walls were solid concrete. A foot of concrete is important when your next-door neighbor lets her hearing aid go and has to watch game shows at full blast ... The taxi turns a corner and Jack sees the front of the building. A diffuse CLOUD of SMOKE wafts away from a BLOWN-OUT SECTION on the fifteenth floor. FIRETRUCKS, POLICECARS and a MOB are all crowded around the lobby area. JACK (V.O.) -- Or when a volcanic blast of burning gas and debris that used to be your furniture and personal effects blows out your floor-to-ceiling window and sails down flaming to leave just your condo -- only yours -- a gutted, charred concrete hole in the cliffside of the building. EXT. STREET IN FRONT OF BUILDING Jack, gaping at the sight above him, absently gives the Cabbie money. The taxi pulls away. Jack stands frozen. JACK (V.O.) These things happen. Jack starts toward the building. He enters the fray of people, pushes through to the lobby. The DOORMAN sees him, gives a sad smile, shakes his head. Jack starts for the elevator. DOORMAN Theres nothing up there. Jack presses the button; waits. The Doorman moves next to him. PG 1 DOORMAN You cant go into the unit. Police orders. Theyre investigating for arson. The elevator doors open. Jack hesitates. The doors close. DOORMAN Do you have someone you can call? Jack heads back for the lobby doors. The Doorman follows. EXT. CONDO BUILDING - CONTINUOUS Jack walks past SMOKING, CHARRED DEBRIS -- a flash of ORANGE from the Yang table, a CLOCK FACE from the hall clock, part of an arm from the GREEN ARMCHAIR. His feet CRUNCH glass. He gets to a payphone. The Doorman stays right with him, watching him. CUT TO CLOSE SHOT - JACKS STOVE Hissing. JACK (V.O.) Later, the police told me someone couldve turned the pilot light off, turned a burner on. EXT. PAYPHONE - RESUMING Jack picks up the receiver, stares at the numbers on the phone. DOORMAN A lot of young people try to impress the world and buy too many things. CLOSE SHOT - JACKS ENTIRE CONDO - KITCHEN AND LIVING ROOM Sound of the HISS. JACK (V.O.) The gas then could have slowly filled the condo from floor to ceiling in every room. Seventeen-hundred square feet with high ceilings for days and days. PG EXT. PAYPHONE - RESUMING Jacks fingers move over the numbers lightly, as he thinks. DOORMAN A lot of young people dont know what they really want. INSERT - CLOSE ON BASE OF JACKS REFRIGERATOR JACK (V.O.) Then, the refrigerators compressor clicked on. Click. KABLAM! SCREEN GOES WHITE. EXT. PAYPHONE - RESUMING Jack digs into his pocket, pulls out his business card, turns it over -- sees the number Tyler wrote. He dials it. Its rings ... and rings. He waits. JACK (V.O.) Tyler Durden. Rescue me. DOORMAN Young people think they want the whole world. JACK (V.O.) Deliver me from Swedish furniture. Deliver me from clever art. DOORMAN If you dont know what you want, you end up with a lot you dont. JACK (V.O.) May I never be content. May I never be complete. May I never be perfect. Deliver me. Jack sighs and hands up the phone. He starts to push past the Doorman when the phone RINGS. Jack grabs it. JACK Hello? TYLERS VOICE Whos this? JACK Tyler? PG EXT. LOUS TAVERN - NIGHT A small building, sitting squarely in the middle of a large concrete parking lot. A few street lamps illuminate the lot. a freeway runs nearby. INT. LOUS TAVERN - SAME Jack and Tyler sit at a table in the very back of the room. A half-empty pitcher of beer shows dried foam scum from the previous refill. Five DRUNKEN GUYS at a table at the opposite side of the bar keep glancing over and chuckling in a potentially hostile manner. TYLER You buy furniture. You tell yourself, this is the last sofa youll ever need in your life; no matter what else goes wrong, youve got the sofa issue handled. Then the right set of dishes. Then the right bed. The drapes. The rug. This is how youre good to yourself. This is how you fill up your life. JACK I ... guess so. TYLER And now your condo blows up and you have nothing. JACK I ... guess so. TYLER And now you find yourself, sitting here, feeling like its the best thing that ever happened to you. JACK ... yeah. TYLER I dont know you, so maybe Im wrong. Maybe its a terrible fucking tragedy. JACK ... no. PG 4 TYLER I mean, you lost a lot of nice, perfect, neat little shit. JACK Fuck it all. TYLER Wow. Thats pretty strong. JACK ... yeah. TYLER Do you have family you can call? JACK My mother would just go into hysterics. My Dad ... Dont know where he is. Only knew him for six years. Then, he ran off to a new city and married another woman and had more kids. Every six years -- new city, new family. He was setting up franchises. Tyler smiles, snorts, shakes his head. TYLER A generation of men raised by women. Look what its done to you. JACK To me? TYLER Were on our third pitcher of beer and you still cant ask me. JACK Huh? TYLER Why dont you cut the shit and ask me if you can stay at my place? JACK Well ... uh ... TYLER Why dont you cut the shit and ask me if you can stay at my place? JACK Would that be a problem? PG 5 TYLER Is it a problem for you to ask me? JACK Can I stay at your place? TYLER Yeah. JACK Thanks. TYLER -- If you do me one favor. JACK Whats that? TYLER I want you to hit me as hard as you can. FREEZE PICTURE JACK (V.O.) Let me tell you a little bit about Tyler Durden. EXTREME CLOSE-UP - FILM FRAME --And we can see its a PENIS. INT. PROJECTIONIST ROOM - THEATRE - NIGHT Jack, in the foreground, FACES CAMERA. In the BACKGROUND, Tyler sits at a bench, looking at individual FRAMES that have been cut out of movies. Near him, the PROJECTOR rolls a film. JACK Tyler works some nights as a projectionist. A film doesnt come in one big reel ... Tyler speaks to Jack normally, not to the camera. TYLER In an old theatre, two projectors are used. I have to change projectors at the exact second so the audience never sees the break when one reel starts and one reel runs out. You can see two dots on screen at the end of a reel -- this is the warning. PG 6 JACK He splices single frames of genitalia from porno movies into family films. TYLER One-twenty-forth of a second. Thats how long the penis flashes up there. Towering, slippery, red and terrible, and no one knows theyve seen it. Jack and Tyler watch the audience of PARENTS and CHILDREN as an ANIMAL adventure MOVIE plays. Suddenly, children start becoming uncomfortable and squirming. Some start CRYING. Some THROW UP. JACK Tyler also worked as a ... INT. LARGE BANQUET HALL - NIGHT Tyler moves the cart around one of many tables, ladling out soup. Jack stands in the same position. FACING CAMERA. JACK ... banquet waiter at the luxurious Pressman Hotel. The GUESTS are dressed in resplendent clothes, reeking of wealth and privilege. They command the WAITERS with snaps of the finger. Complaints pop like gunshots. The stiff-necked CATERING MANAGER contemptuously hawk-eyes the waiters. Its hellish. INT. SERVICE ELEVATOR - NIGHT Jack turns and WE PAN to Tyler, standing by a CART with a giant SOUP TUREEN and bowls. His hands are at his open fly and hes in position to piss into the soup. TYLER Dont watch. I cant if you watch me. CAMERA PANS to original position as Jack continues TO CAMERA. JACK He was a guerrilla terrorist of the food service industry. TYLER (O.S.) Shit. I cant go. PG 7 After a beat, the sound of WATER SPLASHING the floor. Jack peeks and sees Tyler pouring out a water glass with one hand, the other hand at his crotch. TYLER ... Oh, yeah. Oh, yeah. Jack turns back TO CAMERA. JACK He farted on creme brulee; he sneezed on braised endive; and, with creme of mushroom soup, he ... he ... TYLER (O.S.) Go ahead. Say it. JACK Well, you get the idea. EXT. PARKING LOT OF TAVERN - RESUMING Tyler and Jack come out of the bar; Jack shakes his head. JACK What? TYLER Hit me as hard as you can. Tyler leads Jack into an open area, lit by a streetlamp. JACK I dont know about this, Tyler. TYLER I dont know either. I want to find out. Were virgins. Neither one of us has ever been hit. JACK Youve never been in a fight? TYLER I didnt say that. I said Ive never been hit. JACK Thats good, isnt it? TYLER Listen to me -- hit me. Youre the only one I ever asked. PG 8 JACK Me? Jack stares at him. The five drunken GUYS -- the same ones who stared at them earlier -- have formed a distant perimeter, sensing a fight. Jack glances at them, then back at Tyler. JACK Ive ... never hit anyone in my life. TYLER Go crazy. Let it rip. JACK Where do you want it? In the face or the stomach? TYLER Surprise me. Jack swings a wide, clumsy roundhouse that connects with Tylers neck. It makes a dull, soft flat sound. Tylers neck turns red. JACK Shit. Sorry. That didnt count. Let me try again. TYLER Like hell. That counted. Tyler shoots out a straight punch to Jacks chest. The impact makes a dull, barely-audible sound and Jack falls back against a car. The Guys whoop and clap, moving closer. Jacks eyes involuntarily well up with tears. He and Tyler breathe HEAVILY and sprout BEADS of SWEAT on their faces. TYLER How do you feel? JACK Strange. TYLER But a good strange. JACK Is it? TYLER Weve crossed the threshold. PG JACK ... I guess so. TYLER You want to call it off? JACK Call what off? TYLER The fight. JACK What fight? TYLER Im tired of watching only professionals. I dont want to die without any scars. How much can you really know about yourself if you never go at it, one-on-one? JACK Tyler ... TYLER Are you a pussy? Jack swings another roundhouse that slams right under Tylers ear. The sound, soft and flat. Tyler punches Jack in the stomach. The Guys move closer, cheering the fight. Tyler and Jack move clumsily, throwing punches. They breathe heavier, their eyes red and bright. They drool saliva and blood. They each hurt badly and become dizzier from every impact. JACK (V.O.) If youve never been in a fight, you wonder about getting hurt, about what youre capable of doing against another man. Tyler and Jack keep fighting. The guys mix laughter with their cheers, looking at each other in wondrous amusement. EXT. CURBSIDE - LATER Jack and Tyler sit on the curb, staring at the sparse headlights on the nearby freeway. Their eyes are glazed with endorphin-induced serenity. They look at each other. Laugh. Look away. TYLER What were you fighting? PG 40 JACK My job. My boss, who fiddles with my DOS execute commands. Marla, at my support groups. Everything thats broken and doesnt work in my life. What were you fighting? TYLER My father. A pause as Jack studies Tylers face. JACK We should do this again sometime. Tyler cracks a smile, gives a sidelong glance to Jack, then returns his stare to the night sky. EXT. PAPER STREET - NIGHT A street sign PAPER STREET. An abandoned PAPER MILL sits on one side and only ONE HOUSE on the other, the rest of the land being undeveloped grass and weeds. Its an old, grand, three-story gone to seed. It looks abandoned, too. INT. PAPER ST. HOUSE - LIVING ROOM -SAME Tyler leads Jack up a staircase to a ND FLOOR LANDING, then opens the door to a room. INT. ROOM - CONTINUOUS Jack steps into the room, sits down on the old bed. It CREAKS. Dust drifts upward. JACK (V.O.) I dont know how Tyler found the house. Hed been there for half a year. It was waiting for re-zoning or something. CUT TO EXT. LOUS TAVERN PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - A group of SIX GUYS watching TWO GUYS in a fist fight. CUT TO INT. PAPER ST. HOUSE - KITCHEN - MORNING Jack, his face showing new bruises and cuts, his knuckles puffy, shoos away cockroaches as he makes coffee with a wire-mesh strainer. He has a happy little smile. PG 41 JACK (V.O.) Nothing worked. The rusty plumbing leaked. Turning on a light meant that another light in the house went out. The stairs were ready to collapse. CUT TO EXT. CONVENIENCE STORE PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with TEN GUYS around two guys fighting. CUT TO INT. SHOWER - MORNING Jack, showing some new bruises, with even fatter knuckles, turns on the water. LOUD VIBRATION from the walls. Water spits in starts, then dribbles out. CUT TO INT. KITCHEN - MORNING Tyler, in a nice suit, checks over the bars of soap in his briefcase, then shuts it. Jack walks in, dressed in his work clothes. He picks up a battered old saucepan with boiling coal-black coffee and sips. He offers it to Tyler, who sips. Jack pulls a TOOTH out of his mouth and throws it into the sink. They both walk out the door. EXT. CINEMA PARKING LOT - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with FOURTEEN GUYS around a fight. CUT TO EXT. PORCH - NIGHT Tyler, in his waiter uniform, sits next to Jack on the lip of the porch. They both have newer, different bruises and cuts, sit and guzzle beer. THUNDERCLAPS. RAIN begins to fall. Tyler gets to his feet. INT. BASEMENT - SAME Tyler and Jack are knee-deep in water, standing by a FUSEBOX. Tyler opens it. He grabs two breaker switches, waits for Jack. Jack grabs two other switches, apparently, they have to do this in a certain order. Tyler flips his switches, then Jack flips his. CUT TO EXT. CONSTRUCTION AREA - NIGHT LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further away, but now with EIGHTEEN GUYS around a fight. CUT TO PG 4 INT. LIVING ROOM - NIGHT Rain DRIPS from the ceiling -- some of it from LIGHT FIXTURES. Tyler and Jack enter with LIT CANDLES. They sit down on the decrepit, buckled wood floor. Theres not one item of furniture in the room. There are, however, THOUSANDS of MAGAZINES. JACK (V.O.) The previous occupant collected magazines. They each pick up an opened magazine and resume reading, adjusting close to the candles. Tyler lies down next to him, setting his candle next to Jacks. Tyler picks up a magazine. TYLER What are your reading? JACK I Am Joes Lungs. Its written in first person. Without me, Joe could not take in oxygen to feed his red blood cells. TYLER Sounds fascinating. JACK Its a whole series -- I Am Joes Prostate. TYLER I get cancer, and I kill Joe. JACK What are you reading? TYLER Soldier of Fortune, National Geographic. New Republic. Forbes. JACK Show-off. JACK (V.O.) Every Wednesday night, after fighting like wild animals, we were too wired to go to sleep. PG 4 INT. CONFERENCE ROOM - DAY In near DARKNESS as a SLIDE SHOW progresses, run by a chipper salesman, WALTER. Jack sits, deadpan, with a PUFFY LIP and a BRUISE on his cheek. JACK (V.O.) Thursday morning, my Boss didnt know what to think. Boss blocks him from the rest of the room, gives him a dubious look, turns back to Walter. JACK (V.O.) And all I could do was think about next week. Walter advances to the next slide, showing a view of a COMPUTER SCREEN. WALTER The basic premise of microsofting your office is -- make things more efficient. As Walter continues, his sales pitched gets drowned out by Jacks narration JACK (V.O.) Walter, the Microsoft account exec, smiled at me with his steam shovel jaw. Walter, with his smooth, soft hands. Here he was, doing his cute little show. Maybe thinking about a free-range potluck hed been to last weekend, but probably not. Walter moves to Jack and slaps his shoulder. WALTER I showed this already to my man here. You liked it, didnt you? Slowly, Jack smiles. His teeth are RED with BLOOD. They GLOW eerily in the dim light. JACK (V.O.) You can swallow a pint of blood before you get sick. WALTER Jeez, Id hate to see what happened to the other guy. Jack keeps the smile frozen on his face. PG 44 JACK (V.O.) Fuck Walter. His candy ass wouldnt last a second in fight club. EXT. LOUS TAVERN - NIGHT Out of silent darkness, HEADLIGHTS appear from all directions. A synchronous WAVE of cars PULLS UP and parks in the already-filled lot. Young men get out of the arriving cars and wander into the tavern. We recognize, among them, the GUYS who watched Tyler and Jacks first fight. INT. LOUS TAVERN - SAME The men enter; the bartender, IRVINE, calls out IRVINE Drink up people. Were closing. Lets go. The crowd consists of men and women YUPPIES blue collar REGULARS dressed in work clothes or like cowboys; floozy barfly WOMEN. MUSIC plays from the jukebox. The arriving men simply wait. And wait. Tyler and Jack enter. They, too, stand back against he wall. The waiting army begins to share secret looks and grins. A certain level of eagerness can be seen among them. Irvine looks at Jack and grins. He flips on LIGHTS. The drunken customers squint and get the message. They gulp down their drinks, plop down money and filter out the door. Irvine hits a button and the jukebox loses power -- the record simply turns slower until it stops revolving. Finally, the last of the irritated customers leaves. One guy locks the door. Two other guys pull down blinds. Someone else moves over to the BASEMENT DOOR and opens it. INT. BASEMENT STEPS - MOMENTS LATER The grinning men march down steps; CHATTER begins. TALL GUY I brought my roommate tonight. Phil. FAT GUY Oh, yeah? Hi, Phil. TALL GUY He kept seeing what I looked like. Had to check it out. PG 45 INT. TAVERN BASEMENT - SAME A BOMB-SHELTER -- concrete floor, concrete walls. One BARE LIGHT BULB hangs by a wire from the ceiling. Tyler nods to Jack and Jack turns on the light. The guys mill around, finding partners. The whole mood is very friendly. Everyone brims with eagerness, but tries to act cool about it. CHATTER gets LOUDER. FAT GUY A mean uppercut. WIRY GUY I gotta work on my left. SHORT GUY Hes got a left. FAT GUY Hey, youre wiping the floor with dudes who are way out of your weight class. TALL GUY (slapping Wiry Guys shoulder) Skinny guys. They fight till theyre burger. PEAKING CHATTER, then -- Tyler moves into position directly under the light bulb. His face is partially in shadow. Everyone spreads out, forming a circle, the light bulb for a center. Tylers will WIPES through the room and the CHATTER DIES. A couple of COUGHS, FEET SHUFFLING. Then, SILENCE. TYLER The first rule of fight club is -- you dont talk about fight club. The second rule of fight club is -- you dont talk about fight club. Jack glances over at a short guy, RICKY, with a BLACK EYE. JACK (V.O.) This kid, Ricky -- supply clerk -- he cant remember whether you ordered pens with blue ink or black ink ... TYLER The third rule in fight club is -- when someone says stop or goes limp, the fight is over. The fourth rule is -- only two guys to a fight. PG 46 JACK (V.O.) But Ricky was a god for ten minutes when he trounced an actuary twice his size. TYLER Fifth rule -- one fight at a time. Sixth rule -- no shirts or shoes. Seventh rule -- fights go on as long as they have to. And the eighth rule of fight club is -- if this is your first night, you have to fight. Tyler steps back, and a FAT MAN and a GOATEED MAN take off their shirts and shoes and step into the center. They circle each other, then begin throwing punches. SWEAT flies into the moist air. SHOUTS become DEAFENING. JACK (V.O.) Sometimes you could hear flat, hard packing sounds over all the yelling as someone caught his breath and sprayed GOATEED MAN Ssstop. INT. OFFICE PARK RESTAURANT - DAY Jack, eating lunch, is served a refill soda by the BROKEN-NOSED WAITER with a GOATEE, the man from the above fight. JACK (V.O.) Even if I could tell someone they had a good fight, I wouldnt be talking to the same man. Who you were in fight club is not who you were in the rest of your world. You werent alive anywhere like you were alive at fight club. But fight club only exists in the hours between when fight club starts and when fight club ends. INT. JACKS OFFICE - DAY Boss, passing by the doorway, looks in at Jack with irritated wonder. Jack, playing solitaire on his computer, daubs blood from his mouth with a handkerchief. BOSS What are you getting yourself into every week? PG 47 Jack flashes a smile at Boss. Boss shakes his head, walks away. JACK (V.O.) After a night in fight club, everything else in your life gets the volume turned down. You can deal with anything. All the people who used to have power over you have less and less. Reflexively, Jacks tongue plays with his teeth. JACK (V.O.) By this point, I could wiggle most of the teeth in my jaw. INT. BUS - DAY Jack stands, holding a hand grip. An arrogant MAN in a three-piece suit brushes past him, knockng his shoulder. JACK (V.O.) We all started to size people up. Jack violently knocks the Mans shoulder in return. The Man turns and he and Jack face each other for a brief moment. Jacks face is stone. JACK (V.O.) Id look at some asshole and know I could beat him. The arrogant Man continues down the aisle. Jack notices a GUY with SMASHED LIP. The Guy grins, giving a slight nod. INT. PARKING GARAGE - DAY (FLASHBACK) Jack walks past the parking garage. He sees a VALET who has facial bruises. JACK (V.O.) We were all doing it. The Valet and Jack share a quick smile. A BMW pulls up and HONKS at the Bruised Valet. The bruised Valet has no reaction as a FAT EXEC gets out of his car and tosses the keys. Jack watches the Bruised Valet size up the Exec, then hop into the car and loudly PEEL OUT. PG 48 JACK (V.O.) I would see them all the time -- fight club members looking at other guys, knowing they could kick their asses. INT. TAVERN BASEMENT - NIGHT Jack lands a couple of jabs to HIS OPPONENTS stomach, then brings up a left uppercut that smashes the Opponents jaw. Tiny spatters of BLOOD adorn the walls, along with sweat. JACK (V.O.) Fight club was not about winning or losing. It wasnt about words. The Opponent recovers, throws a headlock on Jack. Jack snakes his arm into a counter headlock. They, wrestling like wild animals. The crowd CHEERS maniacally. JACK (V.O.) The hysterical shouting was in tongues, like at a Pentecostal church. The onlookers kneel to stay with the fight, cheering ever louder. The Opponent smashes Jacks head into the floor, over and over. JACK Stop. Everyone moves in as the Opponent steps away. They lift Jack to his feet. On the floor is a BLOOD MASK of Jacks face -- similar to his TEAR MASK on BOBS SHIRT, seen earlier. Tyler pushes through the crowd. TYLER Cool. EXT. BAR - NIGHT Everyone files out of the bar, sweating, bleeding, smiling. JACK (V.O.) Afterwards, we all felt saved. PG 4 EXT. SIDEWALK - NIGHT Jack and Tyler walk through the pools of light cast by streetlamps. They both drip blood and sport bruises. They each carry a 4x4 piece of WOOD. As they pass parked cars, they SLAM the sticks against the front bumpers, setting off the ALARMS and causing the AIR BAGS to INFLATE. They come to a bus stop that has a large display ad for jeans. It has a photo of a shirtless man. TYLER Is that what a man looks like? JACK Isnt it? Tyler smears blood on the ad. They continue on their way. Tyler comes to a ROAD WORK sign. Tyler kicks it into a deep HOLE. He and Jack tightrope-walk on wooden beams over darkness. TYLER Guys packing into the gyms, all trying to look like what Calvin Klein says. Fight club isnt about looking good. As they step back onto solid pavement, Tyler kicks one of the beams, causing it to come loose and fall. The whole temporary work structure falls into the hole. Tyler and Jack continue walking. IN the background, a car SKIDS and FISHTAILS, avoiding the hole. Sound of a SIREN getting closer. Tyler hands Jack the 4x4 and runs, laughing. Jack stands there a moment, then throws the stick and runs after Tyler. JACK (V.O.) A guy comes to fight club for the first time, and his ass is a wad of cookie dough. After a few weeks, he looks carved out of wood. He trusts himself to handle anything. EXT. ANOTHER STREET - CONTINUOUS Jack and Tyler, panting, sweat mixing with blood, slow down and resume walking. Tyler pulls his fingers, popping them -- his knuckles are swollen. He grins at the pain. TYLER Self-improvement is masturbaation. Self-destruction is the answer. PG 50 INT. PAPER ST. HOUSE - KITCHEN - LATE AFTERNOON The PHONE RINGS. Jack enters from the living room, buttoning his shirt. He answers. JACK Hello? INTERCUT WITH INT. MARLAS ROOM - SAME She lies on the bed, twisting the phone cord around her neck like a noose. MARLA Where have you been the last few weeks? JACK Marla? MARLA I havent seen you at any support groups. JACK Thats the idea -- we split them. MARLA You havent been going to yours. JACK I found a new one. MARLA Really? Can I go to it? JACK Its for men. MARLA Like testicular cancer? JACK Like that. Look, this is a bad time. MARLA I started going to debtors anonymous. You want to see really fucked up people? JACK Look, Im going out ... PG 51 MARLA Im going out of my mind. I got a stomach full of Xanax. I took what was left of the bottle. Mightve been too much ... probably was. Jack turns TO CAMERA. JACK (V.O.) Picture yourself watching Marla throw herself around her crummy apartment, saying, Im dying. Dying. Dying. It could go on for hours. JACK You probably want to die in peace. Ill let you go. MARLA Stay on the line. I want you to hear me describe death. Jack puts the handset on top of the phone, still off the hook, and walks out of the kitchen. MARLAS VOICE I want to see if my spirit can use the telephone. INT. BEDROOM - LATE NIGHT GRUNTS of PLEASURE and EXERTION. In dim light, we get glimpses of TORSOS, ASSES, LEGS, ARMS, BREASTS, and BLACK FEMALE HAIR -- all DRENECHED in SWEAT. Sheets RIP. CA-CHUNK! CA-CHUNK! Bodies hit the FLOOR and roll. More insane GRUNTING. And LAUGHING -- CACKLING. A flash of MARLAS FACE. Then, groans of ecstasy approaching climax. CUT TO INT. JACKS BEDROOM - SUNRISE Jack sits up in bed, looks around the room. INT. ND FLOOR LANDING Jack steps out of his room, looks down to the next door -- the door is closed. JACK (V.O.) Tylers door was closed. Id been living here a month, and Tylers door never closed. PG 5 INT. BATHROOM - SAME Jack stares into the toilet. CLOSE UP - SIX USED CONDOMS IN TOILET. INT. KITCHEN - MORNING Jack sits at the table, sipping coffee, reading Readers Digest. He takes in a long yawn, rubs his eyes. He hears FOOTSTEPS approaching. JACK Youre not going to believe the dream I had. Marla walks in, straightening her dress. She looks like shes been raped by a hurricane. Some of her hair is matted against her head, some of it is sticking out wildly. Jack gapes at her in shock. She cracks a coy smile and runs a finger across the back of his neck. MARLA I can hardly believe anything about last night. She pours herself a cup of coffee. She takes a big gulp, GARGLES and SPITS it out into the sink. She gives Jack a lascivious smile. Then, she sips from the cup. She strokes his hair. He pulls back from her. JACK What the fuck are you doing here?! Marla looks at him a beat, then throws the cup into the sink and it SHATTERS. MARLA Fuck you. She kicks open the door to the backyard and walks out. Jack watches her stomp across the lawn to the sidewalk and down the street. Jack turns and -- Tyler is at his shoulder, staring after Marla. Hes in his usual sweatpants. He grins at Jack, then moves away, pours himself coffee. Jack, smoldering, slumps at the table and picks up Readers Digest. Tyler puts his foot on a countertop and begins to do stretching exercises. TYLER That crazy bitch almost fucked me in half. Get this -- I come home and the phone is off the hook ... PG 5 MOVE IN ON JACKS FACE as he pretends to read, but glances up at Tyler. TYLERS VOICE FADES as JACK (V.O.) I already knew the story before he told it to me. INT. KITCHEN - LATE AFTERNOON (FLASHBACK) Tyler enters through the back door and moves to the phone. MARLAS VOICE (from handset) Ill tell you when Im floating out of my body. Gently, Tyler lifts the handset and listens, smiling. JACK (V.O.) I dont know why, but Tyler actually thought it was a bad thing that Marla was about to die. INT. 8TH FLOOR LANDING - LATE AFTERNOON (FLASHBACK) Tyler reaches the top of the stairs and heads for Marlas room. Before he can knock, Marlas hand shoots out and grabs Tylers arm. INT. MARLAS ROOM - CONTINUOUS (FLASHBACK) Marla pulls Tyler inside and shuts the door. Her drugged eyes look him over. MARLA You got here fast. She staggers and sits on the bed. She slides off, along with the blanket and sheets, to the floor. MARLA The mattresses here are all sealed in slippery plastic. She tries to focus her eye on Tyler. MARLA Did I call you? SIRENS and vehicles SCREECHING to a halt outside. Doors opening and SLAMMING; running FOOTFALL. Marla scowls and RAMS Tyler with her knee, knocking him off her. PG54 MARLA You called the cops?! Shit! She gets to her feet, grabs Tyler, hauls him to his feet and pulls him out the door. INT. HALLWAY (FLASHBACK) Marla LOCKS her door, then shoves Tyler toward the staircase. She and Tyler suddenly flatten agains the wall as COPS and PARAMEDICS charge by with oxygen. COP Wheres 8-G? MARLA End of the hall. The rescuers keep running. Marla and Tyler start down the steps. Marla lingers a beat, hearing the cops bang on the door. She calls out to them MARLA The girl who lives there used to be a charming, lovely girl. But she has no faith in herself. Tyler yanks on Marlas arm. They continue down the steps, with Marlas speech getting louder. MARLA And shes worried that, as she grows older, shell have less options. Shes turned into a monster! Shes infectious human waste! Good luck trying to save her! INT. KITCHEN - NIGHT (FLASHBACK) Tyler makes coffee. Marla slouches against the refrigerator. MARLA If I fall asleep, I die. You have to keep me up all night. Tyler smiles. JACK (V.O.) He was able to handle it. PG 55 INT. TYLERS ROOM - DAWN (FLASHBACK) Marla and Tyler, in a wrecked bed. Tylers eyes are closed. Marla kisses his ear. MARLA According to ancient Chinese custom, youre responsible for me forever, because you saved my life. INT. KITCHEN - MORNING - RESUMING Tyler gulps some coffee, shaking his head. TYLER ... And shes spouting this crap she got from watching too much television. JACK (V.O.) If only I hadnt gone to a movie. If only I went to her stupid room to watch her die. Tyler sits opposite him, studies his face. TYLER You arent doing her, are you? JACK (V.O.) I Am Joes Raging Bile Duct. JACK No. TYLER I didnt think so. JACK You didnt think so? TYLER Shes not your type. JACK How would you know what my type is? TYLER Shes just a wild, twisted bitch. JACK Oh, and my pace is more librarians and den mothers. TYLER Kinky. PG56 JACK (V.O.) How could someone like Tyler get involved with someone like Marla Singer? It was impossible. JACK Marla doesnt need a lover. She needs a case worker. TYLER This is sport-fucking. Shes a hosebag. JACK (V.O.) She invaded my support groups, now shes invaded my home. My friendship. Like a cancer. TYLER Youre okay, arent you? JACK (V.O.) I Am Joes Clenching Bowels. JACK Sure. JACK (V.O.) Put a gun to my head and paint the wall with my brains. JACK Its fine, great. TYLER Now, listen. You gotta understand something about me. I got a little rule. Dont ever talk to her about me. I cant stand that kind of shit. Tyler fixes Jack with a friendly, but firm stare. TYLER If you ever mention me to her -- or anyone else -- Ill find out about it. And youll never see me again. JACK Okay. PG 57 TYLER You promise? JACK I promise. Tyler abruptly gets up and leaves the kitchen. Jack watches him go, smoldering. INT. LIVING ROOM - NIGHT Jack sits watching television at HIGH VOLUME. Sounds of ROUGH SEX from upstairs. CUT TO INT. JACKS BEDROOM - NIGHT Jack lies calmly, in a Zen state, on his bed, staring at the ceilng. Sounds of THUMPS and CRASHES from beyond the wall, along with Tylers and Marlas Please note that this sample paper on fight club is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on fight club, we are here to assist you. Your cheap custom college paper on fight club will be written from scratch, so you do not have to worry about its originality.

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