Sunday, April 22, 2012

fight club

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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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