"FIGHT CLUB" (1999)

FIGHT CLUB

Written by

Jim Uhls

Based on the book by

Chuck Palahniuk

SCREEN BLACK

FADE IN:

TYLER has the barrel of a HANDGUN lodged in JACK'S MOUTH. They struggle intensely.

They are both around 30; 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.

Jack tongues the barrel to the side of his mouth.

JACK (still distorted) (CONT'D) You're thinking of vampires.

Jack tries to get the gun. Tyler keeps control.

Tyler checks his watch.

Jack turns so that he can see down -- 71 STORIES.

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:

Tyler drags Jack back to the glass wall and forces him to look out at the city skyline.

MOVE IN ON JACK'S FACE.

SLOWLY PULL BACK from Jack's face. It's pressed against TWO LARGE BREASTS that belong to.. BOB, a big moose of a man, around 35 years old. Jack is engulfed by Bob's 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.

PULL BACK TO WIDE ON

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".

Bob hugs tighter, then looks with empathy into Jack's eyes.

The Leader steps forward and signals everyone.

Everyone converges into a cluster with arms thrown around shoulders, making a big mass of sobbing, smiling goodwill.

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, eyes puffy, face pale, sits before the Doctor, who studies him with bemusement.

The Doctor ushers Jack to the door. They step into the

Where the Doctor starts moving away from Jack, picking up a chart on a door.

The Doctor moves into the other room. Jack stares after him somberly.

MOVE IN ON JACK'S FACE.

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 -- he's clearly dying.

The Speaker cracks a sad smile. Some men chuckle, happy to lighten the mood.

Thank God, because she deserves..

The speaker breaks down and WEEPS UNCONTROLLABLY. Jack is riveted. He

barely breathes. CUT TO:

A Leader herds people into pairing-off.

Bob starts toward Jack, shuffling his feet. Jack watches him, still moved by his experience, face full of intense empathy.

Bob takes Jack into an embrace.

Jack's face is rapt and sincere. Bob stops talking and breaks into sobbing, putting his head down on Jack's shoulder and completely covering Jack's face.

Jack's body begins to jerk in sobs. He tightens his arms around Bob.

Jack pulls back from Bob. On Bob's chest, there's a WET MASK of Jack's face from how he looked weeping.

Jack lies sound asleep.

Jack moves into a "group hug" of sickly people, men and women. In view is a sign by the door "Free and Clear".

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".

Jack is in an embrace with a YOUNG MAN. They are both weeping.

Everyone settles in their seats and a Leader takes the microphone.

Jack walks up to the entrance and out comes a PENGUIN. The penguin looks at him, smiles.

Jack walks out of a doorway, saying goodbye to people. He walks down the sidewalk, his face shining with peace.

Jack still hanging in an embrace with Bob.

MARLA SINGER enters. She has short matte black hair and big, dark eyes like a character from Japanese animation.

She raises a cigarette to her lips. The men gape at her, dumbfounded.

Everyone paired-off. MOVE THROUGH ROOM and catch snippets of intimate, painful CONVERSATION.

FIND JACK'S FACE as it stares, over Bob's shoulder, eyes full of deep hostility.

MOVE THROUGH ROOM, hearing more CONVERSATION.

FIND MARLA'S FACE, over the shoulder of a MAN she's being embraced by, SMOKING, blowing smoke rings.

Marla sits with the group, smoking, while a member speaks. Jack glares at her.

Everyone sits with eyes closed while a speaker takes them through a meditation. Various COUGHING around the room. Jack's eyes open and he glares at Marla. Her eyes are closed and she's smoking a cigarette.

Jack continues to glare at Marla. Her eyes briefly catch his, then roll. Another puff of the cigarette.

With her there, I couldn't cry.

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 hears something on the phone. He sits up.

Spread all over the floor by Jack's feet are INVOICES for CREDIT CARDS.

Jack reacts to being put on hold.

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.

Move in on PHOTO of the tables. CUT TO:

Completely EMPTY.

The Njurunda tables APPEAR.

INSERT - PHOTO OF SOFAS

The sofa group APPEARS.

The armchair APPEARS.

The lamp APPEARS.

The clock APPEARS.

The shelving unit APPEARS.

Jack flips the page of the catalogue to reveal a full-page photo of an entire kitchen and dining room set.

Jack drops the catalog down, open to this spread. PAN OVER to the magazine stack -- there's an old, tattered PLAYBOY.

-- Looking exactly like the photo in the catalogue. Jack walks in with

the cordless phone still glued to his ear.

Jack looks over the whole kitchen, dining room, and the living room beyond.

Jack opens a cabinet, takes out a plate.

He rummages through the refrigerator. It's practically empty. Jack takes out a jar of mustard, opens it and uses a butter knife to eat it.

Jack lies on the bed, phone still at his ear.

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 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.

Jack stands over a copy machine. The Starbucks cup sits on the lid, moving back and forth as the machine makes copies.

Other people make copies, all with Starbucks cups, sipping.

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.

Jack, sipping from a Starbucks cup, stares blankly at his Starbucks bag on the floor, full of newspapers.

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 Jack's desk. He pats Jack's back in a superficially-friendly way.

PUDGY MAN - "BOSS" You need to make these your primary "action items".

Jack hides a yawn and pretends to listen.

Jack walks in and joins the crowd.

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:

The LEADER hardly knows what to do. He inches his way to the lectern, and gingerly takes control of the microphone.

Jack walks up to the entrance and finds MARLA -- smoking a cigarette blowing smoke into his face, rolling her eyes in condescension.

Jack's eyes snap open and turn to Marla. He glowers, watching her smoke with her eyes closed.

The Leader, smiling opens his eyes and looks around the group.

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.

She smiles at him with a twisted, dying mouth. Her eyes eerily bright with desperation. Jack's lip trembles as he, in a sincere attempt at levity, chokes out:

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.

Marla puts her head down on Jack's shoulder as if she were crying.

Jack pulls her head back up. She deadpans at him.

No answer. The Leader passes right by Jack and Marla.

Jack almost smiles, then turns sullen. He pulls back from her.

Marla's mood hardens.

Marla starts out of the room. Jack follows her.

Marla gets to the sidewalk, moving quickly along.

JACK FOLLOWS MARLA INTO

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.

She opens another dryer and does the same thing again.

Marla gathers up all the chosen garments and heads back for the door.

She whooshes past Jack.

Jack follows, bewildered.

HONK! Jack starts. Marla's 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.

Marla drops all the clothes on a back counter. An old CLERK sifts through the clothes, marks on a pad.

Marla steps down hard on Jack's foot. He jerks, wincing in pain.

The Clerk starts to ring up the various amounts he's assessed.

The Clerk gives Marla and Jack a strange look as he hands over money to Marla.

They shake hands. Jack starts to withdraw his; Marla holds it.

She walks toward the door. Jack watches her go.

Jack dashes out and catches up to her.

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.

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.

As the plane touches down for landing and the cabin BUMPS, Jack's eyes pop open.

Jack snaps awake again, looking around, disoriented.

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.

Jack walks up to a gate counter. An ATTENDANT smiles at him.

His eyes are bleary as he reads it, adjusts his watch.

Jack's eyes snap open as the plane LANDS.

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's eyes catch sight of TYLER -- who we recognize from the opening sequence -- on the opposite conveyor belt. They pass each other.

Jack sits next to a BUSINESSMAN. As they have idle CONVERSATION, we MOVE IN ON Jack's fold-out tray.

An ATTENDANT'S HANDS set coffee down with a small packet of sugar and a small container of cream.

Single-serving sugar, single-serving cream.

CUT TO: THE HANDS PLACE A PLASTIC DINNER TRAY DOWN. JACK OPENS THE various containers.

Jack brushes his teeth.

Jack picks up an individual, wrapped Q-TIP, looks at it. He moves out of the bathroom into

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 it's

-- a BALD MAN sitting next to him, talking. He takes another bite, TURNS BACK AND IT'S

-- a BUSINESSMAN sitting next to him. He takes another bite, turns BACK, AND IT'S

-- a BUSINESS WOMAN sitting next to him.

Between take-off and landing, we have our time together, then we never see each other again.

Jack's eyes snap open.

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

And Jack sets down his briefcase, opens it, and starts to make notes on a FORM.

TECHNICIAN #1 Here's where the baby went through the window. Three points.

TECHNICIAN #2 The teenager's braces locked around the backseat ashtray. Kind makes a good "anti-smoking" ad.

TECHNICIAN #1 The father must've been obese. See how the fat burned into the driver's seat, mixed with the dye of his shirt? Kind like modern art.

(A) and multiply it by the probable rate of failure

(B) (CONT’D) , multiply the result by the average out-of- court settlement

(C) (CONT’D)

X is less than the cost of a recall, we don't do one.

Next to Jack, a chubby, middle-aged LADY gawks at him, appalled.

Jack turns his attention to the window as the PLANE ASCENDS. The lady's 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.

A forceful IMPACT with the ground and people -- except for Jack --

LURCH FORWARD, some jerking against their seatbelts, magazines and other objects fly forward.

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.

DING! -- the seatbelt light goes OUT.

*EVERYTHING IS NORMAL*.

Jack's eyes are closed. He seems asleep. From next to him, a VOICE we've heard before.

VOICE There are three ways to make napalm. One, mix equal parts of gasoline and frozen orange juice.

Jack's eyes snap open and he turns to see *Tyler*, who is staring out the window. Without turning to Jack, he continues:

Jack's 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.

Tyler offers his hand, Jack takes it and Tyler squeezes firmly and shakes hands.

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 laughs. He points to his own briefcase, under the seat in front of him.

Tyler pops the latches on his briefcase. A beat, while Jack's expression turns nervous again about what's inside. Tyler swings the lid up, revealing a full bounty of quaintly- wrapped bars of soap.

He gives Jack one. Jack takes it, looks it over.

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.

Tyler shuts his briefcase and stands.

Jack stands, allowing Tyler to pass into the aisle.

Jack hands Tyler a business card. Tyler snatches it, writes down a number, hands it back to Jack.

A beat as Tyler stares at him, deadpan.

Jack, enjoying his own chance to be witty, leans a bit closer to Tyler.

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.

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.

The Security TFM punches a few code numbers into the phone, waits.

A solitary SUITCASE sits on the concrete.

KABOM! The suitcase explodes. CUT TO:

The Security TFM still on hold, entertains Jack.

The Security TFM, turns to Jack, shakes his head, hangs up the phone; shrugs.

Jack waits by the curb as a TAXI approaches.

Along a residential street. Jack looks ahead, sees a tall grey, bland building on the corner.

The taxi approaches the intersection.

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.

a gutted, charred concrete hole in the cliffside of the building.

Jack, gaping at the sight above him, absently gives the Cabbie money.

The taxi pulls away. Jack stands frozen.

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.

Jack presses the button; waits. The Doorman moves next to him.

The elevator doors open. Jack hesitates. The doors close.

Jack heads back for the lobby doors. The Doorman follows.

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 - JACK'S STOVE

Hissing.

Jack picks up the receiver, stares at the numbers on the phone.

CLOSE SHOT - JACK'S ENTIRE CONDO - KITCHEN AND LIVING ROOM

Sound of the HISS.

Jack's fingers move over the numbers lightly, as he thinks.

INSERT - CLOSE ON BASE OF JACK'S REFRIGERATOR

Click. KABLAM! SCREEN GOES WHITE.

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 sighs and hands up the phone. He starts to push past the Doorman when the phone RINGS. Jack grabs it.

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.

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.

The drapes. The rug. This is how you're good to yourself. This is how you fill up your life.

Tyler smiles, snorts, shakes his head.

*FREEZE PICTURE*

EXTREME CLOSE-UP - FILM FRAME

--And we can see it's a PENIS.

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.

Tyler speaks to Jack normally, not to the camera.

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.

Tyler moves the cart around one of many tables, ladling out soup.

Jack stands in the same position. FACING CAMERA.

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. It's hellish.

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 he's in position to piss into the soup.

CAMERA PANS to original position as Jack continues TO CAMERA.

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.

Jack turns back TO CAMERA.

Tyler and Jack come out of the bar; Jack shakes his head.

Tyler leads Jack into an open area, lit by a streetlamp.

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 swings a wide, clumsy roundhouse that connects with Tyler's neck.

It makes a dull, soft flat sound. Tyler's neck turns red.

Tyler shoots out a straight punch to Jack's chest. The impact makes a dull, barely-audible sound and Jack falls back against a car. The Guys whoop and clap, moving closer. Jack's eyes involuntarily well up with tears. He and Tyler breathe HEAVILY and sprout BEADS of SWEAT on their faces.

Jack swings another roundhouse that slams right under Tyler's 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.

Tyler and Jack keep fighting. The guys mix laughter with their cheers, looking at each other in wondrous amusement.

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.

A pause as Jack studies Tyler's face.

Tyler cracks a smile, gives a sidelong glance to Jack, then returns his stare to the night sky.

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. It's an old, grand, three-story gone to seed. It looks abandoned, too.

Tyler leads Jack up a staircase to a 2ND FLOOR LANDING, then opens the door to a room.

Jack steps into the room, sits down on the old bed. It CREAKS. Dust drifts upward.

LONG SHOT - ZOOMING OUT - A group of SIX GUYS watching TWO GUYS in a

fist fight. CUT TO:

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.

LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further

away, but now with TEN GUYS around two guys fighting. CUT TO:

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:

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.

LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further

away, but now with FOURTEEN GUYS around a fight. CUT TO:

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.

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:

LONG SHOT - ZOOMING OUT - Resuming from previous shot, getting further

away, but now with EIGHTEEN GUYS around a fight. CUT TO:

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. There's not one item of furniture in the room.

There are, however, THOUSANDS of 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 Jack's. Tyler picks up a magazine.

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.

Boss blocks him from the rest of the room, gives him a dubious look, turns back to Walter.

Walter advances to the next slide, showing a view of a COMPUTER SCREEN.

As Walter continues, his sales pitched gets drowned out by Jack's narration:

Walter moves to Jack and slaps his shoulder.

Slowly, Jack smiles. His teeth are RED with BLOOD. They GLOW eerily in the dim light.

Jack keeps the smile frozen on his face.

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 Jack's *first fight*.

The men enter; the bartender, IRVINE, calls out:

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.

The grinning men march down steps; CHATTER begins.

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.

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.

Tyler's will WIPES through the room and the CHATTER DIES. A couple of COUGHS, FEET SHUFFLING. Then, SILENCE.

The second rule of fight club is -- you don't talk about fight club.

Jack glances over at a short guy, RICKY, with a BLACK EYE.

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, eating lunch, is served a refill soda by the BROKEN- NOSED WAITER with a GOATEE, the man from the above fight.

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.

Jack flashes a smile at Boss. Boss shakes his head, walks away.

Reflexively, Jack's tongue plays with his teeth.

Jack stands, holding a hand grip. An arrogant MAN in a three- piece suit brushes past him, knockng his shoulder.

Jack violently knocks the Man's shoulder in return. The Man turns and he and Jack face each other for a brief moment. Jack's face is stone.

The arrogant Man continues down the aisle. Jack notices a GUY with SMASHED LIP. The Guy grins, giving a slight nod.

Jack walks past the parking garage. He sees a VALET who has facial bruises.

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.

Jack lands a couple of jabs to HIS OPPONENT'S stomach, then brings up a left uppercut that smashes the Opponent's jaw. Tiny spatters of BLOOD adorn the walls, along with sweat.

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.

The onlookers kneel to stay with the fight, cheering ever louder. The Opponent smashes Jack's head into the floor, over and over.

Everyone moves in as the Opponent steps away. They lift Jack to his feet. On the floor is a BLOOD MASK of Jack's face -- similar to his TEAR MASK on BOB'S SHIRT, seen earlier. Tyler pushes through the crowd.

Everyone files out of the bar, sweating, bleeding, smiling.

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 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.

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 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.

The PHONE RINGS. Jack enters from the living room, buttoning his shirt. He answers.

INTERCUT WITH

She lies on the bed, twisting the phone cord around her neck like a noose.

Jack turns TO CAMERA.

Jack puts the handset on top of the phone, still off the hook, and walks out of the kitchen.

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.

flash of MARLA'S FACE. Then, groans of ecstasy approaching climax.

Jack sits up in bed, looks around the room.

Jack steps out of his room, looks down to the next door -- the door is closed.

Jack stares into the toilet. CLOSE UP - SIX USED CONDOMS IN TOILET.

Jack sits at the table, sipping coffee, reading Reader's Digest. He takes in a long yawn, rubs his eyes. He hears FOOTSTEPS approaching.

Marla walks in, straightening her dress. She looks like she's 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.

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.

Marla looks at him a beat, then throws the cup into the sink and it

SHATTERS.

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. He's in his usual sweatpants. He grins at Jack, then moves away, pours himself coffee. Jack, smoldering, slumps at the table and picks up Reader's Digest. Tyler puts his foot on a countertop and begins to do stretching exercises.

MOVE IN ON JACK'S FACE as he pretends to read, but glances up at Tyler.

Tyler enters through the back door and moves to the phone.

Gently, Tyler lifts the handset and listens, smiling.

Tyler reaches the top of the stairs and heads for Marla's room. Before he can knock, Marla's hand shoots out and grabs Tyler's arm.

Marla pulls Tyler inside and shuts the door. Her drugged eyes look him over.

She staggers and sits on the bed. She slides off, along with the blanket and sheets, to the floor.

She tries to focus her eye on Tyler.

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.

She gets to her feet, grabs Tyler, hauls him to his feet and pulls him out the door.

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.

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:

Tyler yanks on Marla's arm. They continue down the steps, with Marla's speech getting louder.

She's turned into a monster! She's infectious human waste! Good luck trying to save her!

Tyler makes coffee. Marla slouches against the refrigerator.

Tyler smiles.

Marla and Tyler, in a wrecked bed. Tyler's eyes are closed. Marla kisses his ear.

Tyler gulps some coffee, shaking his head.

Tyler sits opposite him, studies his face.

Tyler fixes Jack with a friendly, but firm stare.

Tyler abruptly gets up and leaves the kitchen. Jack watches him go, smoldering.

Jack sits watching television at HIGH VOLUME. Sounds of ROUGH SEX from upstairs.

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 Tyler's and Marla's VOICES, SNARLING:

Jack brushes his teeth.

"Worker bees can leave Even drones can fly away The queen is their slave"

I became the calm little center of the world. I was the Zen master.

MOVE IN ON -- KEYHOLE - Jack's EYE

Sound of RAIN pelting the house. Jack flips the fuses off, walks up the stairs.

Jack walks up the steps. He hears Marla SCREAM in orgasm. He reaches the landing. Tyler's door is slightly ajar. Jack can't help stopping.

JACK'S POV - TYLER'S ROOM

Marla's legs are sprawled on the bed. Her head is down over the far side, out of view. The door PUSHES OPEN WIDER -- Tyler, naked, stands

CLOSE TO CAMERA.

WIDE ON LANDING

Jack steps back.

Tyler grins and nods toward bed.

Jack continues toward his room.

Jack's clothes are PERMANENTLY STAINED with BLOOD. He sits in his Zen pose, typing. We see his HAIKUS on the screen.

He hits "SEND". Boss enters, reacts with exasperated irritaiton at the sight.

Boss stares at Jack like he's from Mars.

And get yourself together.

Jack, looking like a war casualty, walks past COWORKERS who coldly stare at him. His face is totally passive.

That's right, I'm enlightened!

Jack walks toward the house.

Jack walks inside. Sound of VIOLENT SEX from upstairs -- THUDS and WHAMS. Pieces of PLASTER fall from the ceiling in tufts of dust.

Jack rolls his eyes, takes off his pants. He runs water in the sink.

He takes a tiny bit of soap and begins to scrub the blood stains.

PHONE RINGS. He answers.

INTERCUT WITH

DETECTIVE STERN leans forward in his chair, consulting a file.

And, in fact, cold sweat beads up on Jack's forehead. He scrubs his pants obsessively.

Jack's eyes move upward, then back down.

Tyler puts a hand on Jack's shoulder, squeezes it affectionately.

Jack turns away and continues to scrub -- rebuffing Tyler. Tyler smiles compassionately at him.

Marla's FOOTSTEPS can be heard coming down the stairs. JACK'S POV --

as he really grinds the soap against the pants, splashes water all over the place.

JACK'S POV PIVOTS, WIDEN ON ROOM. MARLA ENTERS. TYLER IS

The same disappearing act my parents pulled for years -- one came in, and the other was gone.

Marla moves very close to Jack and props a leg up on a stack of magazines near him. She's not wearing underwear. Jack becomes very aware of his having no pants on, so he pushes up against the counter.

Marla lasciviously pulls the hemline further up her leg.

She leans in very close to his ear and whispers hoarsely:

Marla blows smoke into Jack's face. He grabs her cigarette, throws it into the water in the sink. She smiles saucily and LEAVES the room.

Sound of her FOOTSTEPS going upstairs.

Jack turns and sees Tyler in the back doorway.

Marla's FOOTSTEPS can be heard coming down the staircase.

Jack looks toward the archway, then back at -- ? Tyler is GONE. Marla glides into the kitchen with a PACK of cigarettes. She daintily takes one out and lights it.

Marla begins to do a slow, exotic dance around the kitchen, sometimes moving very close to Jack, sometimes moving away. She lifts her dress dangerously high -- does she expose herself? -- hard to tell. She dances very close to Jack's body, almost touching it.

Marla stops dancing, and BURSTS into loud LAUGHTER.

She touches Jack's hair. He slaps her hand away.

Marla's face turns sour. As she stomps out the back door --

Jack watches her through the kitchen window.

As Jack turns, we WIDEN to include Tyler, standing right behind Jack, beaming. Through the window, in the background, Marla can be seen quickly moving away on the sidewalk. Tyler puts his hand on Jack's shoulder.

Tyler moves forward at a brisk pace. Jack keeps up with him. Tyler cuts across a paved road and into a WOODED AREA. Jack follows.

Tyler, with Jack following, emerges from the trees and heads into the parking lot.

A Clerk ambles toward his car, taking off his uniform bow tie. Tyler suddenly pulls a HANDGUN out of his belt and rams it against the Clerk's head.

Tyler marches the Clerk, the gun aimed at his head. Jack follows.

Tyler stops the Clerk and pushes him down to a kneeling position.

The Clerk fumbles his wallet out of his pocket and Tyler snatches it.

Tyler pulls out the driver's license.

Raymond begins to weep, his shoulders heaving. Jack starts to gasp for air. Growing even paler, he slumps back against a tree. His mouth becomes dry.

Tyler shoves the gun against Raymond's temple.

A long beat while Raymond weeps and says nothing. Tyler COCKS the gun.

Jack JERKS back, wincing, sweating.

Tyler begins to squeeze the trigger.

Tyler shoves Raymond's wallet back into his pocket.

Raymond staggers into the darkness. Tyler watches. Jack, still clinging to a branch with a deathgrip, looks at Tyler. Tyler slowly turns to face Jack.

Jack's eyes light up. He looks at the fleeing Raymond, then back at Tyler. He sighs, then shakes his head, then cracks his weird, little crooked smile. His eyes glow. He looks with almost religious reverence at Tyler.

Tyler turns and smiles at Jack.

CLOSE UP - SIGN: "DANGER - BIOHAZARD"

PULL BACK TO WIDE ON

Tyler is on the ground, inside the fence. Jack's at the top of the fence, trying to get through the BARBED WIRE. He does so, but wobbles and gets his shirt snagged. Tyler tries to help him. Jack falls, ripping his shirt. Tyler breaks the fall, gets Jack to his feet.

FOOTSTEPS. FLASHLIGHT BEAM. Tyler pulls Jack down behind a DUMPSTER

-- one of DOZENS in the site. A silhouette of a SECURITY GUARD moves

along the perimeter, waving the flashlight around. He finally walks back toward the adjacent building, goes inside.

MOVE BACK to Tyler and Jack, who emerge from hiding. Tyler eagerly grabs the lid of the closest dumpster. Jack gapes at the "biohazard" sign.

Tyler lifts the lid -- it CREAKS. Jack breathes heavily, afraid to look. Tyler pulls out an industrial-sized, think plastic bag full of PINK GOO. Jack reacts to the smell, turning away. His eyes focus on the side of the adjacent building and its SIGN: "BODY SCULPTING

CLINIC".

Jack watches at Tyler stirs a boiling pot.

Tyler and Jack climb back over the fence, each carrying several bags of fat. One of Jack's bags gets caught on the barbed wire and rips, spilling the goo all down the fence. Jack's pants and shoes get covered; he slips and slides. Tyler starts laughing. Jack starts laughing.

Tyler shows Jack two pots which have a skinned-over layer.

Tyler helps Jack over the fence. They both fall to the ground on the other side, laughing. They try to get up and they both slip in fat, falling on their asses. They laugh louder. FOOTSTEPS; FLASHLIGHT.

Still hysterically laughing, they both get up, slide and fall down again, get up yet again and stagger away, disappearing around a corner.

Jack and Tyler, slimed with fat, hold their bags, giggling. The CAB DRIVER gives them a deadpan look.

Tyler and Jack have fat stains and rips on their clothes from the waste dump. The pots boil. Tyler stirs.

He sticks a spoon into a pot and lifts up a scoop of the glycerin layer. Then, he grabs a can, opens, it.

Tyler licks his lips until they're gleaming wet. He takes Jack's hand and KISSES the back of it. The saliva shines in the shape of the kiss.

Tyler poises the can of lye over Jack's hand.

Tyler pours a bit of the flaked lye onto Jack's hand. Jack's whole body JERKS. Tyler holds tight to Jack's hand. Tears well in Jack's eyes; his face tightens.

Jack looks at the burn is swollen glossy in the shape of Tyler's kiss.

Jack's face spasms, but he forces himself to endure it.

Jack takes his gaze off his hand and his eyes become glazed and detached.

Quick CUT TO:

Marla, looking beautiful in a stunning black dress.

As soon as Tyler speaks, we CUT BACK TO:

Tyler squeezing Jack's hand. Jack's eyes re-focus on Tyler.

Jack's face spasms in pain. He keeps his attention on Tyler.

Jack becomes dazed again. CUT TO:

Marla drops to the ground and pulls Jack on top of her. Jack moves to kiss her.

Tyler tugs at Jack's arm.

Jack looks at Tyler and they lock eyes in a stare.

Jack does his best to stifle his spasms and quivers of pain. Tears drip from his eyes.

Tyler's eyes fill with tears and he smiles. Suddenly, Jack starts breathing heavily and he shakes his hand.

Tyler laughs; Jack, bearing the pain, cracks a weird little crooked smiles, his eyes wide.

Tyler watches as Jack cuts several perfectly shaped bars of soap.

Tyler finishes wrapping one. The wrapper says: "The Paper Street Soap Company" in quaint writing.

Jack and Tyler, wearing trenchcoats and looking like death- warmed-over, wait by a counter and trendily-dressed and finely- coiffed SALESPEOPLE zip around. Tyler is the picture of cool. Jack looks around as if expecting to get arrested. He looks at his BANDAGED HAND, shakes it.

A BUYER, a woman, comes to the counter, smiles at Tyler; he smiles back. MOS while Jack's VOICE is OVER the following: the Buyer looks over a sample bar of soap. She nods, smiles and begins to fill out forms.

Jack and Tyler march down the sidewalk, full of purpose, like gunfighters heading for a show-down.

MEN are entering the gymnasium for the testicular cancer support group "Remaining Men Together". Bob starts to file in with the rest, and suddenly, Jack darts forth from the shadows and blocks his way.

Bob tries to go through the door, but Jack blocks him.

Jack forcefully pushes Bob. Caught off-guard, he backs into a locker with a bang. Jack slaps Bob's face.

Jack punches Bob in the stomach. Bob puts up his hands to block. Jack throws more punches. Finally, Bob punches Jack in the face, knocking him staggering. Jack comes back and they pummel each other. Bob's face gets redder with anger.

Then, Jack steps back, holding out his hands to signal "stop".

The crowd screams insanely as Bob and Jack go at it in the circle of light. Bob's eyes are wild with glee.

Everyone quietly sneaks out of the new location -- we've seen none of these guys before -- this is a new chapter. Jack and Bob stagger out last. They are both dripping blood and covered with bruises -- Jack being in worse shape -- and they both grin with religious serenity.

Bob hugs Jack.

Bob relaxes the hug and Jack drops to the ground like a sack, enervated from the beating he took.

Ricky grapples with a YUPPIE. They fall to the sidewalk, pounding each other.

The Yuppie maneuvers Ricky toward a metal fence and insanely tries to impale him on a spike. Tyler and Jack shoot INTO VIEW and grab the YUPPIE, laughing.

Ricky and the Yuppie fight each other while the crowd -- still even more new guys -- cheers.

CLOSE UP - BUMPERSTICKER

Which reads: "DRUNK DRIVERS AGAINST MOTHERS".

A HAND presses it down in all corners. PULL BACK TO REVEAL - the bumper, THEN the whole car -- a luxury sedan. THEN - the entire PARKING STRUCTURE wherein ALL the bumpers have the sticker.

Jack, Tyler and Ricky quickly paste up a basic, black-on- white-lettering BILLBOARD. It says: "DID YOU KNOW.. ? YOU CAN USE YOUR OLD MOTOR OIL TO FERTILIZE YOUR LAWN! -- ENVIRONMENTAL PROTECTION AGENCY".

We don't have a great war in our generation, or a great depression.

The great depression is our lives. The great war is a spiritual war.

Jack and Bob, armed with a toolbox, change the "Enter" and "Exit" signs around. They walk away. In the background, a car drives into the "entrance" and the front tires EXPLODE from the BLADES in the ground.

Jack walks toward an intersection, beyond which is a large CITY PARK.

A group of people are LEAVING A PUBLIC BUILDING in front of him. Marla is among them -- it's a support group adjourning for the night. Jack catches Marla's eye.

He simply smiles and waves. Marla stares at him, deadpan. She turns and walks away, JUST AS..

Tyler STEPS INTO FRAME, looking straight ahead at the park. He signals Jack and they move forward. From out of nowhere, Bob joins them.

A bad BAND plays German music. BANNERS advertising American beer are everywhere. People wear shirts and hats with beer ads. Jack, Bob and Tyler sneak up to the side of a portable TOILET. They shove it until it falls against the next toilet. An ENTIRE ROW of portable toilets falls like dominoes. They dart behind a row of trees, then casually walk away.

Two AIRPLANE MAINTENANCE MEN -- with bruised faces -- rip open a box from a PRINT SHOP. They dig up handfuls of AIRLINE SAFETY INSTRUCTION CARDS and begin to inset them into each seat back pouch. We MOVE IN and SEE a card -- it shows passengers SCREAMING and FLAILING ABOUT IN

TERROR.

Jack, dressed for work, receives a sheet of paper from Tyler.

Jack stands over a copy machine, getting hit by the flashes of light.

Jack looks around. Other faces illuminated in FLASHES. HALF of them are bruised. He smiles, his eyelids getting heavy and his head nodding.

Jack sits in his cubicle, playing a game on his computer. Boss enters.

Boss slaps a piece of paper down on Jack's desk.

Jack stares at him stoically.

Jack slowly rises, walks softly to his office door, shuts it and faces the boss.

Boss stares at him with a tinge of outrage, a tinge of fear.

Jack's phone RINGS. Jack answers.

Boss goes to the office door opens it, stares at Jack a beat, then leaves.

INTERCUT WITH

CLOSE-UP OF MARLA

In dim light, her face very pretty with make-up.

Jack goes through the front door.

Jack walks into the dim, dramatically-lit foyer. He sees Marla at a

desk. She does not see him. She's wearing a black formal dress --

like a gorgeous angel of death. A VERY FAT MALE CUSTOMER holds an URN the size of an egg cup. Marla studies the urn and the Customer's body with a dreary expression.

The Customer turns and stomps out the door. Jack steps forward to the desk.

Marla looks up at him and smiles.

Jack watches as Marla takes two boxes from a van with sign "MEALS ON WHEELS".

Marla leads Jack inside.

He stares at her while she wolfs down food. Marla takes a napkin and wipes her mouth.

Can you imagine. The worst job in the world -- recycling toilet paper.

Marla stands in front of a mirror with her shirt open. Jack stands behind her with his hand on the bottom side of her breast. Her hand guides his.

Jack's head is behind Marla's. His eyes close. Both of them speak more slowly, softer.

He almost kisses her neck. Marla turns around, faces him and begins to slowly button up her shirt.

Jack touches his breasts, shakes his head.

Marla kisses him -- and lingers for a bit longer than just friendly.

Jack pulls away.

Marla's voice turns acid:

Jack goes to her door, opens it, looks back at her.

Jack walks down the sidewalk. He glances back up at Marla's window as he crosses the street. He sees her. She moves away from the window and -- Jack's BUMPED -- very lightly -- by a PASSERBY -- it's *Tyler*.

Tyler throws an arm around Jack and leads him down the sidewalk.

Jack steps into the open doorway and lightly knocks against the frame.

Boss looks up from his large, expensive desk.

THIS NEXT LINE *NOT* IN V.O.:

Boss sits up in his seat, becoming enraged.

Turbochargers that blow up and cut off legs at the knees. Fuel injectors that burn people alive. All of these accidents where "cause of failure" is stamped "unknown". I know where the bodies are buried.

Call it job security.

Boss stands, moves around his desk, glaring with rage.

Jack PUNCHES HIMSELF in the nose. Blood starts to trickle down. He punches himself in the jaw, harder.

He throws himself back, acting as if the force of the punch knocked him. His back SLAMS against a framed painting and SHATTERS the glass. He and the frame and the glass and the painting fall to the floor.

Jack gets back to his feet and punches himself in the stomach, then punches himself in the jaw again. He reels backwards and falls into a hanging shelf, ripping it off the wall, sending it's contents flying.

He falls to the floor again.

Jack crawls along the carpet toward Boss, dripping blood. He tries to keep up the act, but he sporadically GIGGLES. He grabs Boss's leg.

Jack climbs up Boss's leg. Boss, aghast, tries to shake him off, and, in doing so, stumbles back in to his desk, knocking off photos, stacks of paper, paperweights.

Jack crawls up high enough to grab Boss's belt and hoist himself up further. He's getting blood all over the Boss's clothes. Jack SMUDGES blood from his face onto the knuckles of both Boss's hands. The horrified man SCREAMS.

Two SECURITY GUARDS come inside and gape at the sight. Behind them stands a crowd of curious workers, also taking in the sight.

JACK (gurgling blood) (CONT'D) Please don't hit me again.

Jack, all bloody, lies in his bed, asleep. He awakens, hearing the BACK DOOR SLAM. He painfully hauls himself out of bed.

Jack enters to see Tyler taking beers out of the fridge. Jack waves a

PAYCHECK.

Jack sees that Tyler is dressed in combat fatigues. He's splattered with various colors of PAINT. There's a rope and rappelling mechanisms lying on the table.

Tyler nods toward the living room and hands Jack all the beers.

Jack, a little bewildered, saunters in, carrying the beers. Tyler does NOT follow him. Bob, Ricky and several fight club guys are in front of the TV. They are all dressed like Tyler, all splattered with paint.

Jack hands them their beer. One of the guys is sixteen year old with an angelic face. He notices the TV.

Jack looks at the TV as it shows a LIVE shot of a BUILDING, which is identified at the bottom of the screen as the TRW building. It has a GIANT GRINNING FACE PAINTED on it.

The two EYES are broken, charred windows with SMOKE pouring out. Firetrucks spray water into the windows.

The COMMISSIONER JACOBS, a wrinkled man with baleful eyes, turns to camera.

Jack turns back and sees Tyler in the archway, watching the TV. Tyler pulls back, out of sight. Jack turns to the others.

They all BURST INTO LAUGHTER, look at Jack and shake their heads. Jack just stares at them. Suddenly, the guys' faces turn to stone.

Jack stares at them. CUT TO:

A loud, luxurious banquet ensues. Commissioner Jacobs guzzles champagne and puffs on a cigar. Jack, in a waiter's uniform, serving another table, stares at Jacobs. Then, Jack looks apprehensively

toward certain other waiters: Tyler, Bob, Ricky and Angel Face --

mixed in with the mass of waiters.

Commissioner Jacobs enters, puffing the cigar, and walks toward a urinal. Jack, Tyler, Bob and Ricky leap out of the corner and attack him. Jack's heart isn't in it -- he barely helps the others. Tyler knocks the cigar out of Jacob's mouth and slaps a piece of tape over it.

Jack holds the door while the others drag the struggling Commissioner inside.

They hold him down and pull down his pants. Bob snaps a rubber band, then reaches down to Commissioner Jacob's crotch.

Ricky holds a knife to Commissioner Jacob's testicles. Jack, red-faced, keeps his distance. Tyler leans in and whispers in the frightened man's ear.

imagine, the rest of your life with your ball sac flapping empty.

Ricky makes a dramatic cut with the knife -- he holds up the severed

RUBBER BAND.

Jack, Tyler and the others file quickly out the back service entrance.

Tyler slaps Angel Face's back. Angel Face smiles at him. Everyone splits up in different directions.

Fight club in full swing. Jack squares off with Angel Face. He BEATS the SHIT out of Angel Face with a viciousness

heretofore unseen. The crowd shouts maniacally, save for Tyler, who watches with an inscrutable stone face.

Angel Face tries to speak, but Jack pounds him too hard. Blood flies everywhere. The crowd becomes QUIETER. Finally, Angel Face, on the floor, is clearly unconscious. Jack stops, stares at him, numb. The crowd seems a little spooked. Tyler scans the faces, looks at Jack.

Tyler and Jack walk through pools of streetlight.

An idling car HONKS. Tyler leads Jack toward it. A bruise- faced VALET PARKER throws keys to Tyler.

RAIN GUSHES down. Tyler drives. Jack sits slumped in the passenger seat. They are BARRELING down a two-lane HIGHWAY, intermittently illuminated by oncoming headlights. Jack stews in silence. Tyler glances at him.

Tyler pulls the car into the opposite lane. HEADLIGHTS in the distance get closer very, very quickly.

The oncoming car gets closer and closer, honking and flashing it's lights. Jack tries to grab the wheel. Tyler uses one arm to pin down Jack's arms. He uses one hand to steer.

The car swerves at the last second.

An oncoming TRUCK honks and flashes it's lights. It moves to the other side of the road. Tyler steers there, too. The truck moves back; Tyler moves back. More honking and flashing. The truck moves; Tyler moves.

Just seconds to impact with the oncoming truck and -- Tyler swerves.

Now the car heads straight for a STALLED CAR on the side of the road, surrounded by flares. Jack stops struggling to get his arms free.

Tyler lets go of Jack's arms and lets go of the steering wheel. He and Jack look at each other as their car barrels toward the stalled car.

Their faces are illuminated by the light of the flares.

They SMASH into the stalled car. Both airbags inflate, but the front seat LURCHES forward, loose, causing the men's legs to bang against the dash.

Tremendous momentum makes the back of the car whip around and carry it into a ass-over- teakettle ROLL down the hill.

The car that Jack saw, post-wreck, in the warehouse, FLAMING, tumbling END over END; the FATHER, MOTHER TEENAGE GIRL and BABY all SCREAMING.

The hill goes on further and further -- it's a deep RAVINE. The car finally hits the bottom, lying on its roof.

Tyler crawls out and goes around, opening Jack's door. He drags Jack out into the mud. He grabs Jack's face and squeezes it, shaking it.

Jack lies in bed, staring at the ceiling. Tyler sits in a chair, next to the bed, speaking softly.

Jack lies in bed, staring at the ceiling. Tyler is gone. Faint sounds of SAWING and HAMMERING.

Jack sits at the table, sipping coffee. He's pale, dazed. He seems broken. He hears the faint sounds of sawing and hammering again; he's unsure of where they're coming from. He glances out the window, sees nothing.

Marla walks into the kitchen. Jack looks up at her. She looks at him, unsmiling. There's a bruise on her face and arm. She pours herself a coffee and lights a cigarette. A beat of silence, then:

She seems to be as weak as Jack.

Marla's eyes drift away from his. Jack gets up, tries to move closer to her. She pulls away. He retreats and they wind up on opposite sides of the room. Jack leans against the wall near the BASEMENT DOOR, which is AJAR.

Marla looks at him curiously, waiting.

Faint sound of sawing and hammering. Jack can't quite figure where it's coming from.

Jack turns and sees, through the slim space of the open door, Tyler, at the bottom of the basement stairs, staring a silent warning. Jack turns back to Marla.

Marla moves slowly toward Jack.

Marla strokes Jack's hair. She sees the kiss-scar on his hand. She grabs his hand and studies it. Jack tries to pull it back, but Marla keeps a tight grip.

Marla kisses Jack's hand, putting her lips right onto the scar, leaving an imprint of lipstick. Jack jerks his hand away from her. He tries to wipe off the lipstick and it smears. He unconsciously licks it off.

Stung, Marla stomps toward the back door.

And out she goes. Jack watches her stomp through the backyard and out to the sidewalk. Tyler comes up from the basement, passes Jack and goes through the archway. Sound of his footsteps going up to the second floor. Jack goes down the basement steps.

TRIPLE-DECKER BUNKS clutter the basement, as many as can fit into the space.

Jack opens the door. Ricky stands on the porch, staring blankly ahead in subordinate military style. He's dressed in black pants, black shirt, black shoes. He holds a brown paper bag. An army surplus mattress sits in a tied-up roll at his feet.

Jack is about to say something, when Tyler steps past Jack and speaks very softly to Ricky:

Tyler steps back inside and shuts the door.

Tyler grins at him.

Jack bursts out the door, faces Ricky.

It's clear there will be no response from Ricky, who's like a statue.

Jack goes back inside, closes the door.

Ricky stands in the same spot. Jack bursts out with a broom, knocks the brown paper bag out of Ricky's hand, kicks it off the porch. Ricky remains in place, motionless.

Ricky in the same spot. Tyler slinks out the front door, smiling.

Ricky, same spot. Jack bursts outside with the broom again. He WHACKS Ricky in the shoulder.

Jack drinks a beer, smokes a cigarette and stares down at the PORCH, which he can see from a sideward//downward angle. Ricky stands in the same spot.

Ricky's in the same spot. Next to him now is Bob, dressed in black with brown paper bag and Army surplus mattress. Tyler steps out the front door. Jack lights in the doorway, locking eyes on Bob.

Tyler and Ricky go inside and Tyler slams the door.

Jack stands in the open bathroom doorway, watching Tyler SHAVE off all of Ricky's HAIR. When he's done, Tyler gives the top of Ricky's head a sharp slap.

And, so, all those with shaved heads will henceforth be termed "SPACE MONKEYS".

Jack looks out the window. Bob continues to stand, motionless. Ricky comes out the front door with the broom.

Ricky WHACKS Bob with the broom several times, then goes back inside,

CLOSE ON JACK'S FACE, staring out the window.

VOICE YOU'RE TOO SKINNY! GET OUT OF HERE!

FULL BACK TO REVEAL a SPACE MONKEY we've never seen before, with the shaved head, whacking a SKINNY APPLICANT with the broom.

Jack pulls back from the window. SPACE MONKEYS, all dressed in black, all with shaved heads, are ALL OVER THE PLACE. There are tables set up for them to wrap bars of soap. Jack lopes into the

Where Space Monkeys render fat and make soap. Several, off to the side, stir a large vat of RICE. One of them recites a memorized statement:

HE MOVES BACK OUT TO THE

And tromps up the steps to the 2nd floor landing.

Jack enters. Bob reads a book and makes marks on a chart. All along the floor are baskets; each one is labeled with a number in sequence:

"1, 2," etc. The first ten are under a sign that says "WILMINGTON".

Then, there's a sign over some that says "NEW YORK", then "CHICAGO", and other cities. There are dozens of BOOKS on FINANCE. Jack looks in basket number "1" and sees the word "CITIBANK" at the top of a page.

He starts flipping through it; then the next basket.

Bob grabs Jack's hand and leads him away from the baskets.

Jack leaves the room.

Jack barges in among the laboring Space Monkeys. They pinch herbs into the soap mix. They also use vodka. Jack grabs a bottle of vodka and takes a long pull off it.

The PHONE RINGS. Jack snatches it. All the Monkeys stare at him.

Jack turns away from the others, moves to a corner, talks sotto voce.

There's a tense pause.

Jack reacts with surprise -- did Tyler hear his thoughts?

Jack, Bob, and two other Space Monkeys step out the front door, laden with boxes and equipment.

The group of four steps off the porch and heads for a VAN.

A piece of ART adorns the top of a hill: a metal TOWER, wide at the base and a hundred feet high, in design somewhat similar to the Eifel Tower. At the top is a giant GLOBE made of circular poles and wires.

Jack, Bob and the other two monkeys attach the explosive packets to the globe; wire the packets together; use sandbags to cover the packets.

The group of four huddle behind some bushes, staring at the globe. Bob holds a small metal electronic box with a button -- a detonator. He presses the button.

A RAPID SERIES of EXPLOSIONS runs from the base of the tower to the top, along the four main structural supports. They are contained, shaped blasts. The tower crumbles straight down. Bob turns to smile at Jack.

The globe falls free, bangs into the top of the hill and begins to roll. When it gets to the street, it bounces onto the top of a parked LIMO -- and becomes a FLAMING, raised "GUTTERBALL" -- it never hits the street -- it rolls over one parked limo or expensive luxury car after another, crunching the roofs, causing the windows to explode outward.

Fifty cars get this treatment.

Then, it arrives at the lobby of a HOTEL, BROADSIDES a couple of limos, CAROMS off them, TURNS and rolls directly into the front of a large

(closed) STARBUCKS, SMASHING DOWN the windows and the front door and setting the place ON FIRE.

As Jack, Bob and the two other Monkeys FLEE, LAUGHING hysterically at their handiwork. They split up and move in different directions.

MOVE IN ON JACK, sprinting, keeping hidden by bushes. SIRENS can be

heard. He's stripping off his ski mask, his gloves, his combat gear --

as he runs. Underneath are street clothes.

Jack dumps the wad of clothes into a trashcan and pulls up the surrounding trash to cover them. He breaks into a sprint again, heading for the edge of the park.

GUNSHOT. Jack's smile fades. He stops, looks toward the direction from which the sound came. He turns, heads down along a row of hedges.

HE COMES TO A

And moves to the top step, looking down. A COP is near the bottom, running down to the sidewalk. Next to a STREETLAMP LIES a ONE of the MONKEYS in full combat attire and ski mask. The body is MOTIONLESS, SPRAWLED. In the hand is the DETONATOR -- looking somewhat like a gun.

The Cop pulls off the ski mask, revealing the DEAD FACE of Bob, a BULLETHOLE through the head.

Jack flinches backwards as if punched in the stomach. He gasps for breath. The Cop looks up and catches sight of Jack. He lifts his gun and his PB radio. Jack jerks back out of sight.

Jack hobbles along. Nearby, from beyond a hedge, he hears the crackling of a PB with a VOICE coming from it. Then:

Jack, sweating like a pig, picks up his pace and heads for the edge of the park.

Jack, panting, white as a ghost, trembling, approaches from the sidewalk. He sees the front door open and four Space Monkeys come out, carrying LUGGAGE.

OTHER MONKEYS & BIG-EARED (UNISON) ... right hands of Tyler Durden.

Jack steps up onto the porch and sees that they are all holding FLIGHT COUPONS. Jack notices that all of them have the KISS-SCAR on their left hands. They ignore him with military demeanor and walk down to the sidewalk and head for the bus stop.

Jack walks inside to see a Space Monkey, BEET-RED but silent, holding out his hands while LYE BURNS the inside of the TOPS of his FINGERS.

Other Monkeys sit and await the process.

Jack barges into the room, goes to the desk and rifles through drawers.

His elbow bangs against the top of an ANSWERING MACHINE. It plays MESSAGES.

Click. Next message:

Jack shivers, snaps OFF the machine, then more furiously continues his search. He finally finds flight coupons -- both used and unused. The used ones have the flight information, including the destination cities. He stuffs all of them into his pocket.

CLOSE SHOT: SIGN: "LAGUARDIA INTERNATIONAL AIRPORT".

Jack walks in and sees several MALE PATRONS with FIGHT BRUISES. Jack goes to the bar, sidles next to the bruised men and the BRUISED BARTENDER. They stare at him.

He and the other bruised patrons and the bartender WINK at Jack and crack slight smiles.

MONTAGE - DAY & NIGHT:

"WELCOME TO" AIRPORT SIGNS -- Atlanta, Chicago, Dallas, Phoenix, Los Angeles".

FACES -- bruised, smiling, tight-lipped.

Jack walks in and sits at the bar. The BARTENDER wears a NECK BRACE and has a black eye.

The Bartender shows Jack his hand -- it has the kiss-shaped scar.

Jack bursts inside, runs to the phone, punches a number. He doesn't bother to turn on the lamp.

INTERCUT WITH

Marla answers the phone.

As Marla hangs up, we END INTERCUT. Jack stares at the receiver a beat, then realizes..

He punches Marla's number like a maniac. Listens.. just ringing and ringing. He turns, sees TYLER -- sitting on the bed, staring at him with an ominous poker face. Jack drops the receiver. The room is only lit by dim moonlight through the window.

Jack stands near the back of the crowd as Tyler stands in the middle of the light.

JUMP CUT - SAME SHOT - (ALTERED FLASHBACK) -- it's JACK in the light, talking, behaving like TYLER.

Jack gasps and wheezes. Tyler grins and nods.

Jack sits next to an empty seat and "looks" at the blank air beside him, eyes focusing on "someone" close.

Jack listens to the reply, then laughs.

Jack has trouble catching his breath.

Jack (Tyler) has his face right in front of the Police Commissioner's.

Tyler sits down on the bed, takes Jack's hand. He presses his lips to the kiss-scar.

We see that the building is "TRW". Jack, Bob, Ricky, Angel Face and another GUY rappel down the die and start SPRAYING PAINT. Everyone is more or less paired off. Jack IS "TYLER" in his demeanor, mannerisms, speech. He's next to Angel Face.

Suddenly, the TWO WINDOWS SHATTER OUTWARD and two of the men yell out the windows:

BRUISED MAN #1 I AM NOT MY JOB!

BRUISED MAN #2 I AM NOT HOW MUCH MONEY I HAVE IN THE BANK!

Jack shakes his head in disbelief.

Jack quivers with shock, shaking his head, sweating more profusely.

Jack FAINTS and falls to the floor, UNCONSCIOUS.

Jack's eyes snap open. He shoots to his feet.

He remembers the revelations of the previous night.. he looks at himself in the mirror. A sledgehammer of emotions hits him. He looks at the clock -- 1:35p.m.

BAM!

The room door slams against the wall as Jack bursts out of the room, SPRINTING for the stairs. Fuck the luggage.

Jack takes three steps at a time.

Jack storms for the front door, passing the length of the front desk.

A DESK CLERK calls out to him.

Jack catches sight of the Clerk, who waves a piece of paper.

Jack snatches the bill and looks at it. There's a MASS of PHONE

NUMBERS.

Jack grins. He initials the bill. The Clerk gives him a copy. Jack stuffs the bill into his pocket and disappears out the door.

Jack sits, staring out the window, his face set hard.

Jack sprints to the curb and leaps onto a taxi.

The taxi pulls to a halt by the curb. Jack leaps out and runs up the front steps.

Jack sprints up the steps, taking two or three at a time. He gets to a landing and turns and runs down to the end of the

Where he pounds on Marla's door. She opens it. He endures her baleful gaze for a beat.

Jack takes both her hands in his.

Jack leads her toward the bed.

Jack sits on the bed, pulling Marla down next to him. They and the sheets and covers SLIDE OFF onto the floor. Jack keeps his composure and looks into her eyes.

Jack takes out his wallet, shows Marla his driver's license.

Jack's eyes well up with tears. He turns away from her. Marla's face softens. She strokes Jack's hair, turns his face to look at her.

A beat of silence. She squeezes his hand; he squeezes back. He looks at her, working up some nerve.

Jack touches her face and she slaps his hand away. He sighs and gets to his feet. He pulls out an airline FLIGHT COUPON and shows it to her.

Marla grabs the flight coupon, looks it over.

Jack digs into his pocket and produces a wad of cash. Marla roughly seizes the cash, checks out the amount.

Marla's expression of rage becomes muddled with confusion over Jack's almost spiritual tenderness. Jack starts toward the door. A WAVE OF DROWSINESS and FATIGUE hits him. He staggers, eyes closing. He drops onto a chair for a beat and rests his hand over his face.

He SNAPS AWAKE. Marla is GONE. Jack bolts up out of the seat.

Jack leaps out of the room, looks down the hall in both directions.

The taxi screeches to a halt. Jack leaps out.

Jack walks inside to find it completely EMPTY and DESERTED. He gawks at the bathtub and canisters that hold vast amounts of liquid. He sees bottles labeled "nitric acid". He TIP- TOES to the

And picks up the phone. He pulls out the hotel bill and scans the phone numbers. Through the window, the LAST bit of SUNLIGHT slowly SINKS.

Jack punches the first number.

VOICE (FROM PHONE) Maintenance.

A brief silence while Jack absorbs this and adjusts.

VOICE Very good, Sir.

VOICE Don't worry about us, Sir. We're solid.

Jack hangs up the phone. He punches the next number.

Jack hangs up the phone. He punches the next number.

Jack hangs up; punches the next number.

Jack hangs up; punches the next number.

A beat while Jack thinks.

Jack hangs up the phone and KICKS IT. He flushes red, looks around at passersby. He lifts the receiver again and punches the next number on the hotel bill.

Click. Disconnect. Jack looks at the receiver, hangs it up.

Jack gets out of the cab, turns to the CABBIE.

The Cabbie grins.

Jack gawks at him, backs away.

Jack darts inside and signals to Irvine. Irvine comes out from behind the bar and he and Jack move to a corner. Other men with BRUISED FACES turn and watch them.

Irvine scowls at him a beat, then slowly smiles.

Jack bristles with rage. He grabs Irvine's shirt collar.

Marla walks into the tavern, makes a beeline for Jack.

Irvine and a couple of the bruised-faced guys grin at Marla and take a few steps towards her. Jack grabs her and drags her out the door.

Jack ignores the waiting cabbie and heads for the main road. He's stomping along at a brisk pace. His face hardens into a mask of psychotic determination. He pulls Marla with him onto a run-down side street.

HE DARTS INTO A

He immediately points to something high on a shelf.

The OWNER, a huge, gruff man, pushes a ladder to the spot starts to climb. Jack throws himself onto the countertop near the register, looks around, pulls up a HANDGUN.

Marla GASPS. Jack checks the clip -- it's fully-loaded. He sprints for the door, dragging Marla.

Jack steps out into traffic. A LEXUS screeches to a halt. Jack goes to the DRIVER'S door and whips it open.

Jack shoves the gun barrel into the Driver's temple. The Driver gets out of the car and FLEES. Jack points the gun at Marla and motions her to get into the car. Overwhelmed by all this, she complies. Jack leaps behind the wheel and stomps on the gas.

Jack drags Marla into the passenger loading area. A Greyhound bus is taking on passengers. Jack sees the DESTINATION -- PHOENIX -- and he impulsively averts his eyes, but too late.

Jack drags her to another loading bus. He keeps his eyes averted from the DESTINATION sign.

Jack jams the gun barrel into Marla's ribs.

Marla starts for the bus. Jack keeps himself from seeing the destination sign, but watches Marla get on board. Then, the doors close. Then, the bus pulls away. Then, the bus gets to the end of the road and turns a corner.

Jack turns and walks off the passenger platform and out into the

He sees a Space Monkey on the corner, watching him. He looks down and sees another Monkey in the opposite direction, also watching him.

Jack walks past desks of PLAINCLOTHES DETECTIVES until he sees a private office. He glances down at a business card, then keeps moving forward.

Jack steps inside the office to see Detective Stern at the desk.

Detective Stern scowls at Jack.

Jack, handcuffed, is led by Detective Stern. Several other DETECTIVES follow. A somber mood prevails.

Stern enters and leads Jack to a table. All the other Detectives file inside. The last one closes the door. Dim light from a single bulb overhead creates the tone of a torture chamber. Cigarette smoke becomes thick. Jack sighs with relief. It's finally over. The Detectives all stare harshly at Jack.

Then, they all BURST into HYSTERICAL LAUGHTER. They slap and punch Jack's shoulder.

Jack uses all his strength to stifle his utter shock. He forces a thin smile.

Jack, ready to explode, keeps the smile plastered on his face and forces his hand -- like a palsy victim -- to form the gesture "thumbs up".

The Detectives give him the same gesture in reply.

A door opens and Jack is playfully shoved outside. LAUGHTER of Detectives rings out. Jacks starts to walk away from the police station.

Jack steps out into the street. In a state of shock, he lopes forward, dizzy.

Passersby look at him as if he were a homeless, insane guy.

Jack RACES along the streets, swerving and passing cars, HONKING.

After a beat a MOTORCYCLE COP appears behind Jack and turns on his SIREN and FLASHING LIGHT. Jack reflexively slows down. The motorcycle moves up beside Jack and the COP SMILES, waving Jack forward. The Cop provides an ESCORT. The Lexus turns a corner and heads for the

Jack leaps out of the car. He sprints into the

Two Space Monkeys take over the escort and lead Jack toward the elevators.

Jack darts to the side, throws open the stairwell door.

Jack dashes DOWN the steps.

Jack races from the stairwell into the parking area, eyes combing the place. He darts from one SUPPORT POST to another, his eyes frantically searching.

He moves around a support post and sees -- Tyler, sitting on the ground, his back against the post.

Jack moves away, continues looking around support posts.

Tyler grins, points to his watch.

Jack stalks back toward Tyler, gun raised.

Jack boils over, then cracks. He drops the gun, falls to his knees and clutches at Tyler. He touches Tyler's face.

You *are* real, you son of a bitch!

Tears well up in Jack's eyes. He hugs Tyler. Tyler hugs him back.

Jack squeezes harder, then lifts his head -- he's hugging ANOTHER JACK.

The real Jack gasps, flinches backwards, landing on the gun. He turns, grabs the gun, and turns back around. Fifty feet away, Tyler, standing, leans against a pillar. He winks.

Jack raises the gun, turns it around and aims it at his own head.

Jack shoves the barrel into his mouth.

Tyler's hand suddenly DARTS INTO FRAME, CLOSE-UP and SNATCHES the gun.

NEW ANGLE

Tyler, laughing, holding the gun, dashes for the elevator. Jack sprints after him.

Jack manages to leap inside just as the door closes. He lunges at Tyler and fights for the gun. Tyler, laughing, manages to retain it.

The elevator climbs rapidly -- blinking numbers indicate floors whizzing past.

The elevator doors open and the struggling pair whirl out and toward the GLASS WALLS. Tyler SHOVES Jack's HEAD against the window, turns it so Jack is looking down.

ANGLE ON STREET

A GREYHOUND BUS sits idling right by the front lobby doors, having been allowed through the cordon.

As Tyler and Jack continue to stare downward.

Tyler swings Jack away from the window and shoves him backwards.

Jack raises the gun, aiming at Tyler. Tyler laughs, but flinches --

just as Jack FIRES. The bullet chews out a CHUNK of the wall.

Tyler laughs, but he starts rapidly moving down the hallway.

Jack FIRES again, missing Tyler. Tyler breaks into a sprint. Jack does the same.

Jack turns a corner, sees Tyler at the end of the section of hallway, heading for an intersection. Jack aims the gun at Tyler. RAPID CUT

TO:

SECURITY CAMERA POV - HALLWAY

Jack aims the gun at himself. RAPID CUT TO:

Jack FIRES. As Tyler flinches down -- RAPID CUT TO:

SECURITY CAMERA POV - HALLWAY

*Jack* flinches down, having shot at himself. RAPID CUT TO:

Jack resumes sprinting until he turns a corner to

Jack sees Tyler turn, freeze, then leap sideways toward a room. Jack

FIRES. The bullet GRAZES Tyler's leg. RAPID CUT TO:

SECURITY CAMERA POV - HALLWAY

Jack, with the gun still aimed at his own leg, falls backwards,

bleeding from the graze wound his just gave himself. RAPID

Jack pulls himself to his feet, and, his face now looking completely insane, runs with his limp, holding the gun up, ready to fire. He turns a corner to --

And suddenly, Tyler LEAPS onto Jack. RAPID CUT TO:

SECURITY CAMERA POV - LOBBY

Jack crumples to the floor and wrestles with himself. He punches himself, he tries to trap pin his own arms, he kicks himself.

Tyler leaps to his feet and dashes away. Jack pulls himself up and follows into a --

With floor-to-ceiling windows showing a view of the city. There are a HUNDRED DUFFEL BAGS lining the floor, along the walls.

Tyler leaps onto Jack seizes the gun. Jack holds onto Tyler. Tyler shoves the gun barrel into Jack's mouth.

Tyler pushes Jack against a glass wall. Jack, exhausted, is losing his spirit.

Jack collapses to the floor. Tyler moves down with him, keeping the gun in Jack's mouth. He sits on Jack.

Jack looks into his eyes for a moment, then reaches up and PULLS THE TRIGGER. *GO TO SLOW MOTION* AS -- KABLAM! his cheeks INFLATE with gas from the gun. His eyes bulge, BLOOD flies out backwards from his head.

SMOKE wafts out of his mouth.

RESUME NORMAL SPEED as Tyler gapes at Jack, then reaches behind his head and feels -- there's a HOLE BLOWN OUT THE BACK. Tyler's eyes glaze over and he falls backwards, plopping on the floor, DEAD, with a grin on his face.

A throng of Space Monkeys -- two of whom drag Marla -- RUSHES into the room. They see Jack, ALONE, holding a gun, bleeding profusely from the side of his face, where he's SHOT A HOLE through HIS CHEEK. He stares at the empty floor in front of him with his weird, little smile.

The two Space Monkeys who hold Marla press forward through the crowd.

One of them puts a GUN to her head. He COCKS it.

Jack takes in the sight of Marla and the gun at her head. He cracks a Tyler-esque grin.

The Monkeys release Marla. She moves next to Jack, now becoming more shocked by his bloody state. Jack grabs her arm. She digs through her purse and pulls out a wad of tissue paper. She puts them into his mouth to plug the hole.

Jack cracks his weird, little smile; his eyes are wide and half-insane-looking. He winks at Marla and squeezes her hand.

The Space Monkeys all grab their duffel bags and file out of the room, saluting Jack as they go.

Now, Jack and Marla are completely alone. He struggles to get to his feet. She helps him. They look out the window.

MASSIVE EXPLOSION -- a building a quarter of a mile away. It's destruction is completely visible from here. The glass walls RATTLE LOUDLY from the shock wave. They both stare out the window.

Marla looks at Jack, then looks back out the window. He reaches for her hand. She takes his hand.

They are SILHOUETTED against BRIGHT FLASHES as ANOTHER BUILDING EXPLODES and COLLAPSES. ANOTHER BUILDING EXPLODES. And ANOTHER BUILDING. And ANOTHER BUILDING.

The FILM SLOWS DOWN, then ADVANCES ONE FRAME at a TIME -- SHOWING the SPROCKET HOLES on the SIDES. It's CAUGHT in the mechanism of the projector's GATE. EACH FRAME is the EXPLODING BUILDINGS -- then, *ONE FRAME is a PENIS*. Then, EXPLODING BUILDINGS again. SPEED UP the frames, LOSE the sprocket holes, RESUME NORMAL SPEED.

*THE END*