the BRUISED BARTENDER. They stare at him. JACK This is an emergency. I'm looking for Tyler Durden. BRUISED PATRON Never heard of him. Sir. 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 (V.O.) In every city, I branched out from the airport to downtown and checked bars. There was always a fight club. Tyler was setting up franchises, all over the country. PG 103 INT. ANOTHER BAR - NIGHT Jack walks in and sits at the bar. The BARTENDER wears a NECK BRACE and has a black eye. BARTENDER Welcome back, Sir. No one's in here. It's always empty the day after fight club. JACK Talk to me. Have you ever met Tyler Durden? BARTENDER Is this a test, Sir? JACK Yeah, it's a test. BARTENDER You were in here last Thursday night. You were standing right there, asking me about how good our security is. And it's tight as a drum. JACK Who do you think I am? JACK (V.O.) Please return your seatbacks to their full upright and locked position. BARTENDER You're the person who did *this* to me. The Bartender shows Jack his hand -- it has the kiss-shaped scar. BARTENDER You're Tyler Durden, Sir. INT. HOTEL ROOM - NIGHT Jack bursts inside, runs to the phone, punches a number. He doesn't bother to turn on the lamp. INTERCUT WITH PG 104 INT. MARLA'S ROOM - SAME Marla answers the phone. MARLA Yeah? JACK It's me. Have we ever had sex? MARLA What kind of stupid question is that?!! JACK Is it stupid because the answer's "yes" or because the answer's "no"? MARLA Is this a trick? JACK Will you just answer, for God's sake?! MARLA Oh, you mean, you want to know if I think it was "making love" or just two animals going at it? JACK So we *did* make love? MARLA Is that what *you're* calling it? JACK ANSWER THE QUESTION!!! MARLA You fuck me, then snub me. You love me, you hate me, you show your sensitive side, you turn back into an asshole! JACK Oh, God. MARLA Is that a pretty accurate description of this relationship? JACK What's my name? PG 105 MARLA Tyler Durden. JACK (V.O.) We've just lost cabin pressure. MARLA I'm coming over. As Marla hangs up, we END INTERCUT. Jack stares at the receiver a beat, then realizes ... JACK Oh, shit! No! I'm out of town! 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. TYLER You broke your promise. JACK Why do people think I'm you? TYLER Because we happen to share the same body. JACK What the hell are you talking about? TYLER Sometimes *I* control it and you imagine watching me. INT. BAR BASEMENT - NIGHT (JACK'S MEMORY) Jack stands near the back of the crowd as Tyler stands in the middle of the light. TYLER The first rule of fight club is -- JUMP CUT - SAME SHOT - (ALTERED FLASHBACK) -- it's JACK in the light, talking, behaving like TYLER. JACK -- you don't talk about fight club. PG 106 INT. HOTEL ROOM - RESUMING Jack gasps and wheezes. Tyler grins and nods. JACK But we fought -- TYLER When *you're* controlling the body, you see me and hear me. But no one else does. INT. AIRPLANE CABIN - IN FLIGHT - NIGHT (ALTERED FLASHBACK) Jack sits next to an empty seat and "looks" at the blank air beside him, eyes focusing on "someone" close. JACK What do you do Tyler? (pause; listens to reply) I mean -- for a living. Jack listens to the reply, then laughs. INT. HOTEL ROOM - RESUMING Jack has trouble catching his breath. JACK What about when we were together around other people? TYLER You never talked. EXT. PARK - NIGHT (ALTERED FLASHBACK) Jack (Tyler) has his face right in front of the Police Commissioner's. JACK ("TYLER") We'll send one ball to the "New York Times" and one ball to the "Los Angeles Times". Sort of press release style. PG 107 INT. HOTEL ROOM - RESUMING Tyler sits down on the bed, takes Jack's hand. He presses his lips to the kiss-scar. TYLER And when you fall asleep, I go places and do things without you. EXT. BUILDING (FLASHBACK) 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. JACK ("TYLER") (to Angel Face) You are not your job. You are not how much money you have in the bank. 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! INT. HOTEL ROOM - RESUMING Jack shakes his head in disbelief. JACK But you ... you ... you rent the house. TYLER The house is rented in your name. JACK You're a projection? A personality disorder? A psychogenic fugue state? TYLER Fuck that. You're *my* hallucination. PG 108 JACK (points to his body) I was here first. TYLER Who's done more with it? JACK You're not going to do any more with it. TYLER What are you going to do? You couldn't even figure this out. It's been staring you in the face for months. I had to drop my busy schedule and come here and tell you. How are you going to fuck with me? You think there's any possibility that I haven't prepared for? Do you think anyone you care about is safe? Jack quivers with shock, shaking his head, sweating more profusely. JACK No. This is all ... it's not possible. Tyler. Tyler ... it's a joke, right? Right? Jack FAINTS and falls to the floor, UNCONSCIOUS. INT. HOTEL ROOM - DAY Jack's eyes snap open. He shoots to his feet. JACK Tyler ... ? 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! INT. HALLWAY The room door slams against the wall as Jack bursts out of the room, SPRINTING for the stairs. Fuck the luggage. INT. STAIRWELL Jack takes three steps at a time. PG 109 INT. LOBBY Jack storms for the front door, passing the length of the front desk. A DESK CLERK calls out to him. DESK CLERK SIR?! Jack catches sight of the Clerk, who waves a piece of paper. DESK CLERK Please initial the list of phone calls. Jack snatches the bill and looks at it. There's a MASS of PHONE NUMBERS. JACK When were these made? DESK CLERK It says right there, Sir. Between two a.m. and five thirty a.m. Jack grins. He initials the bill. The Clerk gives him a copy. Jack stuffs the bill into his pocket and disappears out the door. INT. AIRPLANE CABIN - IN FLIGHT - DAY Jack sits, staring out the window, his face set hard. EXT. AIRPORT DRIVE - SUNSET Jack sprints to the curb and leaps onto a taxi. EXT. MARLA'S HOTEL - SUNSET The taxi pulls to a halt by the curb. Jack leaps out and runs up the front steps. INT. HOTEL STAIRS - CONTINUOUS 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 PG 110 INT. HALLWAY Where he pounds on Marla's door. She opens it. He endures her baleful gaze for a beat. MARLA Your whacked-out, bald feaks threw me out of the house. I thought they were going to kill me. They almost broke my arm. JACK I'm sorry, I ... Jack takes both her hands in his. JACK Marla, I'm going to tell you something and it's going to take a tremendous act of faith on your part to believe me. MARLA Here comes an avalanche of bullshit. JACK -- A little *more* faith than that. MARLA Spill it. INT. MARLA'S ROOM - CONTINUOUS Jack leads her toward the bed. JACK Look, did you notice a big difference between me when we were having sex and when ... we weren't? MARLA Did I notice? You're manic-depressive. It's like a neon sign all over you. JACK No. It's worse than that. 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 Tyler is my split personality. PG 111 MARLA Then, who are you? Jack takes out his wallet, shows Marla his driver's license. MARLA You gave me a fake name? What a jerk. JACK *I* didn't give you the fake name -- a *fake person* did. Listen, those people all over the house -- you're in danger. MARLA Okay, what do you want? You want me to create my own wonder-bitch personality to match? So we can be a foursome? JACK I WANT YOU TO FUCKING BELIEVE ME!! YOU WANTED TO TALK?! WELL, *HERE'S* OUR FUCKING TALK!!! 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. MARLA I'm sorry. This split personality thing is ... A beat of silence. She squeezes his hand; he squeezes back. He looks at her, working up some nerve. JACK I've go to know something. Why did you respond to Tyler? Instead of me. Sexually. MARLA I ... uh ... I don't know what to say -- *you're* Tyler. JACK Okay, however you want to say it -- the abusive side of me -- the asshole who treated you like shit and made you leave in the morning. PG 112 MARLA What do you want? You want me to say I'm shit and I deserve to be treated like shit? Well, I AM! And that's how you GOT ME OFF!! AND YOU *KNOW IT*!!! 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. JACK I want you to get out of town for awhile. Whether you believe me or not, you're in *real* danger. Is there someplace you can go? Marla grabs the flight coupon, looks it over. MARLA There's plenty of places I'd like to go. Jack digs into his pocket and produces a wad of cash. Marla roughly seizes the cash, checks out the amount. JACK Leave as soon as possible. Go to a rural little town, away from any major city. Go now. Okay? Please. Promise? MARLA Count on it. And I'm not paying this back -- I consider it "asshole tax". JACK I agree. More than you know. 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 Marla?! PG 113 INT. HALLWAY Jack leaps out of the room, looks down the hall in both directions. JACK Marla?! EXT. PAPER STREET - SUNSET The taxi screeches to a halt. Jack leaps out. JACK Wait here. INT. PAPER ST. HOUSE - MOMENTS LATER 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 INT. KITCHEN 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. JACK Uh, excuse me. I'm not sure I have the right number. I've been calling maintenance departments all over the city, regarding the water supply. Which maintenance department is this? VOICE Very good, Sir. JACK Excuse me? PG 124 VOICE Don't worry about us, Sir. We're solid. Jack hangs up the phone. He punches the next number. DIFFERENT VOICE (from phone) Maintenance. JACK (imitating Tyler) Give me your position. DIFFERENT VOICE (baffled) Huh? Who's this? JACK Oh, excuse me. I'm calling from the water company. I've mixed up my phone numbers. Which maintenance department am I talking to? DIFFERENT VOICE You almost had me there, Sir. Everything's A-okay here. Jack hangs up the phone. He punches the next number. ANOTHER DIFFERENT VOICE (from phone) Maintenance. Jack hangs up; punches the next number. YET ANOTHER DIFFERENT VOICE (from phone) Maintenance. Jack hangs up; punches the next number. EVEN YET ANOTHER VOICE (from phone) Maintenance. A beat while Jack thinks. JACK There's been a change in the plan. EVEN YET ANOTHER VOICE You told me you'd say that, Sir. PG 115 JACK I don't care what I told you -- there's *really* a change of plan! EVEN YET ANOTHER VOICE You told me you'd say *that*, too, Sir. JACK Now, listen to me, you stupid fuck! I've got the phone numbers mixed up! Tell me where you are! Now! EVEN YET ANOTHER VOICE This is a very good test, Sir. You sound like you mean it. 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. SCRATCHY VOICE (from phone) Mason Industrial Electronics. JACK This is Tyler Durden. SCRATCHY VOICE (harsh whisper) Are you outta your fucking mind?! What the fuck are you doing, calling me in the daytime?! JACK I ... have some questions about ... SCRATCHY VOICE Jesus! I showed your guys how to use it! A four-year-old could take that shit and break through any security system in the world! If you can't then fuck you, moron! Now, don't ever call me again!! Click. Disconnect. Jack looks at the receiver, hangs it up. PG 116 EXT. LOU'S TAVERN - NIGHT Jack gets out of the cab, turns to the CABBIE. JACK I gotta have you wait again. Leave the meter running. The Cabbie grins. CABBIE There's no charge, Mr. Durden. Jack gawks at him, backs away. INT. LOU'S TAVERN - SAME 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. JACK Look, I need to know where the nitroglycerin was taken. Irvine scowls at him a beat, then slowly smiles. IRVINE Right, Mr. Durden. JACK This isn't a test. There's been a mix-up. IRVINE You told me you'd say that. JACK Where are all the maintenance departments?! IRVINE You told me you'd say that, too. Jack bristles with rage. He grabs Irvine's shirt collar. JACK Did I tell you I'd call you a motherfucking asswipe dickhead?! IRVINE Yes, you did. Marla walks into the tavern, makes a beeline for Jack. PG 117 JACK WHAT THE HELL ARE YOU DOING HERE?! MARLA You told me to meet you here at ten till. JACK WHEN?! MARLA Back in my room. When you dropped into the chair. JACK SHIT! 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. EXT. LOU'S TAVERN 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 INT. PAWN SHOP He immediately points to something high on a shelf. JACK Let me see that trumpet. 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. OWNER Hey! Marla GASPS. Jack checks the clip -- it's fully-loaded. He sprints for the door, dragging Marla. EXT. STREET - CONTINUOUS Jack steps out into traffic. A LEXUS screeches to a halt. Jack goes to the DRIVER'S door and whips it open. JACK Police emergency. PG 118 DRIVER Bullshit! 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. EXT. GREYHOUND BUS STATION - LATER 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 SHIT! I can't know where it's going! Come on, let's find another one. Jack drags her to another loading bus. He keeps his eyes averted from the DESTINATION sign. JACK Get on the bus. MARLA (reading the destination) But I don't want to go to -- JACK SHUT UP! Don't tell me where it's going! MARLA But, the people there talk funny and their teeth are rotten. JACK Shit! Now, I know it's the rural South! Jack jams the gun barrel into Marla's ribs. JACK Get on that fucking bus right now! 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 PG 119 EXT. STREET NIGHT 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 (V.O.) They probably had a map of the city with little push pins. I felt like a migrating goose on "Wild Kingdom. Well, fine. They could watch me do *this*". INT. POLICE STATION - NIGHT Jack walks past desks of PLAINCLOTHES DETECTIVES until he sees a private office. He glances down at a business card, then keeps moving forward. INT. OFFICE - CONTINUOUS Jack steps inside the office to see Detective Stern at the desk. JACK I want you to arrest me. I'm the leader of a terrorist organization that's about to set off bombs all over the city. Detective Stern scowls at Jack. INT. HALLWAY - MOMENTS LATER Jack, handcuffed, is led by Detective Stern. Several other DETECTIVES follow. A somber mood prevails. INT. INTERROGATION ROOM - CONTINUOUS 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. DETECTIVE STERN Very good, Mr. Durden. Jack uses all his strength to stifle his utter shock. He forces a thin smile. PG 120 DETECTIVE STERN Operation Domino has everyone a little skittish right now. But it's all going like clockwork. 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. EXT. BACK OF POLICE STATION - NIGHT A door opens and Jack is playfully shoved outside. LAUGHTER of Detectives rings out. Jacks starts to walk away from the police station. EXT. STREET - CONTINUOUS Jack steps out into the street. In a state of shock, he lopes forward, dizzy. JACK ... Operation Domino ... "fall like dominoes" ... SHIT! ONE, TWO, THREE! YES! Passersby look at him as if he were a homeless, insane guy. JACK THE BANKS! What was the first one?! Number one, number one ... *CITIBANK*! INT. STOLEN LEXUS - MOMENTS LATER 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 EXT. CITIBANK BUILDING - CONTINUOUS Jack leaps out of the car. He sprints into the INT. LOBBY - NIGHT Two Space Monkeys take over the escort and lead Jack toward the elevators. JACK I'll take the stairs. Jack darts to the side, throws open the stairwell door. PG 121 INT. STAIRWELL Jack dashes DOWN the steps. INT. PARKING AREA 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. TYLER Looking for something? JACK Where are the charges at?! TYLER Don't end a sentence with a preposition. JACK WHERE ARE THE CHARGES AT, *FUCKHEAD*?!!! TYLER Listen to "Elephant Balls" ... shit, slinging a gun. *Where did I go right*? JACK I'll find them. Jack moves away, continues looking around support posts. TYLER There's eight floors of parking. JACK I don't give a shit. TYLER You do -- because you don't have enough time. Tyler grins, points to his watch. TYLER ... Ten minutes. Jack stalks back toward Tyler, gun raised. PG 122 JACK TELL ME WHERE THE CHARGES ARE! TYLER They're all up and down the building. They're not just here. If you tried to stupidly pull a fuse on a charge, you'd just cause it to blow up. The charges are set to go in a specific order -- so that the building will implode and collapse. If you *did* defuse one of the charges, you'd fuck up the sequence, and the building might fall the wrong way. Why don't you just find a television and watch the party? JACK I'm awake. I have control of the body. You can't give orders. TYLER I don't have any orders left to give. It's all set. Jack boils over, then cracks. He drops the gun, falls to his knees and clutches at Tyler. He touches Tyler's face. JACK Tyler. You're real, aren't you? This is all a big joke, isn't it? You *are* real, you son of a bitch! Tears well up in Jack's eyes. He hugs Tyler. Tyler hugs him back. TYLER We're both real. 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 There's only one way to stop all this. Jack shoves the barrel into his mouth. PG 123 TYLER You better not. If our body is found dead, the Space Monkeys have orders to kill Marla. JACK Marla is gone -- and you don't know where. 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. INT. ELEVATOR 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. INT. TOP FLOOR LOBBY 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. INT. TOP FLOOR LOBBY - RESUMING As Tyler and Jack continue to stare downward. JACK That's ... not the bus. TYLER You know it is. Tyler swings Jack away from the window and shoves him backwards. TYLER Now, can you grasp that there's nothing you can do? Jack raises the gun, aiming at Tyler. Tyler laughs, but flinches -- just as Jack FIRES. The bullet chews out a CHUNK of the wall. PG 124 JACK I'm not going to kill myself. I'm going to kill *you*. Tyler laughs, but he starts rapidly moving down the hallway. TYLER You can't kill me! How can you kill me?! Jack FIRES again, missing Tyler. Tyler breaks into a sprint. Jack does the same. INT. HALLWAY 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: INT. HALLWAY Jack FIRES. As Tyler flinches down -- RAPID CUT TO: SECURITY CAMERA POV - HALLWAY *Jack* flinches down, having shot at himself. RAPID CUT TO: INT. HALLWAY Jack resumes sprinting until he turns a corner to INT. NEW SECTION OF HALLWAY 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 CUT TO: INT. HALLWAY 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 -- PG 125 INT. TOP FLOOR LOBBY 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. RAPID CUT TO: INT. TOP FLOOR LOBBY Tyler leaps to his feet and dashes away. Jack pulls himself up and follows into a -- INT. LARGE SOCIAL ROOM 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 Okay -- let's kill you -- let's kill *both* of us. Be a martyr for the cause. Tyler pushes Jack against a glass wall. Jack, exhausted, is losing his spirit. JACK (V.O.) I think this is about where we came in. TYLER Two minutes. Jack collapses to the floor. Tyler moves down with him, keeping the gun in Jack's mouth. He sits on Jack. JACK Either way -- the building blows us up or you pull the trigger -- it'll finally be over. TYLER This building isn't going to blow up. It's the observation room. Pay-per-view. So, what are you going to do? You don't even have the guts to make a decision. PG 126 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. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?!! The two Space Monkeys who hold Marla press forward through the crowd. One of them puts a GUN to her head. He COCKS it. TALL SPACE MONKEY ARE YOU ALL RIGHT, SIR?!! Jack takes in the sight of Marla and the gun at her head. He cracks a Tyler-esque grin. JACK Everything's fine. Give me the girl. 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. MARLA What the fuck is going on?! Jack cracks his weird, little smile; his eyes are wide and half-insane-looking. He winks at Marla and squeezes her hand. JACK Tyler's dead. 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. PG 127 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. JACK Listen, you met me at a really weird time in my life ... 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. FADE OUT *THE END*