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Scene Map 48
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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F I G H T C L U B by Jim Uhls based on a novel by Chuck Palahnuik 2/16/98 --------------------------------------------------------------
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INT. JACK'S OFFICE - SAME Jack, sipping, stares blankly at a Starbucks bag on the floor, full of newspapers and FAST FOOD GARBAGE. JACK (V.O.) When deep space exploration ramps up,
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INT. FIRST METHODIST CHURCH MEETING ROOM - NIGHT Jack stares at a group of men, including Bob, who are all listening to a group member speak at a lectern. The SPEAKER has pale skin and sunken eyes -- he's clearly dying. SPEAKER
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INT. FIRST METHODIST CHURCH MEETING ROOM - RESUMING Jack's still in an embrace with Bob. JACK (V.O.) Bob loved me because he thought my testicles were removed too. Being
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INT. CAVE - JACK'S IMAGINATION Jack finds Marla smoking a cigarette. Marla cocks her head, indicating whe wants him to -- MARLA Slide.
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INT. LAUNDROMAT - CONTINUOUS Marla walks with authority up to an unwatched DRYER. She takes out clothes, picks out jeans, pants and shirts. MARLA I'll take the parasites.
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INT. AIRPLANE CABIN - IN FLIGHT - NIGHT Jack sits next to a BUSINESSMAN. As they have idle CONVERSATION, we MOVE IN ON Jack's tray. An ATTENDANT'S HANDS set coffee down with a small container of cream. JACK (V.O.)
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INT. AIRPLANE CABIN - MOVING DOWN RUNWAY Jack is speaking to the BUSINESSWOMAN next to him. JACK If X is less than the cost of a recall, we don't do one.
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INT. BAGGAGE CLAIM AREA - NIGHT Utterly empty of baggage. No people except for Jack and a SECURITY TASK FORCE MAN. The Security TFM, smirking, holds a receiver to his ear from an official phone on the wall. SECURITY TFM
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EXT. PAYPHONE - RESUMING Jack looks at the Doorman. Tyler's BUSINESS CARD falls from the Filofax. Jack catches it. DOORMAN If you don't know what you want, you
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INT. LOU'S TAVERN - SAME Jack and Tyler sit in the back, with a pitcher of BEER. JACK You buy furniture. You tell yourself: this is the last sofa I'll
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INT. PROJECTIONIST ROOM - THEATRE - NIGHT Jack, in the foreground, FACES CAMERA. In the BACKGROUND, Tyler sits at a bench, looking at individual FRAMES cut from movies. Near him, a PROJECTOR rolls film. JACK
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EXT. CURBSIDE - LATER Jack and Tyler sit on the curb, watching sparse headlights on the nearby freeway. Their eyes are glazed with endorphin- induced serenity. They look at each other, laugh. Look away. TYLER
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INT. READING ROOM - NIGHT CANDLES BURN. Tyler and Jack are seated across from each other on the buckled floor, reading MAGAZINES. Rain DRIPS from the ceiling. No furniture. THOUSANDS of MAGAZINES. JACK (V.O.)
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INT. TAVERN BASEMENT - SAME A BOMB-SHELTER. Concrete walls. One BARE BULB above, Tyler standing directly beneath it. TYLER Welcome to fight club.
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INT. TAVERN BASEMENT - NIGHT Tyler HITS the floor, stomach first. HIS OPPONENT lands on top of him, grappling, trying for a CHOKE HOLD. The surrounding CROWD, Jack included, SCREAMS at them... Tyler and the Opponent wrestle desperately, and Tyler flips
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INT. MARLA'S BUILDING, HALLWAY - SAME Marla's in the HALL, on the PAYPHONE, twisting the phone cord around her neck. MARLA Where have you been the last few
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INT. MARLA'S ROOM - CONTINUOUS (FLASHBACK) Marla pulls Tyler inside and shuts the door. Her drugged eyes look him over. MARLA You got here fast.
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INT. KITCHEN - MORNING (RESUMING) Tyler laughs, shakes his head. Jack's gripping his Reader's Digest just a little too tight. JACK (V.O.) How could Tyler not go for that?
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EXT. PAPER STREET - SUNSET Jack walks toward the HOUSE. JACK (V.O.) You give up the condo life, give up all your flaming worldly possessions,
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INT. POLICE STATION - OFFICE A cop, DETECTIVE STERN, refers to a file. DETECTIVE STERN This is Detective Stern with the arson unit. We have some new
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EXT. FENCED-IN BIOHAZARD WASTE DUMP SITE - NIGHT Tyler stands inside the fence. Jack's atop the fence, struggling to cross BARBED WIRE. He wobbles, gets over, snags his shirt. Jack falls, RIPPPPP. Tyler helps. FOOTSTEPS. A FLASHLIGHT BEAM. Tyler pulls Jack behind a
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INT. KITCHEN - NIGHT Jack and Tyler each stir a boiling pot. TYLER As the fat renders, the tallow floats to the surface. Remember the crap
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INT. BARNEY'S - DAY Jack and Tyler, in trench coats, looking like deaht-warmed- over, wait as a BUYER fills out forms. There are bars of "The Paper Street Soap Company" soap on the counter. Jack looks like he's half-expecting to get
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INT. MARLA'S ROOM - NIGHT Marla stands facing a MIRROR with her shirt open. Jack stands behind her with his hand on the bottom side of her breast. Marla's hand guides his. JACK
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INT. BOSS'S OFFICE - DAY Jack steps into the open doorway, knocks on the doorframe. Boss looks up from his large, expensive desk. JACK We need to talk.
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INT. LOU'S TAVERN - BASEMENT - NIGHT LOUD. An enormous CROWD of guys, including Jack and Bob, stands around Tyler, who's in the center of the circle, holding up his hands to quiet them... TYLER
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EXT. STREET - DAY Ricky trips a passing YUPPIE. The Yuppie falls. JACK (V.O.) Not as easy as it sounds. People'll do just about anything to avoid a
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EXT. BEHIND THE CONVENIENCE STORE - MOMENTS LATER The BACK DOOR opens and Tyler brings the store's CLERK out at gunpoint, forces him to his knees. Jack follows, freaked. Tyler points the gun at the Clerk. JACK (V.O.)
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INT. CITY BUS - NIGHT The DRIVER has a broken nose. The bus is empty, except for Jack, in the very last seat, sleepy. JACK (V.O.) He had a plan. Maybe you just didn't
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INT. TAVERN BASEMENT - NIGHT Fight club in full swing. Jack battles Angel Face, BEATING the shit out of him with unprecedented viciousness. JACK (V.O.) I felt like putting a bullet between
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INT. STOLEN CAR - MOVING - LATER RAIN GUSHES down. Jack stews, silent. The car moves down a HIGHWAY, intermittently illuminated by oncoming headlights. TYLER Something on your mind?
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EXT. OVERTURNED CAR Tyler crawls from the passenger side. He walks around... opens the driver's side door and drags Jack out into the mud. Ricky and the Mechanic climb out the broken rear window. Tyler sits beside the stunned, wounded Jack.
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INT. BASEMENT - CONTINUOUS Jack looks around. TRIPLE-DECKER BUNKS clutter the basement, as many as can fit into the space. JACK (calling upstairs)
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INT. JACK'S ROOM - DAY Jack opens his eyes, awakening to sunlight thru the window. JACK (V.O.) And, then... INT. UPSTAIRS LANDING - DAY
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INT. KITCHEN - NIGHT - (RESUMING) The Mechanic looks up from Bob's corpse. MECHANIC They shot Bob... they shot him in the head. Those fuckers...
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INT. BAR - NIGHT Jack enters. He sees several MALE PATRONS with FIGHT BRUISES. Jack moves to the bar. The BARTENDER has a broken arm and swollen face. JACK
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INT. ANOTHER BAR - DAY Jack walks in. The place is empty. He walks to a KITCHEN DOOR, opens it and peers in at... a GROUP of KITCHEN WORKERS solemnly stand in a circle, chanting... KITCHEN WORKERS
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INT. MARLA'S ROOM - SAME Marla answers. MARLA Yeah? JACK
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INT. HOTEL ROOM - RESUMING TYLER I go places without you. Get things done... FLASHBACK - BUILDING - NIGHT
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INT. TYLER'S ROOM Jack sits by the PHONE, pulls out the HOTEL BILL, runs his finger up and down the list of PHONE NUMBERS... JACK (V.O.) Deja vu, all over again...
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INT. DINER - MOMENTS LATER Marla sits in a BOOTH. Jack sits across from her. MARLA I don't want to hear anything you've got to say.
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EXT. DINER - MOMESTS LATER Jack pushes out the door, files under one arm, catching up... JACK I can't explain. You wouldn't believe me anyway. I'm trying to
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INT. INTERROGATION ROOM - LATER Detective Stern and THREE DETECTIVES stand, staring at Jack, who's seated. On the table are the phone bill and files. JACK There are probably several hundred
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INT. TOP-LEVEL PARKING AREA - SEVENTH FLOOR Jack enters, heaving. Again, NO CARS. He moves from one SUPPORT POST to another, searching. He finally spies, across the garage, NINE LARGE CANISTERS, heavily-WIRED. Jack runs to the BOMB, frantic. He walks around it.
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INT. STAIRWELL Jack smashes the door open. The stairwell's empty. Jack RUNS up a flight of stairs, kicks open ANOTHER DOOR... INT. MAIN LOBBY Jack steps forward, gun up... TWO INTERLOCKED HANDS SLAM
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INT. LARGE SOCIAL ROOM - TOP FLOOR CLOSE ON: Jack's head jerks back as he SNAPS AWAKE. He looks around, trying to focus his eyes... JACK'S P.O.V. -- TRACKS in the sawdust of the floor, from where his body was dragged across to where he is how.
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EXTREME SLOW MOTION: Jack's finger squeezes the trigger... KABLAM! -- Jack's cheeks INFLATE with gas. His eyes bulge. BLOOD flies out from his head. The WINDOW behind him SHATTERS. SMOKE wafts out of his mouth and tear ducts.

fight Club

An aimless man discovers the thrill of a secret fight club and its dangerous ideology before confronting his own emotional pain to reveal the truth behind his enigmatic leader.

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Overview

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Unique Selling Point

**Unique Selling Proposition:** This script offers a unique and compelling exploration of identity, masculinity, and the search for meaning in a chaotic and consumerist world. With a darkly humorous and introspective voice, the story delves into the lives of complex and flawed characters as they grapple with their own inner demons and societal expectations. Through a series of intense and thought-provoking scenes, the script challenges conventional norms and invites audiences to question their own motivations and desires.

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

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GPT4
 Highly Recommend
Story Facts

Genres: Drama, Thriller, Dark Comedy, Action, Psychological Thriller

Setting: Present day, Unspecified, but primarily in a large, unnamed city

Themes: Self-Destruction and Inner Conflict, Toxic Masculinity, Nihilism and Consumerism, Anomie and Loneliness, Escapism and Self-Discovery

Conflict & Stakes: - Jack's struggle with insomnia and alienation - The allure and danger of Fight Club - The threat posed by Project Mayhem and Tyler Durden

Mood: Dark, gritty, and introspective

Standout Features:

  • Unique Hook: The exploration of the dark side of masculinity and consumerism through the Fight Club concept
  • Major Plot Twist: The revelation that Jack and Tyler are two different personalities of the same person
  • Distinctive Setting: The underground world of Fight Club, with its own rules and rituals
  • Innovative Idea: The use of self-destructive behavior as a form of therapy and personal growth
  • Unique Character: Tyler Durden, a charismatic and enigmatic antihero
  • Genre Blend: A blend of action, drama, and psychological thriller

Comparable Scripts: American Psycho, Trainspotting, Fight Club 2, Requiem for a Dream, Natural Born Killers, The King of Comedy, Taxi Driver, The Virgin Suicides, Donnie Darko, The Catcher in the Rye

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

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Overall Score: 8.00
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

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Scene-Level Percentile Chart
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.