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Chapter 585 - schedule arrangements.

Although not many were well-known, and most looked like a bunch of misfits, the makeup and costume work felt like something out of a David Fincher production—an undeniable level of realism. The less essential locations and background setups were pure cinema; for example, the people on Cameron Diaz's team were specialists in action shots, fast transitions, and clean cuts. In contrast, Fincher preferred a more organic studio setup, with transitions that created visually striking moments.

–Recording yourself doing these things isn't shameful.– commented Edward Norton, who was completely naked. He had been wearing only his underwear for a while now, as his frail, morphing body performed the actions. He had spent days doing push-ups and other forms of exercise.

–I'm not ashamed.– said Billy, now wearing denim shorts—formerly jeans—and a pair of yellow dishwashing gloves. At least the consistent training had given him a better physique, and he was still working on it. Even if it wasn't widely known, many people followed extremely strict training routines—not perfect, but some had high-quality regimens. Especially bodybuilders, who often worked with Hollywood stars. Arnold Schwarzenegger was a prime example.

–My fans say I'm sexy in the best way… but feeling desired, especially when there's competition, that's another thing entirely.– Edward Norton responded, referring to the unpleasantness of being compared to others.

–Let's just get through today's shoot.– said Billy, who was counting the hours, as it was taking up a lot of time now. He had to attend several premieres. He'd been especially committed to the L.A. Confidential event, which added to his growing film portfolio. A slightly older film, a less significant script—but he understood the mistakes that came with not having enough time to meet obligations or make it to a few good interviews, whether in the morning or at night.

February 22 was a date that had to be handled with care. He had done the voice for the lead character, even if he had to do it his way to keep costs down. The leap in technology was daunting, and costs had spiked when redubbing was considered. Eddie Murphy's demand had been over $10 million and a cut of the box office for each film, now that he seemed to be constantly successful. On top of that, after the surprise Oscar win, his rates had doubled. Other cast members like Mike Myers had refused—Austin Powers was at its peak, and his asking price nearly matched Murphy's.

An $80 million film in 1997 was a very different thing by 2002, with inflation not only affecting the real value of money but also actors themselves driving up the cost to absurd levels. It had become an expensive business.

–Alright, prep for your next performance.– said David Fincher.

–Don't worry, boss. I've got it all in my head.– said Edward, knowing all the emotions had to flow quickly in such a tight space. The upcoming exercises would focus on intense emotions.

...

–Scene 81, take 1.–

Jack and Tyler each stir a boiling pot. While the crew focused the camera on Edward Norton's face, they were lining up three scenes in a repeated take—two moments, plus a third where he would act solo, while Billy carefully maintained his spacing.

Tyler: As the fat breaks down, the tallow floats to the top. Remember that disgusting stuff? They taught you that in the Boy Scouts.

JACK: Hard to picture you in the Boy Scouts.

Tyler: This clear layer of glycerin—good. We'll mix it back in when we make the soap.

Tyler scoops a spoonful of glycerin from the pot and lifts it. He opens a tin can. Billy had worked hard on learning the motions of soap-making. Though not deeply studied, his execution had a fake-yet-effective charm, and the words carried power. His acting was delivered well.

Tyler: Lye. The crucial ingredient.

(adding lye to the mix)

Ancient people found that their clothes came out cleaner when they washed them at a certain point along the river. Why? Because human sacrifices were once made on the hills above the river. Year after year—burned bodies. Rain fell. Water seeped through wood ashes, creating lye. The lye mixed with the melted body fat, forming a thick, soapy white discharge that flowed down into the river.

Tyler licks his lips until they're wet and shiny. He takes Jack's hand and KISSES the back of it. A strange move, but it created the intended effect—the saliva was still on Edward's hand. Hopefully, he had washed his hands, but they were sweaty. The salty taste overwhelmed his tongue as he tried to track each subtle motion they made.

Tyler: The first soap was made from the ashes of heroes. Like the first monkeys shot into space.

The kiss-shaped imprint glistened from the saliva. Tyler sprinkled flakes of lye onto Jack's hand.

Tyler: Without sacrifice, without death, we'd have nothing.

Jack's whole body jolts. Tyler grips his hand and arm tightly. Tears spring from Jack's eyes. His face tenses. Billy grins with a madness that surfaces only on rare occasions—his way of pushing Jack to the limit. It was a painful moment on set, but Edward pulled off a look of insanity with disturbing ease. He truly seemed to be suffering.

Tyler: This is a chemical burn. It's going to hurt worse than anything you've ever felt, and it'll leave a scar.

Jack looks... the burn is swollen, shiny, in the shape of... Tyler's kiss. His face twitches.

JACK (Voiceover): Tyler's kiss was a bonfire on the back of my hand.

Tyler: Look at your hand.

JACK (Voiceover): Guided meditation helped with cancer. Maybe it could help with this.

There's a minimal time jump. They move through two phases of the shoot. The next part begins with a walk between Billy and Edward, trying not to signal too much to each other. The cameras catch Billy from a different angle—his back. This time, they're focused on Edward. It's a quick moment.

Tyler looks into Jack's glassy, distant eyes.

Tyler: Come back to the pain. Don't shut this out.

Jack tries to yank his hand away. Tyler holds on, and the force knocks utensils off the table.

JACK (Voiceover): I tried not to think of words like "burn" or "flesh." I imagined my pain as a ball of white, healing light.

Tyler shakes Jack's hand again. Jack refocuses.

Tyler: Don't handle this like the dead would. Face it like the living do.

Cut to the inside of an ice cave—Marla lying naked under a fur coat, turning her head toward us. Abstract: These are the images flashing through Jack's mind as he tries to free his hand. Tyler won't let him.

Jack's eyes go glassy again. He speaks, moaning in pain:

JACK: I... I think I get it. I think I understand...

Tyler: No, what you feel is premature enlightenment.

Tyler slaps Jack across the face to snap him back.

Tyler: This is the greatest moment of your life, and you're off somewhere else.

JACK: No, I'm not...

Tyler: Shut up. Our fathers were our models of God. And if our fathers bailed, what does that tell you about God?

JACK: I don't know...

Jack is a wide-eyed zombie.

JACK: ...Marla...?

Tyler: Screw damnation. Screw redemption. We are God's unwanted children, with no special place and no special attention. And so be it.

Jack stares at Tyler—their eyes lock. Jack tries his best to stifle the spasms of pain. His body trembles and curls into a knot. He runs to the sink, but Tyler grabs him.

Tyler: You can run the water over your hand. Look at me. Or use vinegar to neutralize the burn. But first, you have to give up. First, you have to know—not fear—that one day, you're going to die. Until you know that, you're useless.

Jack jerks from the pain...

JACK: You... you don't know what this feels like, Tyler...

Tyler shows Jack a similar KISS-SHAPED BURN SCAR on his hand. Tears begin to roll down Jack's cheeks. Tyler grabs a bottle of VINEGAR—pours it on Jack's wound.

Jack shuts his eyes, holds his hand... collapses to the floor.

Tyler: Congratulations. You're one step closer to hitting bottom.

–Cut.–

–That was a damn good take.– said David Fincher, fully aware of how difficult a scene like that was—one so focused on faces, eyes, and posture. Both actors delivered. Billy, being so tall, gave them enough time to let the emotion build and make the film shine.

–I heard you've got an interview tonight.– said James Haygood, the editor, who now seemed to be helping in production, as he was seen talking with all three leads.

...

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