American Psycho Page #12

ELIZABETH:

I want the number, idiot. (She waves him away and continues into the receiver) Anyway, I'm at Paul Norman's and I'll try you later and if I don't see you at Canal Bar tomorrow night I'm going to sic my hairdresser on you.

She hangs up.

ELIZABETH:

Did you know that guy who disappeared? Didn't he work at Pierce & Pierce? Was he a friend of yours?

BATEMAN:

No.

ELIZABETH:

Do you have any coke? Or Halcyon? Oooh, I would take a Halcyon.

Bateman sits next to Elizabeth on the couch and pours her another glass of the drugged wine.

BATEMAN:

Listen, I would just like to see...the two of you...get it on. What's wrong with that? It's totally disease-free.

ELIZABETH:

(Laughing) Patrick, you're a lunatic.

BATEMAN:

Come on. Don't you find Christie attractive?

ELIZABETH:

Let's not get lewd. (Flirty) I'm in no mood to have a lewd conversation.

BATEMAN:

Come on. I think it would be a turn-on.

ELIZABETH:

(To Christie) Does he do this all the time?

Christie stares blankly.

BATEMAN:

Christie, you're not drinking your wine.

Christie looks at her wine and gingerly takes a sip.

BATEMAN:

(To Elizabeth) Are you telling me you've never gotten it on with a girl?

ELIZABETH:

No! I'm not a lesbian. Why do you think I'd be into that?

BATEMAN:

Well, you went to Sarah Lawrence for one thing.

ELIZABETH:

Those are Sarah Lawrence guys, Patrick. You're making me feel weird.

LATER:

Elizabeth is now writhing around on the couch and making out with Christie. Bateman holds up a Whitney Houston CD, showing them the picture of Whitney on the cover.

BATEMAN:

Did you know that Whitney Houston's debut LP called simply Whitney Houston had four number-one singles on it? Did you know that, Christie?

ELIZABETH:

You actually listen to Whitney Houston? You own a Whitney Houston CD? More than one?

She giggles, rolling off the sofa onto the floor.

BATEMAN:

(Ignoring her) It's hard to choose a favorite among so many great tracks, but "The Greatest Love of All" is one of the best, most powerful songs ever written about self-preservation and dignity. It's universal message crosses all boundaries, and instills one with the hope that it's not too late to better ourselves. Since, Elizabeth, it's impossible in the world we live in to empathize with others, we can always empathize with ourselves.

As he speaks, he opens the case and carefully places the CD in the player, admiring its pristine silver surface, and watches it slide into the machine.

BATEMAN:

It's an important message, crucial, really, and it's beautifully stated on the album.

INT. BEDROOM - LATER

AN OUT-OF-FOCUS HOME VIDEO SHOT of Elizabeth, Christie and Bateman in the throes of sex, in the master bedroom.

CUT BACK TO WIDE SHOT of the bedroom, partially blocked by the video camera in the foreground. Their bodies are an incoherent tangle of arms and legs. The only sounds are moans, heavy breathing and the slapping of flesh against flesh. CLOSE ON Christie's head and shoulders. Her eyes are shut as she grimly concentrates on giving a good professional performance, turning her head every so often to check the progress of her partners.

OFFSCREEN WE HEAR Elizabeth panting in genuine pleasure, moaning loudly. Her voice gets louder and louder and then shifts to actual pain.

Christie rolls off the bed and starts to pick up her clothing. Bateman rises from the sheets. There is blood on his face.

Christie turns her head and sees him. She runs out of the room. She slams the mirrored door behind her, and as it swings shut for a split second we see Elizabeth writhing in pain on the bed.

We follow Christie out of the room, panicking, screaming.

Christie runs down a darkened hallway, frantically opening doors, looking for an escape.

She opens a closet. The closet lights up as she opens the door and sees two dead, women hanging inside. She screams, then claps a hand over her mouth. She stops and listens. THE DISTANT SOUND OF THE CHAINSAW.

She backs away slowly, into another dark room, lit only by the light from a television set. Through the darkness she sees a head on the top of the TV and starts to whimper.

She runs toward the nearest door. Finding herself in the main hallway, she begins to jog toward the front door, then runs.

Bateman appears from nowhere, holding the chainsaw, spattered with blood.

Christie screams and changes direction. Bateman leaps at her, bellowing.

They run through the bedroom and into the bathroom. Christie trips over Elizabeth's body, which is half in the bathtub.

Both are slipping on the floor, which is slick with blood.

Christie falls, tries to get up. Bateman grabs her leg. He tries to bite it.

She kicks him in the face and gets up, running toward the front door.

He runs after her.

BATEMAN:

Not the face, you b*tch. Not the f***ing face, you piece of b*tch trash!

Christie, screaming, makes it out the front door.

Bateman runs after her.

She runs down the hall screaming and banging on doors.

She sees the stairwell and runs for it.

Bateman runs after her, revving the chainsaw.

She runs down the stairs, Bateman two flights behind her. He stops, leans over the railing to look at her, then aims the chainsaw at her and drops it.

Christie SCREAMS OFFSCREEN, then is suddenly silent.

FROM BATEMAN'S POV we see Christie's body sprawled facedown at the bottom of the stairwell. The chainsaw sticks out of her back like a sword.

INT. CRAYONS - EARLY EVENING

An insanely expensive restaurant with a childhood motif: paper tablecloths and jars of crayons for drawing, lots of primary colors, and a goldfish bowl on each table.

Bateman is at a table with Evelyn. They are both drawing on the tablecloth. Bateman is drawing Christie with the chainsaw in her back.

EVELYN:

I want a firm commitment.

BATEMAN:

I think, um, Evelyn, that uh, we've lost touch.

Evelyn waves to a couple across the room.

EVELYN:

(Distracted) Why? What's wrong?

The woman across the room holds up her hand, displaying anew bracelet. Evelyn smiles and nods approvingly.

BATEMAN:

(Speaking very carefully, measuring each word) My need to engage in homicidal behavior on a massive scale cannot be, corrected, but, uh, I have no other way to fulfill my needs.

BATEMAN:

We need to talk.

EVELYN:

Talk about what, Patrick?

BATEMAN:

It's over, Evelyn. It's all over

EVELYN:

(Motioning to the waiter for water) Touchy, touchy. I'm sorry I brought up the wedding. Let's just avoid the issue, alright? Now, are we having coffee?

BATEMAN:

I'm f***ing serious. It's f***ing over. Us. This is no joke. Uh, I don't think we should see each other anymore.

EVELYN:

But your friends are my friends. My friends are your friends. I really don't think it would work. (Reaching over to wipe his face) You have a little something on your upper lip.

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