American Psycho Page #8

He puts on the song and gestures for them to follow him into the bedroom.

BATEMAN:

It's an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. Christie, take off the robe.

Bateman puts out a lace teddy. He motions to Christie to put it on.

BATEMAN:

Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress.

Bateman starts to undress.

BATEMAN:

In terms of lyrical craftsmanship and sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh...dance a little?

Sabrina dances awkwardly. Christie sits on the bed.

BATEMAN:

Take the lyrics to "Land of Confusion." In this song, Phil Collins addresses the problem of abusive political authority.

Bateman knots a silk scarf around Christie's neck - rather menacingly - then helps her into some suede gloves.

BATEMAN:

"In Too Deep" is the most moving pop song of the 1980s about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as, uh...anything I've heard in rock.

He turns on the video camera.

BATEMAN:

Christie, get down on your knees, so Sabrina can see your a**hole.

Bateman looks through the viewfinder.

BATEMAN:

Phil Collins solo career seem to be more commercial and therefore more satisfying in a narrower way, especially songs like "In the Air Tonight" and "Against All Odds." Sabrina, don't just stare at it. Eat it.

He walks over to the sound system in his bedroom and slides in the CD.

BATEMAN:

But I also think that Phil Collins works better within the confines of the group than as a solo artist-and I stress the word artist. This is "Sussudio," a great, great song, a personal favorite.

SEX MONTAGE CUT TO "Sussudio." We see this in WIDE SHOT, or through the LENS OF THE VIDEO CAMERA.

BATEMAN:

Look at the camera.

CUT TO:

Bateman asleep in his bed with Christie and Sabrina on either side of him. Sabrina accidentally touches his wrist. Bateman's eyes open.

BATEMAN:

Don't touch the watch.

Bateman gets up from his bed and goes over to his armoire.

He opens the drawer in which are a nail gun, a coat hanger, a rusty butter knife and a half-smoked cigar. He turns around to see Christie and Sabrina both starting to get up and get dressed. He takes the coat hanger.

BATEMAN:

We're not through yet...

CUT TO:

Bateman ushering them out the door impatiently. They are both handed a wad of money.

INT. YALE CLUB DAY

McDermott, Van Patten and Bateman are having drinks. Bryce walks by with a gorgeous girl and gives them the finger.

McDERMOTT:

If they have a good personality and they are not great looking-who f***ing cares?

BATEMAN:

Well, let's just say hypothetically, okay? What if they have a good personality? (He smiles giving up) I know, I know-

ALL IN UNISON:

There are no girls with good personalities! (They laugh and high-five each other)

VAN PATTEN:

A good personality consists of a chick with a little hardbody who will satisfy all sexual demands without being too slutty about things and who will essentially keep her dumb f***ing mouth shut.

McDERMOTT:

The only girls with good personalities who are smart or maybe funny or halfway intelligent or talented-though God knows what the f*** that means-are ugly chicks.

VAN PATTEN:

Absolutely.

McDERMOTT:

And this is because they have to make up for how f***ing unattractive they are.

Pause.

BATEMAN:

Do you know what Ed Gein said about women?

VAN PATTEN:

Ed Gein? Maitre d' at Canal Bar?

BATEMAN:

No, serial killer, Wisconsin in the fifties.

McDERMOTT:

So what did Ed say?

BATEMAN:

He said, "When I see a pretty girl walking down the street I think two things. One part of me wants to take her out and talk to her and be real nice and sweet and treat her right."

Pauses, finishes his drink.

McDERMOTT:

What does the other part of him think?

BATEMAN:

What her head would look like on a stick.

McDermott and Van Patten look at each other and then back at Bateman. Bateman starts to laugh.

Luis Carruthers walks up to the table.

CARRUTHERS:

(Shyly) Hi, guys. I wanna get your opinion on something. It's my business card. I decided to get a new one, too.

He pulls out something incredibly tasteful. Everyone compliments Luis except Bateman. The SOUND DROPS and all we hear is the beating of his heart as he stares at the card enviously. Luis plucks it from his hand and walks away, pleased with himself.

VAN PATTEN:

Oh- thats...

McDERMOTT:

Very nice, Luis.

CARRUTHERS:

Thank you.

Patrick stares at the business card very intently with his face resting on his closed fist. Luis walks away with a content smile on his face.

VAN PATTEN:

Listen, what about dinner?

BATEMAN:

(Suddenly angry) Is that all you ever have to contribute, Van Patten? "What about f***ing dinner?"

McDERMOTT:

Cheer up there, Bateman. (Slaps him on the back, massages his neck) What's the matter? No shiatsu this morning?

BATEMAN:

(Watching Luis going into the men's room) Keep touching me like that and you'll draw back a stump.

McDERMOTT:

Hang on there, little buddy.

BATEMAN:

Excuse me.

He gets up from the table.

INT. MEN'S ROOM - DAY

Bateman pulls on his gloves as he enters the men's room. Carruthers is standing in a stall with his back to Bateman. The sound of his urinating is heard until Bateman approaches, then abruptly stops. Slowly, Bateman brings his hands up over the collar of Carruthers' cashmere jacket, circling his neck until both thumbs and index fingers meet. All we can hear is the sound of Bateman's heavy breathing. Slowly he starts to squeeze. Almost in slow motion, Carruthers turns around.

Carruthers looks down at Bateman's wrists as if lost in thought. Then he lowers his head and kisses Bateman's wrist. He looks back at Bateman with a shy, love-struck expression, then reaches up and tenderly touches the side of his face.

CARRUTHERS:

God, Patrick. Why here?

He strokes Bateman's hair.

CARRUTHERS:

I've seen you looking at me. I've noticed your hot body.

Carruthers tries to kiss him on the lips but Bateman backs away. He drops his hands from Carruthers' neck. Carruthers immediately takes them and places them back. Bateman drops them again.

CARRUTHERS:

Don't be shy.

Bateman takes a deep breath, closes his eyes and tries to lift his hands again, but abandons the attempt.

CARRUTHERS:

You can't imagine how long I've wanted this. Ever since that Christmas party at Arizona 206. You know the one, you were wearing that red-striped paisley Armani tie.

Bateman looks down and sees that Carruthers' pants are still unzipped. He moves past him out of the stall and stands by the sink and pretends to wash his hands until he realizes he still has his gloves on. Carruthers comes up behind him.

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