American Psycho Page #10

The escort girl looks somewhat bewildered. Bateman takes

her coat and inspects her body and face.

BATEMAN:

Not quite blonde, are you? More dirty blonde. I'm

going to call you Sabrina. I'm Paul Owen.

Bateman escorts her into the living room and brings her a

glass of wine. Christie enters, sitting next to Sabrina on the

couch, and Bateman sits across from them. There is a

long silence.

BATEMAN:

So, don't you want to know what I do?

The two girls look at each other with uncomfortable smiles.

Christie shrugs.

CHRISTIE:

No.

SABRINA:

(Smiling)

No, not really.

Bateman is visibly irritated, recrosses his legs.

BATEMAN:

Well, I work on Wall Street. At Pierce & Pierce.

(Long pause)

Have you heard of it?

Another long pause. They shake their heads. Christie stands

up and goes over to the CD collection.

CHRISTIE:

You have a really nice place here...Paul.

How much did you pay for it?

BATEMAN:

Actually, that's none of your business, Christie,

hut I can assure you it certainly wasn't cheap.

Bateman leaves to refill his wine glass and Sabrina takes a

pack of cigarettes out of her purse.

Bateman returns, carrying a tray of chocolates.

BATEMAN:

No, no smoking. Not in here.

He walks over to Christie.

BATEMAN:

Varda truffle?

Christie stares at the plate and shakes her head. Sabrina

takes one.

BATEMAN:

I don't want you to get drunk, but that's a very

fine Chardonnay you're not drinking.

Bateman goes over to his CDs and scans his vast collection.

He takes one out and examines it.

BATEMAN:

Do you like Phil Collins? I've been a big Genesis

fan ever since the release of their 1980 album, Duke. Before

that I really didn't understand any of their work. It was too

artsy, too intellectual. It was on Duke where Phil Collins'

presence became more apparent. He puts aside the CD and takes out

another one.

BATEMAN:

I think "Invisible Touch" is the group's undisputed

masterpiece.

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 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 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:

Phill Collins solo efforts 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 Phill 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.

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 Rolex.

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 sobbing, badly bruised and bleeding. Bateman has a

deep scratch on his hand and one on his shoulder. In the

b.g. Phil Collins' "In the Air Tonight" is playing.

INT. YALE CLUB – DAY

McDermott, Van Patten and Bateman are

having drinks. Price walks by with a gorgeous girl and

gives them the finger.

BATEMAN:

What an a**hole.

McDERMOTT

Why is Laurie Kennedy dating Price? He's a

f***ing drug addict. No self-control.

VAN PATTEN:

But Laurie Kennedy is a total hardbody. What do

you think, Bateman?

BATEMAN:

I know her. I knew her.

McDERMOTT

Why do you say it like that? Why does he say it

like that?

VAN PATTEN:

Because he dated her.

BATEMAN:

How did you guess?

VAN PATTEN:

Girls dig Bateman. He's CQ. You're total CQ,

Bateman.

BATEMAN:

Thanks, guy, but...she's got a lousy

personality.

McDERMOTT

So what? It's all looks. Laurie Kennedy is a

babe. Don't even pretend you were interested for any other

reason.

VAN PATTEN:

If they have a good personality, then something

is very wrong.

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

Listen, the only girls with good personalities who are

smart or maybe funny or halfway intelligent or even

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. He was

an interesting guy.

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.

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