American Psycho Page #15

OFFSCREEN WE HEAR Elizabeth panting in genuine pleasure,

moaning loudly. Her voice gets louder and louder and then

shifts to actual pain.

Bateman rises up off the bed, suddenly appearing behind

Christie. There is blood on his face.

Christie turns her head and sees him. She screams and leaps

off the bed, running 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 hears the SOUND OF A CHAINSAW coming from the bedroom.

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 moves to the elevator, pounding hysterically on the

buttons. She sees the stairwell and runs for it.

Bateman sees this and 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, Evelyn, that we've...lost touch.

Evelyn waves to a couple across the room.

EVELYN:

(Distracted)

Why? What's wrong?

BATEMAN:

(Speaking very carefully, measuring each word)

My need to engage in homicidal behavior on a massive scale

cannot be, um, corrected, but I have no other way to fulfill

my needs.

The woman across the room holds up her hand, displaying a

new bracelet. Evelyn smiles and nods approvingly.

BATEMAN:

We need to talk.

EVELYN:

Talk about what, Patrick? What is there to talk

about?

BATEMAN:

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

EVELYN:

(Motioning to the waiter for water)

Touchy, touchy. I'm sorry I brought the wedding up. 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. I don't think we should see each other anymore.

EVELYN:

But your friends are my friends. My friends are your

friends. I don't think it would work.

(Reaching over to dab his face with a napkin)

You have a little something on your upper lip.

BATEMAN:

(Brushing her hand away)

I know that your friends are my friends. I've thought about

that. You can have them.

Evelyn stares at him, suspicious and bewildered, a

realization dawning.

EVELYN:

You're really serious, aren't you?

BATEMAN:

Yes, I am.

EVELYN:

But what about the past? Our past?

BATEMAN:

We never really shared one.

EVELYN:

You're inhuman.

BATEMAN:

I'm...in touch with humanity. Evelyn, I'm sorry.

(He pauses, as if searching for the right words)

You're just not terribly important to me.

Evelyn begins to cry.

EVELYN:

No, no, no.

BATEMAN:

I know my behavior is...erratic sometimes.

She reaches desperately across the table and takes his

hand. Bateman pulls his hand away.

EVELYN:

(Sobbing)

What do you want me to do, what is it you want?

The occupants of nearby tables begin to stare. Bateman is

becoming increasingly agitated and embarrassed.

BATEMAN:

(Looking uncomfortably around the room)

If you really want to do something for me, you can stop making

this scene right now.

EVELYN:

Oh God, I can't believe this.

BATEMAN:

I'm leaving now. I've assessed the situation and I'm going.

Evelyn makes an effort to compose herself. She blots the

tears so they will not affect her make-up.

EVELYN:

(Surprisingly calm)

Where are you going?

BATEMAN:

I'm just leaving.

EVELYN:

But where?

BATEMAN:

I have to return some videotapes.

He rushes out of the room.

EXT. TRIBECA STREET - EVENING

Bateman wanders into misty Tribeca streets, sees a stray cat.

BATEMAN:

Here kitty, kitty.

The small mangy cat rubs against him. He picks it up and

walks toward an ATM, holding the cat. He puts his card in

the machine. The screen reads: FEED ME A STRAY CAT.

Bateman begins to attempt to shove the kitten into the

deposit slot with some difficulty. The kitten squeals. He

takes a gun from out of his pocket and points it at the

kitten. He doesn't notice the woman waiting behind him.

WOMAN:

Oh my God! Stop that! What are you doing?

Bateman wheels around and shoots her. She falls screaming

to the floor.

Responding to the gunshot, A POLICE CAR SIREN WAILS in the

distance. Bateman breaks into a run. The police car

screeches after him.

COP CAR (O.S.)

HALT STOP. PUT DOWN YOUR WEAPON.

Bateman ducks down an alley.

EXT. ALLEY - NIGHT

A COP rushes toward him, seemingly from

out of nowhere, and tackles him, trying to get the gun away

from him.

Bateman manages to shoot the cop in the face while both of

them have their hands on the gun, then shoots him again. He

reloads the gun. The sound of more COP CARS arriving.

He runs out of the alley.

EXT. STREET - NIGHT

As he reaches the street, he finds A PHALANX OF POLICE CARS

approaching.

COP CAR:

Halt. Put down your weapon.

The cops leap out and fire a warning shot in the air.

Bateman shoots at them. The police return fire.

Bateman ducks down behind a parked car and continues

shooting wildly. A bullet hits the gas tank of one of the

police cars. It catches fire and explodes. The flames light

up the scene, illuminating the bodies of policemen both living

and dead.

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