You have a really nice place here...Paul.
How much did you pay for it?
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.
No, no smoking. Not in here.
He walks over to Christie.
Christie stares at the plate and shakes her head. Sabrina
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.
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
I think "Invisible Touch" is the group's undisputed
He puts on the song and gestures for them to follow him
into the bedroom.
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.
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.
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.
Take the lyrics to "Land of Confusion." In this
song, Phil Collins addresses the problem of abusive political
Bateman knots a silk scarf around Christie's neck - rather
menacingly - then helps her into some suede gloves.
"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.
Christie, get down on your knees, so Sabrina can see your
Bateman looks through the viewfinder.
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
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.
Bateman asleep in his bed with Christie and Sabrina
on either side of him. Sabrina accidentally touches his
wrist. Bateman's eyes open.
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.
We're not through yet...
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.
What an asshole.
Why is Laurie Kennedy dating Price? He's a
fucking drug addict. No self-control.
But Laurie Kennedy is a total hardbody. What do
you think, Bateman?
I know her. I knew her.
Why do you say it like that? Why does he say it
Because he dated her.
How did you guess?
Girls dig Bateman. He's CQ. You're total CQ,
Thanks, guy, but...she's got a lousy
So what? It's all looks. Laurie Kennedy is a
babe. Don't even pretend you were interested for any other
If they have a good personality, then something
is very wrong.
If they have a good personality and they are not
great looking-who fucking cares?
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)
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 fucking mouth
Listen, the only girls with good personalities who are
smart or maybe funny or halfway intelligent or even
talented-though God knows what the fuck that means-are ugly
And this is because they have to make up for how
fucking unattractive they are.
Do you know what Ed Gein said about women?
Ed Gein? Maitre d' at Canal Bar?
No, serial killer, Wisconsin in the fifties. He was
an interesting guy.
So what did Ed say?
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
Pauses, finishes his drink.
What does the other part of him think?
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, and the other two uneasily
Luis Carruthers walks up to the table.
Hi, guys. I wanna get your opinion on something.
McDermott rolls his eyes at the rest of the table.
McDERMOTT If it's about the bow-tie you're wearing, you
know how we feel about it. Luis laughs good-naturedly.
Yes, I do. No, 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
Listen, what about dinner?
Is that all you ever have to contribute, Van Patten? "What about
Ah, cheer up, Bateman.
(Slaps him on the back, massages his neck)
What's the matter? No shiatsu this morning?
(Watching Luis going into the men's room)
Keep touching me like that and you'll draw back a stump.
Whoa, hold on there, little buddy.
He gets up from the table. As Bateman walks away, Van
Patten grabs a waiter.
Is this tap water? I don't drink tap water Bring
me an Evian or something, okay?
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.
God, Patrick. Why here?
He strokes Bateman's hair.
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
Don't be shy.
Bateman takes a deep breath, closes his eyes and tries to lift
his hands again, but abandons the attempt.
You don't know how long I've wanted it. 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
I want you. I want you...too.
Bateman storms out of the men's room, bumping into a waiter
and several customers and cursing. Noticing the maitre d'
and another waiter conferring and looking at him strangely,
Bateman straightens up and smiles and waves cheerfully at
them. Carruthers walks up behind him.
Where are you going?
(Stumbling away from him)
gotta...return some videotapes.
(Silently mouthing the words)
I'll call you.
Bateman storms out of the restaurant.
INT. COURTNEY'S APARTMENT - NIGHT
Bateman is lying on top of Courtney in her bed, after sex.
Still panting, he rolls off her, onto his back. He feels
something lumpy underneath him and pulls out a stuffed toy,
a black cat with blue jewel eyes. There is silence.
Will you call me before Thanksgiving?
Courtney sighs and reaches for a bottle of pills on her
nightstand, swallowing several. Bateman gets up and begins
to dress, admiring himself in the mirror. Courtney watches
the TV at low volume.
What are you doing tonight?
Dinner at the River Cafe. Au Bar afterwards, maybe.
(Lighting a cigarette)
We were supposed to have dinner at Tad and
Maura's, but-you know how Luis is...
I never knew you smoked.
You never noticed.
Bateman is making final adjustments to his tie.
Listen...Patrick. Can we talk?
You look marvelous. There's nothing to say. You're
going to marry Luis. Next week, no Less.
Isn't that special?
If I don't see you before Thanksgiving, have a nice one, okay?
Courtney picks up the black cat and starts petting its
head. Bateman heads down the hallway to the front door.
INT. NIGHTCLUB - NIGHT
A big eighties nightclub with a mixed crowd: hip-hop
kids, visitors from Jersey, downtown art people, yuppies.
I Bateman makes his way through the crowd to the bar, and
tries to attract the bartender's attention. He is wearing a
suit and his tie is loosened. Kimball approaches him.
Bateman gasps and recovers.
Detective Kendall...uh Campbell?
(Extending his hand)
Call me Don.
So...you hang out here a lot?
Uh, yes...I mean...whenever necessary. You
How's the investigation going? Taken anyone
in for "formal questioning?" (He makes quotation marks
in the air and laughs a not-so-relaxed laugh)
0h no. Informal conversations, mostly. What's that, Stoli?
Yeah. No Finlandia, as usual. Fucking dump.
(Looking at his glass)
Too true. You know, Bateman-people tend to reveal so much
more about themselves when they're in a relaxed setting,
don't you think?
Bateman is nodding nervously, idiotically.
Some people just can t help themselves. Another Stoli?
Bateman shakes his head.
I mean they want to get caught.
Dan, great to see you again. Like I said, you need
anything at all, I'm your man. I don't envy your job. I mean
Owen was a...complex man.
Bateman wanders away.
He looks back uneasily at KIMBALL, who is watching him from
the bar. A GUY WITH DREADLOCKS walks by.
(Holding up his hand to high-five) Rasta Man!
The man stares at him.
I mean-Mon. We be jammin'...
The man walks by, shaking his head.
Bateman wanders into the next room, which is filled with a
more familiar crowd: young men in designer suits, girls in
black designer dresses. Across the room he spots McDermott
and Price sitting with three models, all wearing black
mini-dresses. Price and McDermott are having a whispered
I have to talk to these girls? They're models.
Someone has to get the Bolivian marching powder.
You went last time. Stay here.
McDermott waves gaily to the girls and disappears.
Bateman looks at the models. DAISY and CARON are staring
into space, smoking. LIBBY is trying to work out how to
unfold her napkin. Price signals to Bateman for help.
(Clapping his hands together)
Let's have a conversation. So...it was hot out today, no?
Where did Craig go?
Well, Gorbachev is downstairs. McDermott is going to
sign a peace treaty with him between the United States
and Russia. McDermott's the one behind glasnost, you know.
Well...yeah. But he told me he was in mergers and acquisitions.
You're not confused, are you?
No, not really.
Gorbachev's not downstairs.
Are you Iying?
Yes, Caron's right. Gorbachev's not downstairs. He's
Ask me a question.
So, what do you do?
What do you think I do?
A model? An actor?
No. Flattering, but no.
I m into, well, murders and executions mostly.
Do you like it?
Welt...it depends, why?
Well, most guys I know who work in mergers and
acquisitions don't really like it.
So, where do you work out?
MUCH LATER IN THE EVENING:
The club is half-empty now. Price is leaning over a
balcony, messed-up on drugs. Bateman comes up behind him
in a menacing way that suggests he might push him over
the railing. Price turns around, wild-eyed, just as Bateman
is reaching for him.
I'm leaving. I'm getting out.
Bateman is confused, he thinks Price is referring to his
Don't, I'll drink it.
Listen to me, Patrick. I'm leaving.
Where to? Are you going to go get a gram?
I'm leaving! I...am...leaving!
Don't tell me...merchant banking?
No, you dumb son of a bitch. I'm serious. I'm
Where to? Morgan Stanley? Rehab? What?
Price looks away.
McDermott and Daisy walk up to them.
Hey-don't worry, be happy.
Price lifts his arms up as if greeting the crowd and is
shouting something that can't be heard, then
He climbs over the railing.
DAISY What is he doing?
Price! Come back!
Price leaps from the balcony. He disappears for a moment
then resurfaces and runs off into the crowd.
EXT. CLUB - NIGHT
Bateman and Daisy are waiting for a cab.
My ex-boyfriend, Fiddler, who was in there, he plays
in this band that just opened for U2-he couldn't understand
what I was doing with a yuppie.
He said you gave him bad vibes.
That's...that's too bad.
You think I'm dumb, don't you?
You think I'm dumb. You think all models are dumb.
(insincerely) No. I really don't.
That's okay. I don't mind. There's something sweet about you.
She takes his hand as they get into a cab.
INT. DAISY'S HALLWAY - LATER THAT NIGHT
Bateman leaves Daisy's apartment carrying a suitcase. He pauses
in the hallway and tucks some long blonde hair back inside the
INT. BATEMAN'S OFFICE - LATE AFTERNOON
Bateman sits at his desk wearing Wayfarers doing the New York
Times crossword puzzle at dusk.
Jean knocks gently on the half-open door and walks in with
a folder in her hand. Bateman ignores her.
Doin' the crossword?
Bateman nods without looking up.
BATEMAN doesn't respond. We see that every space on the
puzzle has been filled in with the words MEAT or BONE. Jean
drops the folder on his desk and then walks out.
Would you like to accompany me to dinner?
He erases one of the M's on the crossword puzzle.
That is...if you're not doing anything.
Oh no. I have no plans.
(Lowering his Wayfarers)
Well, isn't this a coincidence.
Listen, where should we go?
He leans back and pulls a Zagat's from the desk drawer.
Anywhere you want?
Let's not think about what I want. How about
anywhere you want.
Oh Patrick, I can't make this decision.
No, come on. Anywhere you want.
Oh, I can't.
I don't know.
Come on. Where do you want to go? Anywhere you want.
Just say it. I can get us in anywhere.
A long pause.
Bateman stops looking through the Zagat's guide and smiles
Soooo...Dorsia is where Jean wants to go...
Oh, I don't know. No, we'll go anywhere you want.
He dials the number.
Yes, can you take two tonight, oh, let's say at
He checks his Rolex and winks at Jean.
We are totally booked.
Oh really? That's great.
I said we are totally booked.
Two at nine? Perfect.
There are no tables available tonight. The waiting list is
also totally booked.
See you then.
He hangs up the phone. He walks over to the coat rack. He
glances over at Jean, who is still standing in front of the
Yes? You're dressed...okay.
You didn't give them a name.
They know me.
Why don't you meet me at my house at seven o'clock
for drinks, okay?
She turns to leave.
And Jean? You'll want to change before we go out.
INT. BATEMAN'S APARTMENT - EARLY EVENING
Jean stands by the floor-to-ceiling windows, looking out.
Patrick, it's so...elegant. What a wonderful view.
Bateman opens up the freezer where Daisy's head is cleady
Thanks, Patrick. I'd love some.
Bateman walks in with a bottle of wine and a corkscrew in
his hand and hands her the sorbet.
Jean is eating the sorbet.
Want a bite?
I'm on a diet. But thank you.
You don't need to lose any weight. You're kidding, right?
You look great. Very fit.
(Weighing the corkscrew examining the point for sharpness)
You can always he thinner. Look...better.
Well, maybe we shouldn't go out to dinner. I don't
want to ruin your willpower.
No. It's all right. I'm not very good at controlling
Silence, as Bateman walks around his apartment, opens up
his knife drawer, looking at the knives.
So listen, what do you really want to do with your
And don't tell me you enjoy working with children,
Well, I'd like to travel. And maybe go back to school,
but I really don't know...I'm at a point in my life
where there seems lo be a lot of possibilities, but I'm so...
I don't know...unsure.
Bateman is touching a knife in the drawer, feeling the edge
of the blade.
Do you have a boyfriend?
No, not really.
Are you seeing anyone? I mean, seriously?
Maybe. I don't know Not really.
Bateman opens up a cupboard where there are a lot of very
Bateman opens a cupboard where there are a lot of neatly
ordered weapons - an ax, a rifle, a chain saw, duct tape,
twine and a nail gun.
Jean, do you feel...fulfilled? I mean, in your life?
Well, I guess I do. For a long time I was too focused
on my work, I think, but now I've really begun to think about
changing myself, you know, developing, and...growing.
Growing. I'm glad you said that.
Bateman picks up the duct tape.
Did you know that Ted Bundy's first dog, a collie,
was named Lassie? Had you heard this?
Who's Ted Bundy?
Oh. Uh, tape. Duct tape. I...need it for...
taping something. Bateman goes back to the cupboard for the
Patrick, have you ever wanted to make someone happy?
Jean puts her spoon down on the table.
(Looking up from loading nails into the gun)
What...No! Put it in the carton.
(She puts the spoon in the carton)
Make someone happy-have you ever wanted to?
From behind, we follow Bateman as he walks across the room and
stands behind the couch.
I'm looking for...I guess you could say I just
want to have a meaningful relationship with someone special.
He points the nail gun at the back of Jean's head.
The phone RINGS. Startled, Bateman hides the nail gun
behind his back. The answering machine picks up. As Bateman
listens he discreetly places the nail gun behind the couch.
He sits down opposite Jean, enjoying her discomfort as she
listens to the message.
Patrick I know you're there. Pick up the phone, you bad boy.
What are you up to tonight? It's me. Don't try to hide. I hope
you're not out with some little number you picked up because
you're my Mr. Bateman. My boy next door. Anyway you never
called me and you said you would and I'll leave a message for
Jean about this too to remind you but we're having dinner with
Melania and Taylor-you know Melania, she went to Sweet Briar,
auld Taylor, he went to Cornell-and we're meeting at the Cornell
Club, so l'll call you tomorrow morning probably-bye, honey-oopps!
You hate that. Bye Mr. Big Time CEO Patrick. Bye. Bye.
Silence. Jean is obviously embarrassed and upset.
Are you still seeing her?
I'm sorry, I have no right to ask that.
Do you want me to go?
A long pause.
Yes. I don t think I can...control myself.
I know I should go. I know I have a tendency to get
involved with unavailable men, and...I mean, do you
want me to go?
Another long pause.
If you stay, I think something bad will happen. I
think I might hurt you.
You don't want to get hurt, do you?
No. No, I guess not. I don't want to get bruised.
You're right, I should go.
She gets up to leave.
And don't forget you have a breakfast meeting with
Frederick Bennet and Charles Rust at '21.
Thanks. It slipped my mind completely.
He sinks back on the sofa and shuts his eyes.
INT. BATEMAN'S OFFICE - DAY
Bateman enters P&P, walks up the corridor and pauses outside
the door to his office. He sees KIMBALL in conversation with
Jean, and Jean looking through her date book. He watches for
a moment, frozen with anxiety. He then bursts in, shutting
the door behind him.
Kimball-I've been wanting to talk with you, Come
into my office. Jean, great jacket. Matsuda?
Jean looks flustered.
Kimball follows Bateman into his office.
I actually came to see Timothy Price, but he's
taken a leave of absence.
Yeah, gone into rehab. Shame.
Is he a suspect?
Do you remember where you were on the night of
(He checks his notebook)
Which was on the twentieth of December?
God...I guess...I was probably returning
He opens his desk drawer and pretends to search through his
I had a date with a girl named Veronica.
Wait. That's not what I've got.
That's not the information I've received.
Well...I...Wait...What information have
(He flips through his notebook)
That you were with-
Well, I could he wrong.
Well...When was the last time you were with Paul Owen?
(Clearly nervous and under pressure)
We had...gone to a new musical called...Oh Africa, Brave Africa. It
was...a laugh riot...and that's about it. I think we had dinner
at Orso's. No, Petaluma. No, Orso's. The...last time I
physically saw him was...at an automated teller. I can't
remember which...just one that was near, um, Nell's.
Kimball is clearly giving up on Bateman for now. He opens
his briefcase to put away his notebook.
Well, thank you, Mr. Bateman.
Patrick, please. I hope I've been informative. Long
day-a bit scattered.
Listen, I'm a little spent for now but how about lunch
in a week or so when I've sorted out all this information?
Great, yes, I'd like that.
And if you could try and pin down where you were
the night of Owen's disappearance, it would make my job a
Absolutely. I'm with you on that one.
Kimball is rifling through his briefcase. He pulls out a
new shrink wrapped CD and holds it up.
Huey Lewis and the News. Great stuff. Heard it? I
just bought it on my way here.
Bateman stares at the CD - stunned, terrified.
Never. I mean...I don't really like...
Not a big music fan, eh?
No, I like music. Just-they're-Huey's too...
black sounding. For me.
Well, to each his own. So-lunch, Thursday? I'll
call your secretary about reservations.
I'll be there.
EXT. MEAT PACKING DISTRICT/INT. LIMOUSINE - NIGHT
The same street corner where Bateman found Christie before.
The limo is kept idling as he talks to her through a
I'm not so sure about this. I had to go to Emergency after
Oh this won't be anything like last time, I promise.
I don't think so.
He hands her a $500 bill.
Just come in the limo and talk to me for a minute.
The driver's here, you'll be safe.
Christie gets in hesitantly.
Nothing like last time, promise.
He pours her a shot of vodka and makes her drink it.
(Chatting as if they were at a cocktail party)
So, you're looking great, how have you been?
(A little confused)
Well, I actually might need a little surgery after last time.
My friend told me I should maybe even get a
Oh, lawyers are so complicated-don't do that. Here.
He writes her a check for $I ,000 to cash and hands it to
her. She snatches the check out of his hand and gets
quickly out of the limo, walking hurriedly down the street.
He follows alongside her slowly in the limo, waving a huge
wad of cash at her. She hesitates; he uses the money to
lure her into the car. As she reluctantly gets into the
limo, she reaches for the money.
He snatches it away.
Uh uh uh. Half now, half later.
She takes the money and puts it inside her shirt.
Okay, your name is Christie. We're meeting a friend of mine,
Elizabeth. She'll be joining us in my new apartment shortly.
You'll like her. She's a very nice girl. Don't say anything
about yourself. Is that clear. Christie?
INT. PAUL OWEN'S APARTMENT - NIGHT
The living room: ELIZABETH has kicked off her shoes and flopped
down on the couch underneath the Baselitz. Elizabeth is an
attractive, dark-haired society girl who models occasionally.
Christie is sitting on the couch opposite her, pretending to
examine a CD.
You look really familiar. Did you you go to Dalton?
Christie shakes her head.
The kitchen: Bateman is grinding up tabs of Ecstasy and
putting them in a bottle of wine. In the living room, Elizabeth
is still staring at Christie as if she came from Mars.
I think I met you at Au Bar, didn't I ? With Spicey?
Christie looks blank.
Well, maybe not with Spicey but it was definitely at Au Bar.
Christie still blank.
You know, Au Bar?
Christie shakes her head.
Anyway, Au Bar sucks now, it's terrible. I went to a birth
day party there for Malcolm Forbes. Oh my God, please.
Bateman enters carrying the bottle of wine and two glasses.
Christie, who seems frightened, sips her wine and stares at
the floor. There is an awkward silence.
This is nicer than your other apartment.
(Offended that she prefers Owen's apartment)
It's not that nice.
Where did you two meet?
Oh God! I met him at, oh God, the Kentucky Derby in '86-no,
(Turning to Patrick)
You were hanging out with that bimbo Allison Poole.
What do you mean, she was a hot number.
If you had an American Express card she'd give you a blowjob.
Listen, this girl worked in a tanning salon, need
I say more?...What do you do?
A long silence. Christie reddens and stares at the floor.
A pause. Elizabeth looks at Bateman dubiously.
Where's your phone? I've got to call Harley.
Bateman hands her a cordless phone. She dials, and stares
At Christie while she waits for someone to answer.
Where do you summer? Southampton?
Christie looks at Bateman and then back at Elizabeth.
(Listening to the receiver)
Oh God, it's his machine.
Elizabeth, it's three in the morning.
He's a goddamn drug dealer! These are his peak hours.
Don't tell him you're here.
Why would I?
Bateman has poured her another glass of wine. She downs the
whole glass, making a face.
This tastes weird.
(She examines the label and shrugs)
Harley? It's me. I need your services. Translate that anyway
you'd like. I'm at-
You're at Paul Owen s.
I want the number, idiot.
(She waves him away and continues into the reciever)
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.
Did you know that guy who disappeared? Didn't he work at Pierce
& Pierce, too? Was he a friend of yours?
Do you have any coke? Or Halcyon? I'd take a Halcyon.
Bateman sits next to Elizabeth on the couch and pours her
another glass of the drugged wine.
Listen, I would just like to see...the two of you...get it on.
What's wrong with that? It's totally disease-free.
Patrick, you re a lunatic.
Come on. Don't you find Christie attractive?
Let's not get lewd.
I'm in no mood to have a lewd conversation.
Come on. I think it would be a turn-on.
Does he do this all the time?
Christie, you're not drinking your wine.
Christie looks at her wine and gingerly takes a sip.
Are you telling me you've never gotten it on with a girl?
No! I'm not a lesbian. Why do you think I'd be into that?
Well, you went to Sarah Lawrence for one thing.
Those are Sarah Lawrence guys, Patrick. You're making me
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.
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? Whitney's voice leaps
across so many boundaries and is so versatile-though she's
mainly a jazz singer-that it's hard to take in the album
on a first listening.
You actually listen to Whitney Houston? You
actually have a Whitney Houston CD? More than one?
She giggles, rolling off the sofa onto the floor.
It's hard to choose a favorite track
among so many great ones, 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. to act kinder.
Since, Elizabeth, it's impossible in the world we live in
to empathize with others, we can always empathize with
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.
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.
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
Bateman appears from nowhere, holding the chainsaw,
spattered with blood.
Christie screams and changes direction. Bateman leaps at
They run through the bedroom and into the bathroom.
Christie trips over Elizabeth's body, which is half in the
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
He runs after her.
Not the face, you bitch. Not the fucking face, you
piece of bitch 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.
I want a firm commitment.
I think, Evelyn, that we've...lost touch.
Evelyn waves to a couple across the room.
Why? What's wrong?
(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
The woman across the room holds up her hand, displaying a
new bracelet. Evelyn smiles and nods approvingly.
We need to talk.
Talk about what, Patrick? What is there to talk
It's over, Evelyn. It's all over
(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?
I'm fucking serious. It's fucking over. Us. This
is no joke. I don't think we should see each other anymore.
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.
(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
You're really serious, aren't you?
Yes, I am.
But what about the past? Our past?
We never really shared one.
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.
No, no, no.
I know my behavior is...erratic sometimes.
She reaches desperately across the table and takes his
hand. Bateman pulls his hand away.
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.
(Looking uncomfortably around the room)
If you really want to do something for me, you can stop making
this scene right now.
Oh God, I can't believe this.
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.
Where are you going?
I'm just leaving.
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.
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.
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
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
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
NEW ANGLE: Bateman flees from the scene. The camera follows
him as he runs along a row of Porsches, trying to open each
one, setting off a cacophony of CAR ALARMS.
THE SOUND OF POLICE SIRENS draws near.
NEW ANGLE: He runs, panting, until he ends up in front of a
tail, brilliantly lit office building. As he approaches,
the lights in the building are going off floor by floor.
INT. OFFICE BUILDING - NIGHT
He rushes into the lobby, running for the elevator.
Burning the midnight oil, Mr. Smith? You
forgot to sign in.
Bateman wheels around and shoots him. He runs toward the
revolving doors. As he swings around in the doors, he
notices a JANITOR who has witnessed the shooting. He
revolves back into the lobby and shoots the janitor.
He runs out of the building and across the
street to an identical office building, the one that houses
Pierce & Pierce.
INT. PIERCE & PIERCE LOBBY - NIGHT
Bateman nods at the Pierce & Pierce NIGHT WATCHMAN and signs
in. He breathes a sigh of relief as the elevator doors close
INT. BATEMAN'S OFFICE - NIGHT
Bateman stands looking out
through the floor-length windows at a panoramic night view
of the city and the river.
Below him he sees a SWAT TEAM swarming over the roof of the
opposite building. There are ambulances standing by, flares
everywhere, distant sirens.
Suddenly, THE SOUND OF A HELICOPTER draws near. Frightened,
he drops to the floor behind his desk.
Helicopter searchlights scan the building, illuminating
Bateman's office for a few moments with a blaze of light.
He is crouched in one corner, half-sobbing, talking into
the phone, as the searchlight keeps circling.
Harold, it's Bateman. Patrick Bateman. You're my
lawyer so I think you should know-I've killed a lot of
people. Some escort girls, in an apartment uptown, some
homeless people, maybe five or ten, an NYU girl I met in
Central Park. I left her in a parking lot, near Dunkin'
Donuts. I killed Bethany, my old girlfriend, with a nail
gun. and a man, some old faggot with a dog. Last week I
killed another girl with a chainsaw-I had to, she almost
got away There was someone else there, maybe a model, I
can't remember but she's dead too. And Paul Owen. I killed
Paul Owen with an ax, in the face. His body is dissolving
in a bathtub in Hell's Kitchen. I don't want to leave anything
out here...I guess I've killed 20 people, maybe 40-I have tapes
of a lot of it. Some of the girls have seen the tapes, I even...
well, I ate some of their brains and I tried to cook a little.
Tonight I just, well, I had to kill a lot of people and I'm not
sure I 'm going to get away with it this time-I mean I guess
I'm a pretty sick guy. So-if you get hack tomorrow, I may show
up at Harry's Bar, so, you know, keep your eyes open.
Bateman hangs up the phone. The helicopter searchlight
circles back, briefly illuminating the room. The camera rises
up over Bateman huddled in the corner, staring blankly at the
INT. SMITH AND WOLLENSKY RESTAURANT - DAY
KIMBALL and Bateman are sitting at a corner table.
No hash browns?
Not in the mood, I guess.
But...everyone orders the hash browns here. I
mean- it's-have you been here before?
Yes, of course. The hash browns are delicious. I'm just...not...
(Looking at him like he's nuts)
Suit yourself, I guess.
So, the night he disappeared? Any new thoughts on
what you did?
I'm not really sure. I had a shower...and some
I think maybe you've got your dates mixed up.
But how? Where do you place Paul that night?
According to his date book, and this was verified by his
secretary, he had dinner with...Marcus Halberstam.
I've questioned him.
Yes. And he denies it. Though at first he couldn't
But Marcus denied it?
Well, does Marcus have an alibi?
He does? You're sure?
I checked it out. It's clean.
KIMBALL Now where were you?
(Laughing with him)
Where was Marcus?
He wasn't with Paul
So who was he with?
He was at Atlantis with Craig McDermott, Frederick Dibble,
Harry Newman, George Butner and –
(He pauses, Then looks up)
A moment of stunned silence.
Oh, right. Of course...We had wanted Paul Owen
to come. But he said he had plans...I guess I had dinner
with Victoria...the following night.
Personally I think the guy went a little nutso. Split town for
a while. Maybe he did go to London. Sightseeing. Drinking.
Whatever. Anyway, I'm pretty sure he'll turn up sooner or
I mean, to think that one of his friends
killed him, for no reason whatsoever would be too
ridiculous. Isn't that right, Patrick?
McDermott stops by the table.
KIMBALL! How's the investigation?
Talking to Bateman? Don't believe a word he says.
(Laughs uproariously slapping him on the back)
Bateman, what's wrong with ,you?
Bateman looks at him in silence,
You can't eat at Smith and Wollensky
without ordering the hash browns. Jesus, Bateman, you're a
raving maniac. Been at Pierce & Pierce too long.
(He wanders off muttering)
No fucking hash browns...
INT. PAUL OWEN'S APARTMENT BUILDING - DAY
Bateman walks into the lobby of Paul Owen's building. He
has a surgical mask in one hand.
What can I do for you, sir?
Of course. Mrs. Wolfe is up there right now.
The real estate agent? You do have an appointment,
Bateman steps out of the elevator and walks cautiously down
the hallway. Owen's door is open. The apartment is freshly
painted and has been immaculately redecorated in English
country-house style: overstuffed sofas, lots of chintz. There
are flowers everywhere, and a YOUNG YUPPIE COUPLE stands
admiring the place talkingto the realtor, MRS. WOLFE. Bateman
wanders down the hallway, looking for familiar signs. He stops
at the closet where we last saw two dead girls hanging. He
opens the door and the light switches on, but it is empty. Mrs.
Wolfe approaches, smiling.
Are you my two o'clock?
Mrs. Wolfe eyes him strangely, then looks down at the
surgical mash clutched in his hand. Her expression changes.
Can I help you?
I'm looking for...Paul Owen's...place.
She stares at him impassively.
Doesn't he live here?
No, he doesn't.
Are you sure?
You saw the ad in the Times?
No. Yes. I mean yes, I did. In the Times. But...
doesn't Paul Owen still live here?
There was no ad in the Times.
Bateman is shaking as they continue to stare at each other.
I think you should go now.
But I think...I want to know what happened
Don't make any trouble. Please. I suggest you go.
Bateman backs away slowly.
Don't come back.
I won't...don't worry.
Mrs. Wolfe glares at him as he walks down the hall,
rattled, and gets into the elevator.
EXT. DEPARTMENT STORE - DAY
Bateman enters the revolving
door of an office building, panicking and breathing
heavily. He is sweating, his hair is wild, and he looks
deranged. He goes around the revolving door twice and comes
out onto the street again, where he bumps smack into a GUY
just like him.
Bateman looks up at him wild-eyed.
See you at Fluties, okay?
The guy walks away, utterly unfazed. Bateman wanders down
the street, banging his briefcase against walls, garbage
EXT. MIDTOWN PHONE BOOTH - DAY
Bateman searches his pockets
for pills. He finds three different pills and swallows
them. He's sweating, and takes his jacket off to wipe his
face, dialing a number.
Patrick Bateman's office.
Jean? Hello? Jean?
Patrick? Is that you?
Hello? Jean, I need help!
Where are you?
Craig McDermott called. He wants to meet you and
David Van Patten and Tim Price at Harry's for drinks.
Oh God, what did you say, you dumb bitch?
Patrick? I can't hear you.
What are I doing?
Where are you? Patrick, what's wrong?
I don't think I'm gonna make it, Jean.
...to the office this afternoon.
What is it, Patrick? Are you alright?
Stop sounding so Fucking sad! Jesus!
He hangs up. He throws the Walkman which is around his neck
into a nearby trash can, and wipes his face with his
INT. BATEMAN'S OFFICE- SAME DAY
Jean sits at Bateman's desk. She looks around, and then opens
his desk drawer and tentatively begins to search through it.
INT. HARRY'S BAR - EVENING
Bateman comes into the bar, a little cleaned up from the
previous scene (he's smoothed his hair), but still panicking
and disheveled. He spots his friends in a corner, sits down,
still breathing heavily.
Price is on his cell-phone, trying to get reservations.
Bateman, you're looking a little wild-eyed rough
day at the office?
They all laugh.
Hey, look-Price is back. And he's drinking
Perrier. He s a changed man. Except...he still can't
get a reservation to save his life.
Bateman sits down silently.
Why don't you try I 50 Wooster? Just fucking call them.
I'm not going anywhere unless we
have a reservation.
VAN PATTEN Le Cirque, Flamingo East, Oyster Bar, come on,
faggots-just get a res.
Keep your shirt on. Maybe lose the suspenders.
Bateman spots HAROLD CARNES at the bar, tenses.
(He downs his drink)
Excuse me, gentlemen. Right back.
He approaches Carnes cautiously.
Face it-the Japanese will own most of this country by the
end of the '90s.
Bateman approaches, trying to act casual.
Shut up, Carnes, they will not.
Carnes is surprised, turns around, looks vaguely confused.
So, Harold, did you get my message?
Carnes lights a cigarette, stalling. Then laughs.
Jesus, Davis. Yes. That was hilarious. That was you,
(Waving smoke out of his face)
Bateman killing Owen and the escort girls? Oh that s
fabulous. That's rich...
It was a pretty long message, wasn't it?
What exactly do you mean?
The message you left.
Carnes is distracted, waving at people.
By the way Davis, how is Cynthia? You're still
seeing her, right?
But wait, Harold, what do you mean?
Carnes isn't really listening.
Excuse me. Nothing. Good to see you. Is that Edward Towers?
He turns to go.
Davis. I'm not one to bad-mouth anyone, your joke was amusing.
But come on, man, you had one fatal flaw: Bateman's such a dork,
such a boring, spineless lightweight, that I couldn't fully
appreciate it. I wasn't fooled for a second. Now, if you'd said
Price, or McDermott...Otherwise, it was amusing. Now, let's
have lunch or dinner or something. Hilarious, Davis. A killer.
What are you talking about? Bateman is what?
Oh Christ. He can barely pick up an escort girl, let
alone...what was it you said he did to her?
Carnes looks around the club, raises his glass to a passing
couple. He laughs politely.
Now, if you'll excuse me, I really must...
Wait. Stop. You don't seem to understand. You're not really
comprehending any of this. I killed him. I did it, Carnes.
I'm Patrick Bateman. I chopped Owen's fucking head off.
I tortured dozens of girls. The whole message I left on your
machine was true.
Excuse me. I really must he going.
No! Listen, don't you know who I am? I'm not Davis, I'm
Patrick Bateman! I talk to you on the phone all the time!
Don't you recognize me? You're my lawyer.
Carnes stares at him in confusion and annoyance.
Now, Carnes, listen to me. Listen very, very carefully. I killed
Paul Owen and I liked it. I can't make myself any clearer
But that's simply not possible. And I don't find
this funny anymore.
It never was supposed to he! Why isn't it possible?
(Eyeing Bateman worriedly)
It's just not.
Why not, you stupid bastard?
Carnes stares at him.
Because I had dinner with Paul Owen twice in
London...just ten days ago.
Now, if you'll excuse me.
Bateman returns back to his friends' table, in a daze.
They are all looking at the television, where Ronald
Reagan is giving a speech about Iran Contra. They are
halfheartedly arguing about whether or not he's
How can he lie like that? How can he pull that shit?
What shit? Now where do we have reservations at?
I mean I'm not really hungry, but I would like to have
I don't believe it. He looks so...normal. He seems so...
out of it. So...undangerous.
He is totally harmless you geek. Was totally harmless.
Just like you are totally harmless. But he did do all that
shit and you have failed lo get us into I 50, so, you know,
what can I say?
I just don't see how someone, anyone, can appear that
way and yet be involved in such total shit. How can you be so
fucking, I don't know, cool about it?
Some guys are just born cool, I guess.
Bateman laughs at this. Price shoots him a look.
And Bateman, what are YOU SO fucking zany about?
I'm just a happy camper. Rockin' and a-rollin'.
(To Price) Rehab's done wonders for you, pal.
Working for UNICEF now?
Do you want another Perrier Timothy? Some seltzer water?
Oh brother look-he presents himself as a harmless
Old codger. But inside...
The SOUNDS OF THE BAR FADE AWAY and we hear Bateman's thoughts:
But inside doesn't matter...
THE SOUNDS OF THE BAR RETURN.
Inside? Yes, inside? Believe it or not, Price we're actually
listening to you.
Bateman? Come on, what do you think?
Bateman looks up and smiles at Price. Then shrugs.
The conversation breaks up as Van Patten takes out his phone.
Whose moronic idea was it to drink dry beers? I need a Scotch.
The sounds of the bar fade down. The following voiceover runs
over images of Bateman and his friends ordering drinks, talking
on portable phones, talking, laughing - combined with images of
other very similar young men at other tables drinking, talking
on portable phones, talking, laughing,
There are no more barriers to cross. All I have in common with
the uncontrollable and the insane, the vicious and the evil,
all the mayhem I have caused and my utter indifference toward
it, I have now surpassed...
INT. BATEMAN'S OFFICE - DAY
Jean is alone in Bateman's office, looking through his diary.
We see the pages that she is looking at. They are filled with
doodles of mutilated women and their names...Jean looks lost
and frightened, and begins to cry.
My pain is constant and sharp and I do not hope for a better
world for anyone. I fact I want my pain to be inflicted on
others. I want no escape.
INT. HARRY'S BAR - EARLY EVENING
As the film ends the camera moves CLOSE on Bateman. He is
leaning back in his leather armchair, drinking a double Scotch,
his eyes blank.
But even after admitting this, there is no catharsis. I gain no
deeper knowledge about myself, no new knowledge can be extracted
from my telling. There has been no reason for me to tell you any
of this. This confession has meant nothing...
The camera moves up to a sign on the wall behind him:
"THIS IS NOT AN EXIT."