American Psycho Script By Mary Harron And Guinevere Turner
AMERICAN PSYCHObyMary Harron and Guinevere TurnerBased on the novel by Bret Easton EllisFourth DraftNovember 1998INT. PASTELS RESTAURANT- NIGHTAn insanely expensive restaurant on the Upper East Side.The decor is a mixture of chi-chi and rustic, with swaggedsilk curtains, handwritten menus and pale pink tableclothsdecorated with arrangements of moss, twigs and hideousexotic flowers. The clientele is young, wealthy andconfident, dressed in the height of late-eighties style:pouffy Lacroix dresses, slinky Alaïa, Armani power suits.CLOSE-UP on a WAITER reading out the specials.WAITERWith goat cheese profiteroles and I also have an arugulaCaesar salad. For entrées tonight I have a swordfishmeatloaf with onion marmalade, a rare-roasted partridgebreast in raspberry coulis with a sorrel timbale.Huge white porcelain plates descend on very pale pink linentable cloths. Each of the entrees is a rectangle about fourinches square and look exactly alike.CLOSE-UP on various diners as we hear fragments ofconversation. "Is that Charlie Sheen over there?" "Excuseme? I ordered cactus pear sorbet."WAITERAnd grilled free-range rabbit with herbed French fries. Ourpasta tonight is a squid ravioli in a lemon grass broth.CLOSE-UP on porcelain plates containing elaborateperpendicular desserts descending on another table.PATRICK BATEMAN, TIMOTHY PRICE, CRAIG MCDERMOTT and DAVIDVAN PATTEN are at a table set for four. They are all wearingexpensively cut suits and suspenders and have slicked-backScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
hair. Van Patten wears horn-rimmed glasses.The camera moves in on Bateman as his narration begins:BATEMAN (V.O.)We're sitting in Pastels, this nouvelle Northern Californiaplace on the Upper East Side.The Waiter sets down plates containing tiny, elaboratelydecorated starters. As he does so we hear Bateman'sdescription of each of the men at the table.BATEMAN (V.O.)You'll notice that my friends and I all look and behave ina remarkably similar fashion, but there are subtle differencesbetween us. McDermott is the biggest asshole. VanPatten is the yes man. Price is the most wired. I'm thebest looking. We all have light tans. Right now I'm in abad mood because this is not a good table, and Van Pattenkeeps asking dumb, obvious questions about how to dress .VAN PATTENWhat are the rules for a sweater vest?McDERMOTTWhat do you mean?PRICEYes. Clarify.McDERMOTTWell, is it strictly informalBATEMANOr can it be worn with a suit?McDERMOTT(Smiling)ExactlyBATEMANWith discreet pinstripes you should wear a subdued blue orcharcoal gray vest. A plaid suit would cal I for a boldervest.McDERMOTTBut avoid matching the vest's pattern with your socks ortie. Wearing argyle socks with an argyle vest will looktoo studied.VAN PATTENScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
You think so?PRICEYou'll look like you consciously worked for the look.VAN PATTENGood point. Excuse me, gentlemen.Van Patten leaves the table. As he does so, a busboydiscreetly removes their largely untouched plates.BATEMANVan Patten looks puffy. Has he stopped working out?PRICEIt looks that way, doesn't it?McDERMOTT(Staring at retreating waiter)Did he just take our plates away?PRICEHe took them away because the portions are so small heprobably thought we were finished. God, I hate this place.This is a chicks' restaurant. Why aren't we at Dorsia?McDERMOTTBecause Bateman won't give the maitre d' head.(He guffaws)Bateman throws a swizzle stick at him.McDermott scans the room, settling on a handsome young manwith slicked-back hair and horn-rimmed glasses.McDERMOTTIs that Reed Robinson over there?PRICEAre you freebasing or what? That's not Robinson.McDERMOTTWho is it then?PRICEThat's Paul Owen.BATEMANThat's not Paul Owen. Paul Owen's on the other side of theroom. Over there.He points to another handsome young man with slicked-backScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
hair and horn-rimmed glasses.McDERMOTTWho is he with?PRICE(Distracted by the waitress'scleavage as she bends over touncork a bottle of wine – thewaitress glares at him)Some weasel from Kicker Peabody.Van Patten returns.VAN PATTENThey don't have a good bathroom to do coke in.McDERMOTTAre you sure that's Paul Owen over there?PRICEYes. McDufus, I am.McDERMOTTHe's handling the Fisher account.PRICELucky bastard.McDERMOTTLucky Jew bastard.BATEMANOh Jesus, McDermott, what does that have to do withanything?McDERMOTTListen. I've seen the bastard sitting in his office on thephone with CEOs, spinning a fucking menorah. Thebastard brought a Hanukkah bush into the office last December.BATEMANYou spin a dreidel, McDermott, not a menorah.You spin a dreidel.McDERMOTTOh my God. Bateman, do you want me to fry you upsome fucking potato pancakes? Some latkes?BATEMANNo. Just cool it with the anti-Semitic remarks.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
McDERMOTTOh I forgot. Bateman's dating someone from theACLU.Price leans over and pats Bateman on the back.PRICEThe voice of reason. The boy next door. And speakingof reasonable.He shows McDermott the bill for the meal.McDERMOTTOnly 470.VAN PATTEN(Without irony)Not bad.The others murmur agreement. Four platinum Amex cards slapdown on the table.INT. LIMOUSINE - NIGHTBateman is pouring vintage champagne into flutes. Price islighting up a cigar.McDERMOTTLast week I picked up this Vassar chickVAN PATTENOh God, I was there. I don't need to hear thisstory again.McDERMOTTBut I never told you what happened afterwards. Sookay, I pick up this Vassar chick at Tunnel-hot number, bigtits, great legs, this chick was a little hardbody-and so Ibuy her a couple of champagne kirs and she's in the city onspring break and she's practically blowing me in theChandelier Room and so I take her back to my placeBATEMANWhoa, wait. May I ask where Pamela is during allthis?McDERMOTTOh fuck you. I want a blowjob, Bate-man. I want a chickwho's gonna let meVAN PATTENScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
(Putting his hands over his ears)I don't want to hear this. He's going to say somethingdisgusting.McDERMOTTYou prude. Listen, we're not gonna invest in a co-optogether or jet down to Saint Bart's. I just want somechick whose face I can sit on for thirty, forty minutes.Price throws a cigar at McDermott, who catches it.McDERMOTTAnyway, so we're back at my place and listen tothis. She's had enough champagne by now to get a fuckingrhino tipsy, and get thisVAN PATTENShe let you fuck her without a condom?McDERMOTTThis is a Vassar girl. She's not from Queens. Shewould only-are you ready?(Dramatic pause)She would only give me a handjob, and get this.she kepther glove on.The men sit in shocked, horrified silence.ALL IN UNISON Never date a Vassar girl.EXT. TUNNEL NIGHTCLUB - NIGHTThe limo pulls up to the sidewalk outside the Tunnel.McDermott holds the door open for a passing HOMELESS MAN,who looks confused.McDERMOTTI suppose he doesn't want the car. Price, askhim if he takes American Express.PRICE(Offering card)You take Amex, dude?The man stumbles away. The club DOORMAN, seeing the limousine,unhooks thevelvet rope and welcomes them inside.INT. LADIES ROOM, TUNNEL - NIGHTBrilliant white light, a bemused elderly female attendant in aScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
black-and-white maid's uniform trying to give out paper towels.MUSIC thuds through an open doorway. Trashed-looking girlsstare into mirrors repairing their eye make-up or sit on thecounter chatting to friends. There are almost as many men aswomen in the room. Couples stand in line, twitching as theywait to do coke. As soon as one bathroom door opens, a couplelurches out rubbing their noses while another couple rushespast them and slams the door.PRICEThere's this theory out now that if you can catch theAIDS virus through having sex with someone who is infected,then you can also catch anything-Alzheimer's, musculardystrophy, hemophilia, leukemia, diabetes, dyslexia, forChrist's sake-you can get dyslexia from pussyBATEMANI'm not sure, guy, but I don't think dyslexia is avirus.PRICEOh, who knows? They don't know that. Prove it.Price and Bateman finally get a stall and rush in. Price issweating.PRICEI'm shaking. You open it.Bateman opens a tiny packet of coke.PRICEJeez. That's not a helluva lot, is it?BATEMANMaybe it's just the light.PRICEIs he fucking selling it by the milligram? (He dipsthe corner of his Amex card in the packet and takes a snort)Oh my God.BATEMANWhat?PRICEIt's a fucking milligram of Sweet'n Low!Bateman dips his Amex in the envelope and snorts.BATEMANScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
It's definitely weak but I have a feeling if we doenough of it we'll be okay.PRICEI want to get high off this; Bateman, not sprinkle iton my fucking All-Bran.The GUY IN STALL next door yells at them in an effeminatevoice:GUY IN STALLCould you keep it down, I'm trying to do drugs!Price pounds his fist against the stall.PRICE(screaming)SHUT UP!BATEMANCalm down. Let's do it anywayPRICEI guess you're right.(Raising his voice)THAT IS, IF THE FAGGOT IN THE NEXT STALL THINKS IT'S OKAY!GUY IN STALLFuck you!PRICE(Trying to climb up against the aluminum divider)No, FUCK YOU!!(He collapses, panting against the stall door)Sorry, dude. Steroids.Okay, let's do it.BATEMANThat's the spirit.They both dig their platinum Amex cards into the envelopeof white powder, shoveling it up their noses, then stickingtheir fingers in to catch the residue and rubbing it intotheir gums.INT. NIGHTCLUB - NIGHTBateman saunters toward the bar as "Pump Up the Volume"plays in the background.BATEMAN (to BARGIRL) Two Stoli on the rocks.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
He hands her two drink tickets.BARGIRLIt's after eleven. Those aren't good anymore. It'sa cash bar. That'll be twenty-five dollars.Bateman pulls out an expensive-looking wallet and hands hera 50.She turns her back and searches the cash register forchange.BATEMAN You are a fucking ugly bitch I want to stab todeath and then play around with your blood.The music muffles his voice. She turns around. He issmiling at her. She gives him his change impassively.INT. BATEMAN'S APARTMENT- MORNINGTableaux of Bateman's apartment in the early morning light.A huge white living room with floor-to-ceiling windowslooking out over Manhattan, decorated in expensive, minimalisthigh style: bleached oak floors, a huge white sofa, a largeBaselitz painting (hung upside down) and much expensiveelectronic equipment. The room is impeccably neat, and oddlyimpersonal - as if it had sprung straight from the pages ofa design magazine.BATEMAN (V.0.)My name is Patrick Bateman. I amtwenty-six years old. I live in the American GardenBuildings on West Eighty-First Street, on the eleventhfloor Tom Cruise lives in the penthouse.Bateman walks into his bathroom, urinates while trying tosee his reflection in a poster for Les Miserables above histoilet.BATEMAN(V.0.) I believe inbalanced diet, in amorning, if my facepack while doing mynow.taking care of myself, in arigorous exercise routine. In theis a little puffy, I'll put on an icestomach crunches. I can do a thousandBateman ties a plastic ice pack around his face.Bateman does his morning stretching exercises in the livingroom wearing the ice pack.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
CUT TO:A mirror-lined bathroom. Bateman is luxuriating in theshower steam, scrubbing his body, admiring his muscles.BATEMAN (V.O.)After I remove the icepack, I use a deeppore-cleanser lotion. In the shower, I use awater-activated gel cleanser, then a honey-almond bodyscrub, and on the face an exfoliating gel scrub.Bateman stands in front of a massive marble sink applying agel facial masque.BATEMAN (V.O.)Then I apply an herb mint facial masque whichI leave on for ten minutes while I prepare the rest of myroutine.Bateman opens the door of a mirrored cabinet, which isstocked with immaculate rows of skin care products. Hebegins selecting bottles jars and brushes, laying them inreadiness on the marble counter.BATEMAN (V.O.)I always use an after-shave lotion with littleor no alcohol because alcohol dries your face out and makesyou look older. Then moisturizer, then an anti-aging eyebalm, followed by a final moisturizing "protective" lotion.Bateman stares into the mirror. The masque has dried,giving his face a strange distorted look as if it has beenwrapped in plastic. He begins slowly peeling the gel masqueoff his face.BATEMAN (V.O.)There is an idea of a Patrick Bateman, somekind of abstraction, hut there is no real me, only anentity, something illusory, and though I can hide my coldgaze and you can shake my hand and feel flesh gripping youand maybe you can even sense our lifestyles are probablycomparable: I simply am not there.INT. BATEMAN BEDROOM - MORNINGAnother huge white room, equally minimal: a futon, rumpledwhite sheets, a bedside lamp with a halogen bulb, and a largeexpensive painting (Eric Fischl or David Salle) chosen byBateman's interior decorator.Dressed in silk boxer shorts, Bateman stands in front of aScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
huge walk-in closet, filled with rows of expensive shirts,shoes and designer suits, organized according to color andtone.BATEMAN (V.O.)It is hard for me to make sense on any givenlevel. My self is fabricated, an aberration. My personalityis sketchy and unformed, my heartlessness goes deep and ispersistent.Fully dressed in Armani, Bateman stands in front of afull-length mirror in the middle of his vast bedroom,adjusting his cuff-links.BATEMAN (V.0.)My conscience, my pity, my hopes disappeareda long time ago, if they ever did exist.He gives a last look at the mirror and likes what he sees.He gives his reflection a smile.INT. OFFICES OF PIERCE & PIERCE - DAYAs Bateman walks down the corridor, he passes another MAN wholooks just like him.MANMorning, Hamilton. Nice tan.Bateman walks past the desk of JEAN, his secretary, pullinghis Walkman from around his neck. Jean is attractive,wholesome, earnest. She smiles shyly. She loves him.JEANLate?BATEMANAerobics class. Sorry. Any messages?JEANRicky Hendricks has to cancel today. He didn't say whathe was canceling or why.BATEMANI occasionally box with Ricky at the Harvard Club.Anyone else?JEANAnd.Spencer wants to meet you for a drink at Fluties Pier 17.BATEMANScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
When?JEANAfter six.BATEMANNegative. Cancel it.Jean follows him into his office.JEANOh? And what should I say?BATEMANJust.say.no.JEANJust say no?Jean stands at his desk, waiting for instructions.BATEMANOkay, Jean. I need reservations for three at Camolsat twelve-thirty, and if not there, try Crayons. Allright?JEAN(Playfully)Yes, sir.She turns to leave.BATEMANOh wait. And I need reservations for two at Arcadia at eighttonight.Jean turns around.JEANOh, something. . romantic?BATEMANNo, silly. Forget it. I'll make them. Thanks.JEANI'll do it.BATEMANNo. No. Be a doll and just get me a Perrier, okay?JEANScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
You look nice today.Jean exits. Bateman straightens some magazines in hisoffice, lifts a painting off the wall and puts it back at aslightly different angle. He fiddles with some pencils in abeer stein. He puts on some MUSIC and flips through aSports Illustrated. He buzzes Jean. She comes in a momentlater with the Perrier and a file.JEANYes?BATEMANIs that the Ransom file? Thanks. Don't wear thatoutfit again.JEANUmmm.what? I didn't hear you.BATEMANI said "Do not wear that outfit again." Wear adress. A skirt or something.Jean stands there, then looks down at herself.JEAN(Smiling bravely)You don't like this, I take it?BATEMANCome on, you're prettier than that.JEAN(Sarcastically)Thanks, Patrick.The phone RINGS and Jean turns to leave.BATEMANI'm not here. And high heels. I like high heels.As Jean leaves, Bateman clicks on the TV set in one cornerof the room and starts watching Jeopardy!INT. TAXI - EVENINGEVELYN WILLIAMS, Patrick Bateman'sfiancée, is making notes with a gold Cross pen and sippinga bottle of mineral water. Evelyn is blonde, classicallybeautiful, expensively educated, and utterly pleased withherself. She usually addresses Patrick as if he were aScript provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
small child.EVELYNI'd want a zydeco band, Patrick. That's what I'dwant, a zydeco band. Or mariachi. Or reggae. Somethingethnic to shock Daddy Oh, I can't decide.And lotsof chocolate truffles. Godiva. And oysters on the halfshell.CLOSE-UP on Bateman, who is wearing a Walkman and staringout the window.BATEMAN (V.O.)I'm trying to listen to the new GeorgeMichael tape but Evelyn-my supposed fiancée-keeps buzzingin my ear.Evelyn continues to make notes.EVELYNMarzipan. Pink tents. Hundreds, thousands of roses.Photographers. Annie Leibovitz. We'll get Annie Leibovitz.And we'll hire someone to videotape. Patrick, we should do it.BATEMAN(Removing his Walkman)Do.what.EVELYNGet married. Have a wedding.BATEMANEvelyn?EVELYNYes, darling?BATEMANIs your Evian spiked?EVELYNWe should do it.BATEMANNo-I can't take the time off work.EVELYNYour father practically owns the company. You can doanything you like, silly.BATEMANI don't want to talk about it.Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EVELYNWell, you hate that job anyway. Why don't you justquit? You don't have to work.BATEMANBecause I.want.to.fit.in.The taxi bumps to a halt.INT. ESPACE RESTAURANT- NIGHTA cavernous garage, harshly spot-lit, decorated inself-conscious brutalist chic. Iron girders, walls of waxedplaster featuring exposed rusted pipes, a huge Schnabelsmashed-plate painting on one wall. The tables and chairs aremade of extremely uncomfortablebolted steel.BATEMAN (V.O.)I'm on the verge of tears by the time we arrive at Espacesince I'm positive we won't have a decent table, but we do,and relief washes over me in an awesome wave.Tm Price and two downtownalready seated. Vanden iswith green streaks in herragged black hair and badtypes, STASH and VANDEN, areabout twenty, pretty and sullen,black hair. Stash is pale, withskin.They are all trying to read large stainless steel menusthat look like minimalist art.PRICEThe menu's in braille.He gets up to greet them, giving Evelyn a suspiciously longkiss.PRICEI have to talk to you.He drags her away, half giggling and protesting.EVELYN(Over her shoulder)Pat, this is my cousin Vandenand her boyfriend Stash. He's an artist.BATEMAN(After smiling at his own reflection in the mirror andchecking his hair)Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
Hi. Pat Bateman.Vanden takes his hand reluctantly, says nothing.BATEMANLet me guess-you live in the East Village?Pause.STASHSoHo.COURTNEY RAWLINSON and LUIS CARRUTHERS arrive at the table.Courtney is blonde, classically beautiful and fromprecisely the same social background as Evelyn, but she isconsiderably more fragile and neurotic. Luis ishalf-English, half-Argen
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