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American Psycho - 2000 | Complete Story and Screenshots


01 | 02 | 03 | 04 | 05 | Page 03


In his office the next day, Patrick listens to the song 'The Lady in Red' by Chris De Burgh on his headphones. Jean comes in and tells him that there's someone named Donald Kimball (Willem Dafoe) there to see him.

Bateman: Who?

Jean: Detective Donald Kimball.

Bateman (looks through the office window): Tell him I'm at lunch.

Jean: Patrick, it's only 10:30. I think he knows you're here.

Bateman: Send him in, I guess," he says resignedly.

Jean goes to get him. Patrick picks up the phone and starts having a pretend conversation with someone, giving him advice on clothes and salons.

Bateman: Always tip the stylist fifteen percent. Listen John I've gotta go. T. Boone Pickens just walked in. Heh, just joking. No, don't tip the owner of the salon. Right. Got it.

He hangs up and apologizes to Kimball.

Kimball: No I'm sorry, I should have made an appointment. Was that anything important?

Bateman (gives a vague synopsis of the call): Mulling over business problems, examining opportunities, exchanging rumors, spreading gossip.

They introduce themselves to each other and shake hands.


Kimball apologizes again for barging in. Patrick stuffs some magazines and his walkman into a desk drawer.

Bateman: So, what's the topic of discussion?

Kimball: Meredith hired me to investigate the disappearance of Paul Allen. I just have some basic questions.

Patrick offers him coffee, which he turns down. He offers him a bottle of water, which he also turns down. Bateman presses the intercom button anyways and tells Jean to bring some water.

Bateman: It's no problem.

He asks what the topic of discussion is again, and Kimball repeats he's investigating the disappearance of Paul Allen. Jean comes in with a bottle, and Patrick quickly puts a coaster down before she can put it on the desk. He tells Kimball he hasn't heard anything.

Kimball: I think his family wants this kept quiet.


Bateman: Understandable. Lime?

Kimball insists he's ok. He asks Patrick his age, where he went to school, and his address, the American Gardens building, which Kimball says is very nice.

Bateman (smugly): Thanks.

Kimball asks what he knew about Paul Allen.

Bateman: I'm at a loss. He was part of that whole Yale thing.

Kimball asks him what he means.

Bateman: Well I think for one that he was probably a closet homosexual who did a lot of cocaine. That Yale thing.

Kimball asks what kind of person Paul was.


Bateman: I hope I'm not being cross-examined here.

Kimball: You feel like that?

Bateman: No. Not really.

Kimball asks where Paul hung out.

Patrick names some places including a yacht club.

Kimball: He had a yacht?

Bateman: No, he just hung out there.

Kimball: And where did he go to school?

Bateman: Don't you know this?


Kimball: I just wanted to know if you know.

Patrick tells him St. Paul's, then says he just wants to help.

Kimball: I understand.

Patrick asks if he has any witnesses or fingerprints. Kimball tells him about the message on the answering machine, and that Meredith doesn't think he went to London.

Bateman: Has anyone seen him in London?

Kimball: Actually, yes. But I'm having a hard time getting actual verification.

He tells him that someone thought they saw Paul there but mistook someone else for him. Patrick asks whether the apartment had been burglarized. Kimball tells him about the missing luggage. Patrick asks whether the police had become involved yet, but Kimball says no.


Kimball: Basically, no-one's seen or heard anything. It's just strange. One day someone's walking around, going to work, alive, and then...

Bateman: Nothing.

Kimball (sighs): People just disappear.

Bateman: The earth just... opens up and swallows them.

Kimball: Eerie. Really eerie.

Bateman excuses himself by telling Kimball he has a lunch appointment with Cliff Huxtable at the Four Seasons in 20 minutes.

Kimball: The Four Seasons? Isn't that a little far up town? I mean, aren't you going to be late?

Bateman: No, there's one down here.

Patrick promises to call him if he hears anything, and shows him the door.


Patrick does stomach crunches while watching The Texas Chainsaw Massacre, and then does some jump-rope.

Nighttime. A seedy part of town. A blonde woman in a blue coat, a hooker, stands in front of a warehouse on a street corner. She has a face that says she's been hooker for too long. A limousine drives up. Patrick rolls the window down as the car stops in front of her.

Bateman: I haven't seen you around here.

Hooker: Well you just haven't been looking.

Bateman: Would you like to see my apartment?

She is reluctant. He holds out some money and asks again.

Hooker (taking the money): I'm not supposed to, but I can make an exception.

Bateman: Do you take a credit card? Just joking.

He opens the door and invites her in. The car drives away. Patrick makes a phone call on a large cordless phone.

Bateman: I'd like a girl, early 20's, blonde, who does couples. And I really can't stress blonde enough. Blonde.

Bateman (hangs up phone): My name is Paul Allen, and I'm going to call you Christie. You'll respond only to Christie, is that clear?

She nods.


Patrick's apartment. Patrick pours some mineral water into a bathtub, where Christie is bathing and drinking champagne.

Bateman: That's a very fine chardonnay you're drinking.

The song 'If You Don't Know Me by Now' is playing in the background. Patrick is dressed in a suit and bow tie.

Bateman: I want you to clean your vagina.

She puts down the champagne and picks up a bath sponge.

Bateman: From behind. Get on your knees.


He tells her she has a nice body, playfully splashing her with water. The phone rings. It's the second girl in the lobby downstairs. He tells the doorman to send her up. He tells Christie to dry off and choose a robe, then come to the living room. He opens the door for the second girl, and takes her coat.

Bateman: I'm Paul. Not quite blonde, are you? More like dirty blonde. I'm going to call you Sabrina. I'm Paul Allen.

He asks both girls if they want to know what he does for a living. They both say no, lewdly.

Bateman: Well, I work on Wall Street. At Pierce and Pierce. Have you heard of it?

Sabrina shakes her head, and Patrick clenches his jaw.

Christie: You have a really nice place here, Paul.


Christie: How much did you pay for it?

Bateman: Well actually Christie, that's none of your business. But I can assure you, it certainly wasn't cheap.

Bateman (notices Sabrina taking out a cigarette): No! No smoking in here.

Bateman (offers them chocolate truffles): I don't want to get you drunk, but uh, that's a very fine chardonnay you're not drinking.


Bateman (goes over to the stereo and puts on a Phil Collins CD): 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 Collin's presence became more apparent. (he goes and stands in the doorway of the bedroom, invitingly) I think Invisible Touch is the group's undisputed masterpiece. (the girls follow him into the bedroom) It's an epic meditation on intangibility.


Bateman (sets up a video camera on a tripod): At the same time it deepens and enriches the meaning of the preceding three albums. . . Christie, take off the robe. . . Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of each instrument. . . Sabrina, remove your dress. . . In terms of lyrical craftsmanship, and sheer songwriting, this album hits a new peak of professionalism. . . Sabrina, why don't you dance a little?


Bateman (wraps a scarf around Christie's neck while Sabrina dances in her lingerie): Take the lyrics to 'Land of Confusion'. In this song, Phil Collins addresses the abuse of political authority. '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 the camera on and points it towards the bed) Christie, get down on your knees so Sabrina can see your asshole.


Bateman: Phil Collin's solo career seems 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. . . But I also think Phil Collins works better within the confines of the group than as a solo artist. And I stress the word 'artist'. (he goes to the stereo and switches CDs) This is 'Sussudio', a great, great song. A personal favorite.

He walks back to the bedroom, unbuttoning his shirt. He has sex with both women at once. He flexes his muscles and admires himself in the mirror while doing them doggy-style. He makes them look into the camera. They do oral sex, then missionary. Patrick flexes his muscles in the mirror again. Christie rolls her eyes. They do more doggy-style. Patrick sleeps with a woman on either side of him. He awakens some time later. Christie's arm touches his.

Bateman: Don't touch the watch.

He gets up and goes over to the dresser. The women get up and start to dress. He opens a drawer to reveal a collection of scissors, carving tools and other sharp objects. He takes out a coat hanger.

Christie: Can we go now?

Bateman: We're not through yet.

Some time later, he pays them and shows them the door. They take the money quickly and appear to be in tears. Sabrina's nose is bleeding. They leave and he closes the door behind them.


McDermott, Van Paten and Bateman are seated in a bar lounge with drinks in front of them, discussing women.

McDermott: If they have a good personality and they are not great looking, who fucking cares?

Bateman: Well let's just say hypothetically, what if they have a good personality?

There is a moment of silence, and then all three men burst out laughing. "There are no girls with good personalities!" they say in unison, high-fiving each other.

Van Paten: A good personality consists of a chick with a little hard body who will satisfy all sexual demands without being too slutty about things, and who will essentially keep her dumb fucking mouth shut.

McDermott (continues): The only girls with good personalities who are smart or maybe funny or halfway intelligent or talented, though god knows what the fuck that means, are ugly chicks.

Van Paten (agrees): And this is because they have to make up for how fucking unattractive they are.

Bateman asks them if they know what Ed Gein said about women.

Van Paten: Ed Gein? Maitre d' at Canal Bar?

Bateman: No. Serial killer. Wisconsin. The 50's.

Van Paten: What did Ed say?

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

McDermott: And what did the other part of him think?

Bateman: What her head would look like on a stick!

Bateman laughs heartily, but Van Paten and McDermott just look at each other nervously. Luis comes up to their table and says hello. He takes out his new business card and asks their opinion on it. It is a nice looking card with gold lettering. Van Paten says it looks nice. McDermott is uninterested. Bateman swallows as a dramatic crescendo of music starts. Luis leaves and walks up the stairs. Bateman watches him go and Luis gives him a look back over his shoulder. Van Paten asks about dinner.

Bateman (snaps): Is that all you ever have to contribute? Fucking dinner?

McDermott: Cheer up. What's the matter? No shiatsu this morning?

Bateman pushes his hand away as he tries to touch his shoulder.

Bateman: Do that again and you'll draw back a stub.

McDermott: Hang on there little buddy.


But Bateman stands up and goes up the stairs behind Luis. Putting on his leather gloves, he enters a bathroom with nice wallpaper and gold mirrors. He slowly walks up behind Luis who is using a urinal. Hands shaking, he slowly puts his fingers around Luis' neck. Luis turns around, looks at Patrick's hands, takes off one of his gloves, and plants a kiss on the back of his hand.

Luis: God. Patrick, why here?

Patrick is too shocked to say anything and he can't bring himself to kill Luis.

Luis (rubbing a finger over Patrick's mouth): I've seen you looking at me. I've noticed your... hot body.

Luis: Don't be shy. You can't imagine how long I've wanted this, ever since that Christmas party at Arizona. You know the one where you were wearing that red striped paisley Armani tie...

Patrick walks over to the sink in a daze and starts washing his hands, with his gloves still on. He looks like he's about to cry. Luis walks up behind him.

Luis: I want you. I want you too!

Patrick starts walking towards the door.

Luis (yelling): Patrick? WHAT IS IT? Where are you going?

Bateman: I've got to return some videotapes.

He rushes down the stairs. He runs into a man holding a tray of glasses. Looking up the stairs, he sees Luis make a 'call me' gesture with his hand. He leaves without saying a word to McDermott or Van Paten.

Patrick walks down the hall to his office. He stops. Kimball is leaning over Jean's desk, talking to her about any reservations Paul Allen might have made.

Bateman (shaking Kimball's hand): I've been wanting to talk with you, come into my office.

Bateman: Jean. Great jacket. Matsuda?





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