text:  Oh really? DAISY He said She laughs He said you gave him bad vibes. BATEMAN That'sthat's too bad. DAISY You think I'm dumb, don't you? BATEMAN What? DAISY You think I'm dumb. You think all models are dumb. BATEMAN insincerely No. I really don't. DAISY That's okay. I don't mind. There's something sweet about you. She takes his hand as they get into a cab. 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 case. 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. JEAN Doin' the crossword? Bateman nods without looking up. JEAN Need help? 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. BATEMAN Jean? JEAN Re-enters office Yes, Patrick? BATEMAN Would you like to accompany me to dinner? He erases one of the M's on the crossword puzzle. BATEMAN That isif you're not doing anything. JEAN Oh no. I have no plans. BATEMAN Lowering his Wayfarers Well, isn't this a coincidence. A pause. BATEMAN Listen, where should we go? He leans back and pulls a Zagat's from the desk drawer. JEAN Anywhere you want? BATEMAN Let's not think about what I want. How about anywhere you want. JEAN Oh Patrick, I can't make this decision. BATEMAN No, come on. Anywhere you want. JEAN Oh, I can't. Sighs I don't know. BATEMAN Come on. Where do you want to go? Anywhere you want. Just say it. I can get us in anywhere. A long pause. JEAN What aboutDorsia? Bateman stops looking through the Zagat's guide and smiles at her. BATEMAN SooooDorsia is where Jean wants to go JEAN Oh, I don't know. No, we'll go anywhere you want. BATEMAN Dorsia isfine. He dials the number. MAITRE D' Dorsia, yes? BATEMAN Yes, can you take two tonight, oh, let's say at nine o'clock? He checks his Rolex and winks at Jean. MAITRE D' We are totally booked. BATEMAN Oh really? That's great. MAITRE D' I said we are totally booked. BATEMAN Two at nine? Perfect. MAITRE D' There are no tables available tonight. The waiting list is also totally booked. BATEMAN 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 desk, confused. BATEMAN Yes? You're dressedokay. JEAN You didn't give them a name. BATEMAN They know me. Pause. BATEMAN Why don't you meet me at my house at seven o'clock for drinks, okay? She turns to leave. BATEMAN And Jean? You'll want to change before we go out. BATEMAN'S APARTMENT - EARLY EVENING Jean stands by the floor-to-ceiling windows, looking out. JEAN Patrick, it's soelegant. What a wonderful view. Bateman opens up the freezer where Daisy's head is cleady visible. BATEMAN Jean? Sorbet? JEAN 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. JEAN Want a bite? BATEMAN I'm on a diet. But thank you. JEAN You don't need to lose any weight. You're kidding, right? You look great. Very fit. BATEMAN Weighing the corkscrew examining the point for sharpness You can always he thinner. Lookbetter. JEAN Well, maybe we shouldn't go out to dinner. I don't want to ruin your willpower. BATEMAN No. It's all right. I'm not very good at controlling it anyway. Silence, as Bateman walks around his apartment, opens up his knife drawer, looking at the knives. BATEMAN So listen, what do you really want to do with your life? Pause. BATEMAN And don't tell me you enjoy working with children, okay? JEAN Well, I'd like to travel. And maybe go back to school, but I really don't knowI'm at a point in my life where there seems lo be a lot of possibilities, but I'm so I don't knowunsure. Bateman is touching a knife in the drawer, feeling the edge of the blade. BATEMAN Do you have a boyfriend? JEAN No, not really. BATEMAN Interesting. JEAN Shyly Are you seeing anyone? I mean, seriously? BATEMAN 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. BATEMAN Jean, do you feelfulfilled? I mean, in your life? JEAN 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, andgrowing. BATEMAN Growing. I'm glad you said that. Bateman picks up the duct tape. BATEMAN Did you know that Ted Bundy's first dog, a collie, was named Lassie? Had you heard this? JEAN Who's Ted Bundy? BATEMAN Forget it. JEAN What's that? BATEMAN Oh. Uh, tape. Duct tape. Ineed it for taping something. Bateman goes back to the cupboard for the nail gun. JEAN Patrick, have you ever wanted to make someone happy? Jean puts her spoon down on the table. BATEMAN Looking up from loading nails into the gun WhatNo! Put it in the carton. JEAN Sorry. She puts the spoon in the carton BATEMAN Jean? What? JEAN Make someone happy-have you ever wanted to? From behind, we follow Bateman as he walks across the room and stands behind the couch. BATEMAN I'm looking forI guess you could say I just want to have a meaningful relationship with someone special. JEAN Hmmmm. 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. EVELYN 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. JEAN Was thatEvelyn? Silence. JEAN Are you still seeing her? Silence. JEAN I'm sorry, I have no right to ask that. Silence. JEAN Do you want me to go? A long pause. BATEMAN Yes. I don t think I cancontrol myself. JEAN I know I should go. I know I have a tendency to get involved with unavailable men, andI mean, do you want me to go? Another long pause. BATEMAN If you stay, I think something bad will happen. I think I might hurt you. Almost hopefully You don't want to get hurt, do you? JEAN No. No, I guess not. I don't want to get bruised. You're right, I should go. She gets up to leave. JEAN And don't forget you have a breakfast meeting with Frederick Bennet and Charles Rust at ' . BATEMAN Thanks. It slipped my mind completely. He sinks back on the sofa and shuts his eyes. 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. BATEMAN 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. KIMBALL I actually came to see Timothy Price, but he's taken a leave of absence. BATEMAN Yeah, gone into rehab. Shame. Hopefully Is he a suspect? KIMBALL Not really. A pause. KIMBALL Do you remember where you were on the night of Paul's disappearance? He checks his notebook Which was on the twentieth of December? BATEMAN GodI guessI was probably returning videotapes. He opens his desk drawer and pretends to search through his diary. BATEMAN I had a date with a girl named Veronica. KIMBALL Wait. That's not what I've got. BATEMAN What? KIMBALL That's not the information I've received. BATEMAN WellIWaitWhat information have you received? KIMBALL Let's see He flips through his notebook That you were with- BATEMAN Well, I could he wrong. KIMBALL WellWhen was the last time you were with Paul Owen? BATEMAN Clearly nervous and under pressure We hadgone to a new musical calledOh Africa, Brave Africa. It wasa laugh riotand that's about it. I think we had dinner at Orso's. No, Petaluma. No, Orso's. Thelast time I physically saw him wasat an automated teller. I can't remember whichjust 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. KIMBALL Well, thank you, Mr. Bateman. BATEMAN Patrick, please. I hope I've been informative. Long day-a bit scattered. KIMBALL 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? BATEMAN Great, yes, I'd like that. KIMBALL And if you could try and pin down where you were the night of Owen's disappearance, it would make my job a lot easier. BATEMAN 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. KIMBALL Huey Lewis and the News. Great stuff. Heard it? I just bought it on my way here. Bateman stares at the CD - stunned, terrified. BATEMAN Never. I meanI don't really like singers. KIMBALL Not a big music fan, eh? BATEMAN No, I like music. Just-they're-Huey's too black sounding. For me. KIMBALL Well, to each his own. So-lunch, Thursday? I'll call your secretary about reservations. BATEMAN I'll be there. MEAT PACKING DISTRICT/ LIMOUSINE - NIGHT The same street corner where Bateman found Christie before. The limo is kept idling as he talks to her through a half-opened window. CHRISTIE I'm not so sure about this. I had to go to Emergency after last time BATEMAN Oh this won't be anything like last time, I promise. CHRISTIE I don't think so. He hands her a $ bill. BATEMAN Just come in the limo and talk to me for a minute. The driver's here, you'll be safe. Christie gets in hesitantly. BATEMAN Nothing like last time, promise. CHRISTIE Alright. He pours her a shot of vodka and makes her drink it. BATEMAN Chatting as if they were at a cocktail party So, you're looking great, how have you been? CHRISTIE A little confused Well, I actually might need a little surgery after last time. BATEMAN Mock shock Really? CHRISTIE My friend told me I should maybe even get a lawyer. BATEMAN Oh, lawyers are so complicated-don't do that. Here. He writes her a check for $I, 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. BATEMAN Bitch. 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. BATEMAN Uh uh uh. Half now, half later. She takes the money and puts it inside her shirt. BATEMAN 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? Christie nods. 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. ELIZABETH 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. ELIZABETH I think I met you at Au Bar, didn't I ? With Spicey? Christie looks blank. ELIZABETH Well, maybe not with Spicey but it was definitely at Au Bar. Christie still blank. ELIZABETH You know, Au Bar? Christie shakes her head. ELIZABETH 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. CHRISTIE This is nicer than your other apartment. BATEMAN Offended that she prefers Owen's apartment It's not that nice. Silence. CHRISTIE Where did you two meet? ELIZABETH Oh God! I met him at, oh God, the Kentucky Derby in ' -no, ', and Turning to Patrick You were hanging out with that bimbo Allison Poole. Sarcastically Hot number. BATEMAN What do you mean, she was a hot number. ELIZABETH If you had an American Express card she'd give you a blowjob. To Christie 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. BATEMAN She's mycousin. ELIZABETH Skeptically Uh huh? BATEMAN She's fromFrance. A pause. Elizabeth looks at Bateman dubiously. ELIZABETH 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. ELIZABETH Where do you summer? Southampton? Christie looks at Bateman and then back at Elizabeth. CHRISTIE No. ELIZABETH Listening to the receiver Oh God, it's his machine. BATEMAN Elizabeth, it's three in the morning. ELIZABETH He's a goddamn drug dealer! These are his peak hours. BATEMAN Don't tell him you're here. ELIZABETH Why would I? Bateman has poured her another glass of wine. She downs the whole glass, making a face. ELIZABETH 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- BATEMAN Whispering You're at Paul Owen s. ELIZABETH Who? BATEMAN Whispering Paul Owen. ELIZABETH 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. ELIZABETH Did you know that guy who disappeared? Didn't he work at Pierce & Pierce, too? Was he a friend of yours? BATEMAN No. ELIZABETH 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. BATEMAN Listen, I would just like to seethe two of youget it on. What's wrong with that? It's totally disease-free. ELIZABETH Laughing Patrick, you re a lunatic. BATEMAN Come on. Don't you find Christie attractive? ELIZABETH Let's not get lewd. Flirty I'm in no mood to have a lewd conversation. BATEMAN Come on. I think it would be a turn-on. ELIZABETH To Christie Does he do this all the time? Christie shrugs. BATEMAN Christie, you're not drinking your wine. Christie looks at her wine and gingerly takes a sip. BATEMAN To Elizabeth Are you telling me you've never gotten it on with a girl? ELIZABETH No! I'm not a lesbian. Why do you think I'd be into that? BATEMAN Well, you went to Sarah Lawrence for one thing. ELIZABETH Those are Sarah Lawrence guys, Patrick. You're making me feel weird. LATER: 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. BATEMAN 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. ELIZABETH 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. BATEMAN Ignoring her 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 ourselves. 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. BATEMAN It's an important message, crucial, really, and it's beautifully stated on the album. 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 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 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. 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'velost 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 fucking serious. It's fucking 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'min 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 iserratic 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. 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 HALT STOP. PUT DOWN YOUR WEAPON. Bateman ducks down an alley. 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. 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. 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. OFFICE BUILDING - NIGHT He rushes into the lobby, running for the elevator. NIGHT WATCHMAN 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. NEW ANGLE: He runs out of the building and across the street to an identical office building, the one that houses Pierce & Pierce. 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 behind him. 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. BATEMAN 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 hereI guess I've killed people, maybe -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 sky. SMITH AND WOLLENSKY RESTAURANT - DAY KIMBALL and Bateman are sitting at a corner table. KIMBALL Very surprised No hash browns? BATEMAN Not in the mood, I guess. KIMBALL Buteveryone orders the hash browns here. I mean- it's-have you been here before? BATEMAN Deliberately nonchalant Yes, of course. The hash browns are delicious. I'm justnot ordering them. KIMBALL Looking at him like he's nuts Suit yourself, I guess. Pause. KIMBALL So, the night he disappeared? Any new thoughts on what you did? BATEMAN I'm not really sure. I had a showerand some sorbet? KIMBALL I think maybe you've got your dates mixed up. BATEMAN But how? Where do you place Paul that night? KIMBALL According to his date book, and this was verified by his secretary, he had dinner withMarcus Halberstam. BATEMAN And? KIMBALL I've questioned him. BATEMAN Marcus? KIMBALL Yes. And he denies it. Though at first he couldn't be sure. BATEMAN But Marcus denied it? KIMBALL Yes. BATEMAN Well, does Marcus have an alibi? KIMBALL Yes. A pause. BATEMAN He does? You're sure? KIMBALL smiling I checked it out. It's clean. BATEMAN Oh. KIMBALL Now where were you? He laughs BATEMAN Laughing with him Where was Marcus? KIMBALL He wasn't with Paul Owen. BATEMAN So who was he with? KIMBALL He was at Atlantis with Craig McDermott, Frederick Dibble, Harry Newman, George Butner and � He pauses, Then looks up - you. A moment of stunned silence. BATEMAN Oh, right. Of courseWe had wanted Paul Owen to come. But he said he had plansI guess I had dinner with Victoriathe following night. KIMBALL 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 later. A pause 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. McDERMOTT 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, panicking. McDERMOTT 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 PAUL OWEN'S APARTMENT BUILDING - DAY Bateman walks into the lobby of Paul Owen's building. He has a surgical mask in one hand. DOORMAN What can I do for you, sir? BATEMAN B. DOORMAN Of course. Mrs. Wolfe is up there right now. BATEMAN Mrs. Wolfe? DOORMAN The real estate agent? You do have an appointment, don't you? 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. MRS. WOLFE Are you my two o'clock? BATEMAN No. Mrs. Wolfe eyes him strangely, then looks down at the surgical mash clutched in his hand. Her expression changes. MRS. WOLFE Can I help you? BATEMAN I'm looking forPaul Owen'splace. She stares at him impassively. BATEMAN Doesn't he live here? MRS. WOLFE No, he doesn't. BATEMAN Are you sure? MRS. WOLFE You saw the ad in the Times? BATEMAN No. Yes. I mean yes, I did. In the Times. But doesn't Paul Owen still live here? MRS. WOLFE There was no ad in the Times. Bateman is shaking as they continue to stare at each other. MRS. WOLFE I think you should go now. BATEMAN But I thinkI want to know what happened here. MRS. WOLFE Don't make any trouble. Please. I suggest you go. Bateman backs away slowly. MRS. WOLFE Don't come back. BATEMAN I won'tdon't worry. Mrs. Wolfe glares at him as he walks down the hall, rattled, and gets into the elevator. 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. GUY Hey, Kinsley. Bateman looks up at him wild-eyed. GUY See you at Fluties, okay? The guy walks away, utterly unfazed. Bateman wanders down the street, banging his briefcase against walls, garbage cans, etc. 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. JEAN Patrick Bateman's office. BATEMAN Jean? Hello? Jean? JEAN Patrick? Is that you? BATEMAN Hello? Jean, I need help! JEAN Where are you? BATEMAN Jean-I'm not- JEAN Craig McDermott called. He wants to meet you and David Van Patten and Tim Price at Harry's for drinks. BATEMAN Oh God, what did you say, you dumb bitch? JEAN Patrick? I can't hear you. BATEMAN What are I doing? JEAN Where are you? Patrick, what's wrong? BATEMAN I don't think I'm gonna make it, Jean. Pause. BATEMAN to the office this afternoon. JEAN Why? BATEMAN Screaming Justsayno! JEAN What is it, Patrick? Are you alright? BATEMAN 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 jacket. 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. 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. McDERMOTT Bateman, you're looking a little wild-eyed rough day at the office? They all laugh. McDERMOTT Hey, look-Price is back. And he's drinking Perrier. He s a changed man. Excepthe still can't get a reservation to save his life. Bateman sits down silently. McDERMOTT Why don't you try I Wooster? Just fucking call them. BATEMAN On automatic 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. PRICE Keep your shirt on. Maybe lose the suspenders. Bateman spots HAROLD CARNES at the bar, tenses. BATEMAN He downs his drink Excuse me, gentlemen. Right back. He approaches Carnes cautiously. CARNES Face it-the Japanese will own most of this country by the end of the ' s. Bateman approaches, trying to act casual. BATEMAN Shut up, Carnes, they will not. Carnes is surprised, turns around, looks vaguely confused. BATEMAN So, Harold, did you get my message? Carnes lights a cigarette, stalling. Then laughs. CARNES Jesus, Davis. Yes. That was hilarious. That was you, wasn't it? BATEMAN Waving smoke out of his face Yes, naturally. CARNES Bateman killing Owen and the escort girls? Oh that s fabulous. That's rich Pause CARNES It was a pretty long message, wasn't it? BATEMAN What exactly do you mean? CARNES The message you left. Carnes is distracted, waving at people. CARNES By the way Davis, how is Cynthia? You're still seeing her, right? BATEMAN But wait, Harold, what do you mean? Carnes isn't really listening. CARNES Excuse me. Nothing. Good to see you. Is that Edward Towers? He turns to go. BATEMAN Carnes? Wait. CARNES Sighing 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 McDermottOtherwise, it was amusing. Now, let's have lunch or dinner or something. Hilarious, Davis. A killer. BATEMAN What are you talking about? Bateman is what? CARNES Oh Christ. He can barely pick up an escort girl, let alonewhat was it you said he did to her? Carnes looks around the club, raises his glass to a passing couple. He laughs politely. CARNES Now, if you'll excuse me, I really must BATEMAN Desperate, shouting 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. CARNES Excuse me. I really must he going. BATEMAN 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. BATEMAN Now, Carnes, listen to me. Listen very, very carefully. I killed Paul Owen and I liked it. I can't make myself any clearer CARNES But that's simply not possible. And I don't find this funny anymore. BATEMAN It never was supposed to he! Why isn't it possible? CARNES Eyeing Bateman worriedly It's just not. BATEMAN Why not, you stupid bastard? Carnes stares at him. CARNES Because I had dinner with Paul Owen twice in Londonjust ten days ago. BATEMAN No, youdidn't? CARNES 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 lying. PRICE How can he lie like that? How can he pull that shit? VAN PATTEN What shit? Now where do we have reservations at? I mean I'm not really hungry, but I would like to have reservations somewhere. PRICE To Bateman I don't believe it. He looks sonormal. He seems so out of it. Soundangerous. McDERMOTT 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, so, you know, what can I say? PRICE 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? VAN PATTEN Some guys are just born cool, I guess. Bateman laughs at this. Price shoots him a look. PRICE And Bateman, what are YOU SO fucking zany about? BATEMAN I'm just a happy camper. Rockin' and a-rollin'. VAN PATTEN To Price Rehab's done wonders for you, pal. Working for UNICEF now? McDERMOTT Do you want another Perrier Timothy? Some seltzer water? PRICE Oh brother look-he presents himself as a harmless Old codger. But inside Pause. PRICE But inside The SOUNDS OF THE BAR FADE AWAY and we hear Bateman's thoughts: BATEMAN V.O.) But inside doesn't matter THE SOUNDS OF THE BAR RETURN. McDERMOTT Bored Inside? Yes, inside? Believe it or not, Price we're actually listening to you. PRICE Bateman? Come on, what do you think? Bateman looks up and smiles at Price. Then shrugs. BATEMAN Whatever. The conversation breaks up as Van Patten takes out his phone. VAN PATTEN 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, BATEMAN V.O.) 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 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 namesJean looks lost and frightened, and begins to cry. BATEMAN V.O.) 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. 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. BATEMAN V.O.) 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.' CREDITS ROLL 