Daily Dialogue — April 22, 2013
INT. CRAYONS — EARLY EVENING
An insanely expensive restaurant with a childhood motif: paper tablecloths and jars of crayons for drawing, lots of primary colors, and a goldfish bowl on each table.
Bateman is at a table with Evelyn. They are both drawing on the tablecloth. Bateman is drawing Christie with the chainsaw in her back.
EVELYN: I want a firm commitment.
BATEMAN: I think, Evelyn, that we’ve…lost touch.
Evelyn waves to a couple across the room.
EVELYN: (Distracted) Why? What’s wrong?
BATEMAN: (Speaking very carefully, measuring each word) My need to engage in homicidal behavior on a massive scale cannot be, um, corrected, but I have no other way to fulfill my needs.
The woman across the room holds up her hand, displaying a new bracelet. Evelyn smiles and nods approvingly.
BATEMAN: We need to talk.
EVELYN: Talk about what, Patrick? What is there to talk about?
BATEMAN: It’s over, Evelyn. It’s all over
EVELYN: (Motioning to the waiter for water) Touchy, touchy. I’m sorry I brought the wedding up. Let’s just avoid the issue, alright? Now, are we having coffee?
BATEMAN: I’m 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’m…in touch with humanity. Evelyn, I’m sorry. (He pauses, as if searching for the right words) You’re just not terribly important to me.
Evelyn begins to cry.
EVELYN: No, no, no.
BATEMAN: I know my behavior is…erratic sometimes.
She reaches desperately across the table and takes his hand. Bateman pulls his hand away.
EVELYN: (Sobbing) What do you want me to do, what is it you want?
The occupants of nearby tables begin to stare. Bateman is becoming increasingly agitated and embarrassed.
BATEMAN: (Looking uncomfortably around the room) If you really want to do something for me, you can stop making this scene right now.
EVELYN: Oh God, I can’t believe this.
BATEMAN: I’m leaving now. I’ve assessed the situation and I’m going.
Evelyn makes an effort to compose herself. She blots the tears so they will not affect her make-up.
EVELYN: (Surprisingly calm) Where are you going?
BATEMAN: I’m just leaving.
EVELYN: But where?
BATEMAN: I have to return some videotapes.
He rushes out of the room.
— American Psycho (2000), screenplay by Mary Harron & Guinevere Turner, novel by Bret Easton Ellis
The Daily Dialogue theme for the week is making a scene, suggested by Trent Carroll who also suggested American Psycho.
Trivia: Guinevere Turner, who plays Patrick’s friend “Elizabeth” (in the scene with Christie the call girl), also wrote the film’s screenplay.
Dialogue On Dialogue: Commentary by Trent: “The break up scene has a certain imbalance of power, where the person who is completely aware of the situation (Bateman) is avoiding making a scene while the person caught off guard (Evelyn) is the perpetrator of making a scene. It’s also interesting to note the change in demeanor Evelyn undergoes while Bateman is left relatively unscathed.”
We can use some more suggestions: Notable scenes from movies in which characters make/create a scene.