Virtually every line in the film, including voice-overs, are taken nearly verbatim from Ellis’ novel. One of the few discrepancies is that several names from the book were changed for the film; for instance Paul Owen became Paul Allen and Tim Price became Tim Bryce. In an interview, Harron claimed to be distressed upon discovering that Paul Allen was a real person, and that she meant nothing by the use of his name. [ Johnny Depp was informally attached to the project, first with Stuart Gordon in talks and then with David Cronenberg attached.

AMERICAN PSYCHO. 48 Hour Delivery For PDF by Email $14.99. NO AUTHOR RELEASED (2000). Stay in touch with Script City to receive.

Brad Pitt was once attached to star, with David Cronenberg directing and Ellis himself writing the script. Edward Norton was offered the part of Bateman but turned it down. Harron was set to direct, and offered the role of Bateman to Christian Bale, when production company Lions Gate Films issued a press release that Leonardo DiCaprio would star. Oliver Stone subsequently expressed interest in directing the film which would see DiCaprio as Bateman, James Woods as Kimball, and Cameron Diaz as Evelyn with a script written by Matthew Markwalder. Harron resigned in protest because of Stone’s and DiCaprio’s desire to make Bateman more humane and less of a cold-blooded killer. DiCaprio was going to be paid $20 million for the film. When Gloria Steinem lobbied DiCaprio not to make the film, on the grounds that his fan base consisted mostly of young teenage girls following his Titanic success, he dropped out, as did Stone. Ewan McGregor was subsequently offered the part, but declined after Christian Bale personally urged him to do so.

Eventually Harron and Bale returned together to the project. For American Psycho Movie Script.

FADE IN: EXT. PHOENIX, - (DAY) - SHOT Above of the city.

It is afternoon, a hot mid-summer day. The city is sun-sunblanched and its drifted-up are in own echoes. We fly low, in a direction, over traffic-clogged streets, lots, business buildings, districts. As we approach section, the of the city begins to change. It is and with age and industry. We see tracks, smokestacks, fruit-and- vegetable markets, old buildings, lots. Vegetable The very to give us a of nefariousness, of back-doorness, dark and shadowy.

We fly and now, as if out a specific location. A skinny, high old into view. On its exposed side 'Transients- Low Rates-Radio in Room.' We long enough to the of this hotel. Its open, curtainless windows, its look so characteristic of such hole-and-corner hotels.

We move forward with and-toward a window. The sash is raised as high as it can go, but the is down to three or four of the sill, as if the occupants of the room but air. We are close now, so that only the half of the frame is in shot. No come from the room. Suddenly, we tip downward, go to the between shade and sill, peep into the room. A is out on the bed.

She wears a full slip, stockings, no shoes. She lies in and attitude of relaxation, but her face, seen in the of the room, a inner-tension, worrisome conflicts. She is CRANE, an tension, girl nearing the end of her and her rope. A man the bed, only the half of his figure visible. We hold on this for a long moment, then start forward. As we pass the shade, CUT TO: INT.

- (DAY) A room, a slow fan on a the narrow bed. A card of is on the the bureau. An and a woman's large, open- top are on the bureau. On the the bed are a of Coco- Cola and an unwrapped, egg-salad sandwich. There is no radio. The man by the bed, only trousers, T-shirt and sox, is LOOMIS, a good-looking, man with warm eyes and a smile. 10 codes.

He is blotting his neck and face with a thin towel, and is down at Mary, a his mouth. Mary keeps her face away from him. After a moment, Sam the towel, sits on the bed, leans over and Mary into his arms, her long and warmly, holds her with a firm possessiveness. The kiss is disturbed and by the of an inconsiderate fly. Sam smiles, away to allow Mary to the pillow.

He her, frowns at her unresponsiveness, then in a low, intimate, playful voice. SAM: Never did eat your lunch, did you. Mary at his smile, has to respond, him to her, kisses him. Then, and the kiss, she swings her legs over the side of the bed, toe-searches around, finds her shoes, her feet into them. And finally pulls away and sits up. Rate this script: (5.00 / 2 votes).