Daily Dialogue: Implacable+ foe

American Psycho (2000) 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. http://www.youtube.com/watch?v=VQ440xOiyho 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.

excellent!

would anything the Joker does in The Dark Knight count?

It isn't a big commotion scene, but it a very tense, potentially explosive scene - we all know Tommy is a live-wire, and there is no indication he is bustin' Henry's balls until the last minute...up until that moment, Tommy is doing a very good impression of someone making a scene! Trivia: The "You think I'm funny?" scene was based on a story that Joe Pesci acted out for Martin Scorsese. While working in a restaurant as a young man, Pesci once told a mobster that he was funny and the mobster became very angry. Scorsese allowed Pesci and Ray Liotta to improvise the scene. He did not tell the other actors in the scene what would happen because he wanted their genuine surprised reactions. video link: http://www.youtube.com/watch?v=r_DwZfyXAXI Sequence ends at about 2 minutes Text - from the point Tommy starts to get a bit tetchy. Henry Hill: You're a pistol, you're really funny. You're really funny. Tommy DeVito: What do you mean I'm funny? Henry Hill: It's funny, you know. It's a good story, it's funny, you're a funny guy. [laughs] Tommy DeVito: What do you mean, you mean the way I talk? What? Henry Hill: It's just, you know. You're just funny, it's... funny, the way you tell the story and everything. Tommy DeVito: [it becomes quiet] Funny how? What's funny about it? Anthony Stabile: Tommy no, You got it all wrong. Tommy DeVito: Oh, oh, Anthony. He's a big boy, he knows what he said. What did ya say? Funny how? Henry Hill: Jus... Tommy DeVito: What? Henry Hill: Just... ya know... you're funny. Tommy DeVito: You mean, let me understand this cause, ya know maybe it's me, I'm a little fucked up maybe, but I'm funny how, I mean funny like I'm a clown, I amuse you? I make you laugh, I'm here to fuckin' amuse you? What do you mean funny, funny how? How am I funny? Henry Hill: Just... you know, how you tell the story, what? Tommy DeVito: No, no, I don't know, you said it. How do I know? You said I'm funny. How the fuck am I funny, what the fuck is so funny about me? Tell me, tell me what's funny! Henry Hill: [long pause] Get the fuck out of here, Tommy! Tommy DeVito: [everyone laughs] Ya motherfucker! I almost had him, I almost had him. Ya stuttering prick ya. Frankie, was he shaking? I wonder about you sometimes, Henry. You may fold under questioning. And what a great scene. I still remember seeing this for the first time and thinking, what they hell is going to happen. It is written and played so well, and the screenplay has set Tommy up as such an unpredictable fuck (as Jimmy might say) that you really don't know which way this is going. Real edge of your seat stuff, so you actually share in Henry's relief when the pressure cooker releases and all is well....for now.....