A Trick of the Tail, Sunny

AMERICAN PSYCHO – SECOND DRAFT, 1998
INT. BATEMAN'S APARTMENT - NIGHT
The living room floor has been covered in old newspapers and Rolling Stone copies.

OWEN is visibly drunk, slumped in an Eames chair, full glass in hand. BATEMAN is looking through his CDs.

BATEMAN
You like Phil Collins?

OWEN
He’s okay.

BATEMAN
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 Collins' presence became more apparent.

BATEMAN takes out a CD and plays it. He walks to his bathroom, taking a large axe out of the shower. He takes two Valium.

BATEMAN
(Said from the bathroom)
I think "Invisible Touch" is the group's undisputed masterpiece. It's an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. In terms of lyrical craftsmanship and sheer songwriting, this album hits a new peak of professionalism.

BATEMAN comes back out and is visibly surprised to hear “Entangled” is now playing. OWEN hasn’t moved. BATEMAN leans the axe against the wall. He walks to the foyer and puts on a raincoat, watching Owen from behind. OWEN is absent-mindedly leafing through the Barneys catalogue.

OWEN
Hey, Halberstam?

BATEMAN
Yes, Owen?

OWEN
Why are there copies of the Style section all over the place? Do you have a dog? A chow or something?

BATEMAN
No, Owen.

OWEN
(Confused)
Is that a raincoat?

BATEMAN
Yes, it is.

BATEMAN moves to the CD player. He takes a CD out of its case and slides it in the machine. “Sussudio” begins playing.

BATEMAN
Phil Collins solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially songs like "In the Air Tonight" and "Against All Odds." But I also think that Phil Collins works better within the confines of the group than as a solo artist-and I stress the word artist. This is "Sussudio," a great, great song, a personal favorite.

BATEMAN crosses the room and picks up the axe.

OWEN
(Still looking through catalogue)
Okay, Halberstam, I like the hits too, but what about Trick of the Tail? That album was the band’s successful test post-Gabriel while gaining momentum stateside. If Genesis had found another singer, forget it. The album has captivating instrumental work from Dance to Los Endos. They’re mixing prog rock with more poppy, commercialized structures, paving way for Duke et al. You might take issue with the simple lyrics, but I personally can relate to the Beast or the man in the psychotherapy chaise. Maybe re-try some of the older stuff, Halberstam. Even the live albums from then are pretty special.

BATEMAN (V.O.)
A Trick of the Tail? Psychotherapy? Live albums? Is this really the talent at P&P?

We follow BATEMAN from behind as he walks up to Owen, the axe raised over his head.

BATEMAN
Hey, Paul?

As Owen turns around, FROM OWEN'S POV we see Bateman swing the axe toward his face. Blood sprays onto the white raincoat.

FROM BEHIND OWEN, we see BATEMAN as he yanks the axe out.

OWEN drops to the floor. His body falls out of the frame.  We stay on his legs twitching mechanically. Blood pulses onto the paper-covered floor.

BATEMAN
(Raising the axe and screaming)
Try getting a reservation at Dorsia now, you fucking stupid bastard!

LOW ANGLE ON BATEMAN as he beats Owen with the back of the axe.

OFFSCREEN, the sound of the axe hitting Owen.

BATEMAN
(Panting)
Fucking bastard... fucking prog rock...

Bateman takes his raincoat off, still panting. He folds the coat carefully in half, bloody side in, and drapes it neatly over the back of a chair. He sits back on the white sofa and surveys the scene. He checks his Rolex and lights a cigar.