American Psycho by Bret Easton Ellis — Read

Tuesday night, at Bouley, in No Man's Land, a fairly unremarkable marathon dinner, even after I tell the table, "Listen, guys, my life is a living hell," they utterly ignore me, the group assembled (Richard Perry, Edward Lampert, John Constable, Craig McDermott, Jim Kramer, Lucas Tanner) continuing to argue about allocating assets, which stocks look best for the upcoming decade, hardbodies, real estate, gold, why long-term bonds are too risky now, the spread collar, portfolios, how to use power effectively, new ways to exercise, Stolichnaya Cristall, how best to impress very important people, eternal vigilance, life at its best, here in Bouley I cannot seem to control myself, here in a room that contains a whole host of victims, lately I can't help noticing them everywhere-in business meetings, nightclubs, restaurants, in passing taxis and in elevators, on line at automated tellers and on porno tapes, in David's Cookies and on CNN, everywhere, all of them having one thing in common: they are prey, and during dinner I almost become unglued, plummeting into a state of near vertigo that forces me to excuse myself before dessert, at which point I use the rest room, do a line of cocaine, pick up my Giorgio Armani wool overcoat and the .357 magnum barely concealed within it from the coatcheck, strap on a holster and then I'm outside, but on The Patty Winters Show this morning there was an interview with a man who set his daughter on fire while she was giving birth, at dinner we all had shark.

. in Tribeca it's misty out, sky on the verge of rain, the restaurants down here empty, after midnight the streets remote, unreal, the only sign of human life someone playing a saxophone on the corner of Duane Street, in the doorway of what used to be DuPlex, which is now an abandoned bistro that closed last month, a young guy, bearded, white beret, playing a very beautiful but clichéd saxophone solo, at his feet an open umbrella with a dollar, damp, and some change in it, unable to resist I move up to him, listening to the music, something from Les Misérables, he acknowledges my presence, nods, and while he closes his eyes-lifting the instrument up, leaning his head back during what I guess he thinks is a passionate moment-in one fluid motion I take the .357 magnum out of its holster and, not wanting to arouse anyone in the vicinity, I screw a silencer onto the gun, a cold autumn wind rushes up the street, engulfing us, and when the victim opens his eyes, spotting the gun, he stops playing, the tip of the saxophone still in his mouth, I pause too, then nod for him to go on, and, tentatively, he does, then I raise the gun to his face and in midnote pull the trigger, but the silencer doesn't work and in the same instant a huge crimson ring appears behind his head the booming sound of the gunshot deafens me, stunned, his eyes still alive, he, falls to his knees, then onto his saxophone, I pop the clip and replace it with a full one, then something bad happens.