American Psycho

Standing at the island in the kitchen I eat kiwifruit and a sliced Japanese apple-pear (they cost four dollars each at Gristede's) out of aluminum storage boxes that were designed in West Germany. I take a bran muffin, a decaffeinated herbal tea bag and a box of oat-bran cereal from one of the large glass-front cabinets that make up most of an entire wall in the kitchen; complete with stainless-steel shelves and sandblasted wire glass, it is framed in a metallic dark gray-blue. I eat half of the bran muffin after it's been microwaved and lightly covered with a small helping of apple butter. A bowl of oat-bran cereal with wheat germ and soy milk follows; another bottle of Evian water and a small cup of decaf tea after that. Next to the Panasonic bread baker and the Salton Pop-Up coffee maker is the Cremina sterling silver espresso maker (which is, oddly, still warm) that I got at Hammacher Schlemmer (the thermal-insulated stainless-steel espresso cup and the saucer and spoon are sitting by the sink, stained) and the Sharp Model R-1810A Carousel II microwave oven with revolving turntable which I use when I heat up the other half of the bran muffin. Next to the Salton Sonata toaster and the Cuisinart Little Pro food processor and the Acme Supreme Juicerator and the Cordially Yours liqueur maker stands the heavy-gauge stainless-steel two-and-one-half-quart teakettle, which whistles "Tea for Two" when the water is boiling, and with it I make another small cup of the decaffeinated apple-cinnamon tea.

For what seems like a long time I stare at the Black & Decker Handy Knife that lies on the counter next to the sink, plugged into the wall: it's a sliver/peeler with several attachments, a serrated blade, a scalloped blade and a rechargeable handle. The suit I wear today is from Alan Flusser. It's an eighties drape suit, which is an updated version of the thirties style. The favored version has extended natural shoulders, a full chest and a bladed back. The soft-rolled lapels should be about four inches wide with the peak finishing three quarters of the way across the shoulders. Properly used on double-breasted suits, peaked lapels are considered more elegant than notched ones. Low-slung pockets have a flapped double-besom design - above the flap there's a slit trimmed on either side with a flat narrow strip of cloth. Four buttons form a low-slung square; above it, about where the lapels cross, there are two more buttons. The trousers are deeply pleated and cut full in order to continue the flow of the wide jacket. An extended waist is cut slightly higher in the front. Tabs make the suspenders fit well at the center back. The tie is a dotted silk design by Valentino Couture. The shoes are crocodile loafers by A. Testoni. While I'm dressing the TV is kept on to The Patty Winters Show. Today's guests are women with multiple personalities. A nondescript overweight older woman is on the screen and Patty's voice is heard asking, "Well, is it schizophrenia or what's the deal? Tell us."

"No, oh no. Multiple personalities are not schizophrenics," the woman says, shaking her head. "We are not dangerous."

"Well," Patty starts, standing in the middle of the audience, microphone in hand. "Who were you last month?"

"Last month it seemed to be mostly Polly," the woman says.

A cut to the audience - a housewife's worried face; before she notices herself on the monitor, it cuts back to the multiple-personality woman.

"Well," Patty continues, "now who are you?"

"Well...," the woman begins tiredly, as if she was sick of being asked this question, as if she had answered it over and over again and still no one believed it. "Well, this month I'm... Lambchop. Mostly... Lambchop."

A long pause. The camera cuts to a close-up of a stunned housewife shaking her head, another housewife whispering something to her.

The shoes I'm wearing are crocodile loafers by A. Testoni.

Grabbing my raincoat out of the closet in the entranceway I find a Burberry scarf and matching coat with a whale embroidered on it (something a little kid might wear) and it's covered with what looks like dried chocolate syrup crisscrossed over the front, darkening the lapels. I take the elevator downstairs to the lobby, rewinding my Rolex by gently shaking my wrist. I say good morning to the doorman, step outside and hail a cab, heading downtown toward Wall Street.

Harry's

Price and I walk down Hanover Street in the darkest moments of twilight and as if guided by radar move silently toward Harry's. Timothy hasn't said anything since we left P & P. He doesn't even comment on the ugly bum that crouches beneath a Dumpster off Stone Street, though he does manage a grim wolf whistle toward a woman - big tits, blonde, great ass, high heels - heading toward Water Street. Price seems nervous and edgy and I have no desire to ask him what's wrong. He's wearing a linen suit by Canali Milano, a cotton shirt by Ike Behar, a silk tie by Bill Blass and cap-toed leather lace-ups from Brooks Brothers. I'm wearing a lightweight linen suit with pleated trousers, a cotton shirt, a dotted silk tie, all by Valentino Couture, and perforated cap-toe leather shoes by Allen-Edmonds. Once inside Harry's we spot David Van Patten and Craig McDermott at a table up front. Van Patten is wearing a double-breasted wool and silk sport coat, button-fly wool and silk trousers with inverted pleats by Mario Valentino, a cotton shirt by Gitman Brothers, a polka-dot silk tie by Bill Blass and leather shoes from Brooks Brothers. McDermott is wearing a woven-linen suit with pleated trousers, a button-down cotton and linen shirt by Basile, a silk tie by Joseph Abboud and ostrich loafers from Susan Bennis Warren Edwards.