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Our pasta this evening... | |
is squid ravioli in a lemon grass broth... | |
with goat cheese profiteroles, and I also have an arugula Caesar salad. | |
For entrees this evening, I have swordfish meatloaf with onion marmalade, | |
rare roasted partridge breast in raspberry coulis with a sorrel timbale. | |
...and grilled free-range rabbit with herbed french fries. | |
Our pasta tonight is a squid ravioli in a lemon grass broth. | |
God, I hate this place. It's a chick's restaurant. Why aren't we at Dorsia ? | |
Because Bateman won't give the maitre d' head. | |
Is that Reed Robinson over there ? | |
- Are you freebasing or what ? That's not Robinson. Well, who is it then ? | |
- It's Paul Allen. - That's not Paul Allen. | |
Paul Allen's on the other side of the room over there. | |
Who's he with ? Some weasel from Kicker Peabody. | |
They don't have a good bathroom to do coke in. | |
Are you sure that's Paul Allen over there ? Yes, McDufus, I am. | |
- He's handling the Fisher account. - Lucky bastard. | |
- Lucky Jew bastard. - Jesus, McDermott, what does that have to do with anything ? | |
I've seen that bastard sitting in his office... | |
talking on the phone to the C.E.O.s, spinnin' a fuckin' menorah. | |
Not a menorah. You spin a dreidel. | |
Oh, my God, Bateman. | |
Do you want me to fry you up some fucking potato pancakes ? Some latkes ? | |
No, just... cool it with the anti-Semitic remarks. | |
Oh, I forgot. Bateman's dating someone from the A.C.L.U. | |
He's the voice of reason. The boy next door. | |
Speaking of reasonable-- Only $570. | |
That's not bad. | |
A little something for the purse. | |
Give her the 50. | |
Stoli on the rocks. | |
These aren't good anymore. It's a cash bar. | |
That'll be $25. | |
You're a fucking ugly bitch. | |
I wanna stab you to death... | |
and play around with your blood. | |
What can I get for you two ? | |
I live in the American Gardens building... | |
on West 81st Street on the 11th floor. | |
My name is Patrick Bateman. | |
I'm 27 years old. | |
I believe in taking care of myself, | |
in a balanced diet, in a rigorous exercise routine. | |
ln the morning, if my face is a little pufffy, | |
I'll put on an icepack while doing my stomach crunches. | |
I can do a thousand now. | |
After I remove the icepack, I use a deeppore cleanser lotion. | |
In the shower, I use a water-activated gel cleanser. | |
Then a honey-almond bodyscrub. | |
And on the face, an exfoliating gelscrub. | |
Then I apply an herb mint facialmasque, | |
which lleave on forten minutes while I prepare the rest of my routine. | |
I always use an aftershave lotion with little or no alcohol, | |
because alcohol dries your face out and makes you look older. | |
Then moisturizer, | |
then an anti-aging eye balm, | |
followed by a final moisturizing protective lotion. | |
There is an idea of a Patrick Bateman. | |
Some kind of abstraction, but there is no real me. | |
Only an entity-- something illusory. | |
And though I can hide my cold gaze... | |
and you can shake my hand and feel flesh gripping yours... | |
and may be you can even sense our life styles are probably comparable, | |
I simply am not there. | |
Good morning. | |
Good morning, Hamilton. Nice tan. | |
Late. Aerobics class. Sorry. Any messages ? | |
Ricky Harrison has to cancel. He didn't say what he was cancelling or why. | |
I occasionally box with Ricky at the Harvard Club. Anyone else ? | |
Spencer wants to meet for drinks at Fluties, Pier 17. When ? | |
After 6:00. And what should I say ? Negative. Cancel it. | |
Just say "no" Just say "no" ? | |
Okay, Jean. | |
I need reservations for three at Camols at 12:30, | |
and if not there try Crayons. | |
Allright ? Yes, sir. | |
Oh, wait. And I need reservations for two at Arcadia at 8:00 on Thursday. | |
Something romantic ? | |
No. | |
Silly. Forget it. I'll make them. | |
No, I'll do it. No, no. | |
Be a doll and just get me a mineral water, okay ? You look nice today. | |
Don't wear that outfit again. | |
What ? I didn't hear you. | |
I said, do not wear that outfit again. | |
Wear a dress, a skirt or something. You don't like this, I take it. | |
Come on. You're prettier than that. | |
- Thanks, Patrick. - I'm not here. | |
And high heels. I like high heels. | |
Feathered friends for 600. | |
During courtship, the male frigate bird... | |
inflates to enormous size the red pouch found here. | |
And I want hundreds of thousands of roses. | |
And lots of chocolate truffles, | |
Godiva, and oysters in the halfshell. | |
I'm trying to listen to the new Robert Palmer tape, | |
but Evelyn, my supposed fiance, keeps buzzing in my ear. | |
Annie Leibovitz. We'll get Annie Leibovitz. | |
And we'll have to get someone to videotape. | |
Patrick, we should do it. | |
Do what ? Get married. Have a wedding. | |
No. I can't take the time off work. | |
Your father practically owns the company. You can do anything you like, silly. | |
- I don't want to talk about it. - I hate that job anyway. | |
I don't see why you just don't quit. | |
Because I want to fit in. | |
Williams party. | |
I'm on the verge of tears by the time we arrive at Espace, | |
since I'm positive we won't have a decent table. | |
But we do, and relief washes over me in an awesome wave. | |
Patrick, this is my cousin Vanden and her boyfriend Stash. | |
They're both artists. The menu's in braille. | |
I see you've met everyone. You look awful. | |
Okay. Allright. | |
I'm fairly certain that... | |
Timothy Bryce and Evelyn are having an affair. | |
Timothy is the only interesting person I know. | |
I'm almost completely indifferent as to whether Evelyn knows... | |
I'm having an affair with Courtney Rawlinson, her closest friend. | |
Courtney is almost perfect looking. | |
She's usually operating on one or more psychiatric drugs. | |
Tonight, I believe, it's Xanax. Mmm. Oh. | |
More disturbing than her drug use, though, is the fact that she's engaged... | |
to Luis Carruthers, the biggest doofus in the business. | |
Tell me, Stash. | |
Do you think Soho is becoming too... commercial ? | |
- Yes. I read that. - Oh, who gives a rat's ass ? | |
Hey, that affects us. | |
Well, what about the massacres in Sri Lanka, honey ? Doesn't that affect us too ? | |
Do you know anything about Sri Lanka ? | |
How, like, the Sikhs are killing tons of Israelis over there ? | |
Come on, Bryce. | |
There are a lot more important problems than Sri Lanka to worry about. | |
- Like what ? - Well, we have to end apartheid, for one, | |
slow down the nuclear arms race, stop terrorism and world hunger. | |
We have to provide food and shelter for the homeless... | |
and oppose racial discrimination and promote civil rights, | |
while also promoting equal rights for women. | |
We have to encourage a return... | |
to traditional moral values. | |
Most importantly, | |
we have to promote general social concern... | |
and less materialism in young people. | |
Patrick, how thought provoking. | |
Hello. | |
Hello. | |
Bleaching ? Are you trying to say "bleaching" ? | |
Oh, my God. Two things. | |
One: You can't bleach a Cerruti. Out of the question. | |
Two: I can only get these sheets in Santa Fe. | |
These are very expensive sheets, and I really need them cleaned. | |
Lady, if you don't shut your fucking mouth, I will kill you. | |
Now, listen. | |
I have a lunch meeting at Hubert's in 20 minutes with Ronald Harrison. | |
I need those sheets cleaned by this afternoon. | |
Listen, I can't understand you ! This is crazy ! You're a fool. | |
I can't cope with this stupid "bitchee" ! | |
Understand ? Christ. Patrick ? | |
Hi, Patrick. | |
I thought that was you. Hello. This is-- | |
Isn't it ridiculous, coming all the way up here ? They really are the best. | |
Then why can't they get these stains out ? | |
I mean, can you talk to these people or something ? I'm not getting anywhere. | |
- Oh, what are those ? - Well, it's-- | |
- Cranberry juice. Cranapple. - Really ? | |
Listen, if you could talk to them, I would really appreciate it. | |
I'm really late. I have a lunch appointment at Hubert's in 15 minutes. | |
Hubert's ? That moved uptown, right ? Oh, boy. | |
Listen, I've gotta go. Thank you, Victoria. | |
Maybe we could do lunch one day next week. | |
I'm downtown quite often. What about a Saturday ? I'm at work all the time. | |
Next Saturday ? Can't, I'm afraid. Sure. | |
At a matinee of LesMis. Listen, I really gotta go. | |
Oh, Christ. I'll call you. Okay. Do. | |
Listen, you're dating Lewis, he's in Arizona. | |
You're fucking me, and we haven't made plans. | |
What could you possibly be up to tonight ? | |
Stop it. I'm-- On a lot of lithium ? | |
Waiting for Luis to call me. He said he'd call tonight. | |
Pumpkin ? Pumpkin, you're dating an asshole. | |
Mm-hmm. Pumpkin, you're dating the biggest dickweed in New York. | |
Pumpkin, you're dating a tumbling, tumbling dickweed. | |
Patrick, stop calling me pumpkin, okay ? | |
I have to go. Courtney ? | |
Hmm ? Dinner. | |
I can't. I'm thinking Dorsia. | |
Dorsia's nice. Wear something fabulous. | |
Oh,yeah ! | |
Dorsia. | |
Um, yes, I know it's a little late, | |
but is it possible to reserve a table for two at 8:00 or 8:30, perhaps ? | |
...a facialat Elizabeth Arden, which was really relaxing. | |
And then, to the Pottery Barn, | |
where I got this little... | |
silver muffin dish. Is that Donald Trump's car ? | |
God, Patrick. Shut up. | |
You know, Courtney, you should take some more lithium or have a Diet Coke. | |
Some caffeine might get you out of this slump. | |
I just want a child. | |
Just two... | |
perfect... | |
children. | |
Are we here ? Yeah. | |
This is Dorsia ? Yes, dear. | |
Courtney, you're gonna have the peanut butter soup... | |
with smoked duck and mashed squash. | |
New York Matinee called it "a playful but mysterious little dish." | |
You'll love it. And then the red snapper with violets and pine nuts. | |
I think that'll follow nicely. | |
Mmm. Thanks, Patrick. | |
Patrick, thanks so much for looking after Courtney. | |
Dorsia. How impressive. | |
How on Earth did you get a reservation there ? | |
Lucky, I guess. | |
That's a wonderful suit. | |
Don't tell me. Don't tell me. Let me guess. | |
Mmm, Valentino Couture ? | |
Uh-huh. Hmm. | |
It looks so soft. Your compliment was sufficient, Luis. | |
Hello, Halberstram. Nice tie. How the hell are you ? | |
Allen has mistaken me for this dickhead, Marcus Halberstram. | |
It seems logical because Marcus also works at P&P, | |
and in fact does the same exact thing I do. | |
He also has a penchant for Valentino suits and Oliver Peoples glasses. | |
Marcus and I even go to the same barber, | |
although I have a slightly better haircut. | |
- How's the Ransom account going, Marcus ? - It's, uh, all right. | |
Really ? That's interesting. It's not, uh, not great. | |
- Oh, well, you know. - So, how's Cecilia ? | |
- She's a great girl. - Oh, yeah. I'm very lucky. | |
- Mm-hmm. - Hey, Allen, congratulations on the Fisher account. | |
- Thankyou, Baxter. - Listen, Paul. Squash. | |
Call me. How about Friday ? | |
No can do. I got an 8:30 res at Dorsia. | |
Greatsea urchin ceviche. | |
Dorsia on Friday night ? How'd he swing that ? | |
I think he's lying. | |
- Is that a gram ? - New card. | |
What do you think ? | |
Whoa-ho. Very nice. | |
Look at that. Picked them up from the printer's yesterday. | |
Good coloring. That's bone. | |
And the lettering is something called Silian Rail. | |
It's very cool, Bateman, but that's nothing. Look at this. | |
That is really nice. | |
Eggshell with Romalian type. What do you think ? | |
Nice. | |
Jesus. That is really super. How'da nitwit like you get so tasteful? | |
I can't believe that Bryce... | |
prefers Van Patten's card to mine. | |
But wait. You ain't seen nothin' yet. | |
Raised lettering, pale nimbus... white. | |
Impressive. Very nice. | |
Hmm. | |
Let's see Paul Allen's card. | |
Look at that subtle off-white coloring. | |
The tasteful thickness of it. | |
Oh, my God. It even has a watermark. | |
Is something wrong, Patrick ? | |
You're sweating. | |
Hello. Pat Bateman. | |
You want some, uh, money ? | |
Some food ? | |
- Is this what you need ? - I'm-I'm hungry. | |
Yeah. Cold out too, isn't it ? | |
Why don't you get a job ? If you're so hungry, why don't you get a job ? | |
I lost my job. | |
Why ? You drinking ? | |
Is that why you lost it ? Insider trading ? | |
Just joking. | |
Listen, what's your name ? Al. | |
Hmm ? Speak up. Come on. Al. | |
Get a goddamn job, Al. | |
You got a negative attitude. That's what's stopping you. | |
You gotta get your act together. I'll help you. | |
You are so kind, mister. You're a kind-- You're a kind man. | |
It's okay. I can tell. | |
Please, you gotta tell me what to do. You gotta help me. | |
I'm so cold, I'm hungry. | |
You know how bad you smell ? | |
You reek of shit. Do you know that ? | |
Al. | |
I'm sorry. It's just that-- | |
I don't know. | |
I don't have anything in common with you. | |
Oh. Oh, thankyou, mister. Thankyou. | |
I'm cold out here. | |
You know what a fucking loser you are ? What ? | |
What beautiful skin you have, Mr. Bateman. | |
So fine, so smooth. | |
I have all the characteristics of a human being-- | |
flesh, blood, skin, hair-- | |
but not a single, clear, identifiable emotion, | |
except for greed and disgust. | |
Something horrible is happening inside of me, | |
and I don't know why. | |
My nightly bloodlust has overflowed into my days. | |
I feel lethal, on the verge of frenzy. | |
I think my mask of sanity is about to slip. | |
Hey, Mc Cloy, what do you say ? | |
Hey, Hamilton. Have a holly, jolly Christmas. | |
Is Allen still handling the Fisher account ? Ofcourse. Who else ? | |
Mistletoe alert. Merry Xmas, Patrick. | |
Merry Xmas, Harry. Merry Christmas. | |
You're late, honey. Oh, yes, you are. I'm not late. | |
I've been here the entire time. You just didn't see me. | |
Say hello to Snowball. Snowball says, "Merry Christmas, Patrick." | |
What is it ? It's a little baby piggly-wiggly, isn't it ? | |
It's a Vietnamese potbellied pig. | |
They make darling pets. Don't you ? | |
Don't you ? | |
Stop scowling, Patrick. You're such a grinch. | |
And what does Mr. Grinch want for Christmas ? | |
And don't say breast implants again. | |
Allen. Marcus. Merry Christmas. | |
How you been ? Workaholic, I suppose ? Haven't seen you in a while. | |
Hey, Hamilton. We're goin' to Nell's. Limo's out front. | |
We should have dinner. Maybe you could bring-- | |
Cecilla ? Yes, Cecilla. | |
Oh, Cecilla would adore it. | |
Well, then, let's do it, Marcus. | |
Great party. Thanks. | |
Patrick, why is he calling you Marcus ? | |
Mistletoe alert. | |
Marcus Halberstram for two at 7:00. | |
No, l want to know, okay ? I came here for the cilantro crawfish gumbo, | |
which is, after all, the only excuse one could have for being in this restaurant, | |
which is, by the way, almost completely empty. | |
I'm very sorry, sir. J&B straight, and a Corona. | |
Would you like to hear-- Double Absolut martini. | |
Yes, sir. Would you like to hear the specials ? | |
Not if you want to keep your spleen. | |
This is a real beehive of activity, Halberstram. This place is hot. | |
Very hot. Listen, the mud soup and charcoal arugula... | |
are outrageous here. | |
Yeah, well, you're late. Hey, I'm a child ofdivorce. | |
Give me a break. | |
I see they've omitted the pork loin with lime Jell-O. We should've gone to Dorsia. | |
I could've gotten us a table. Nobody goes there anymore. | |
Is that Ivana Trump ? | |
Oh, geez, Patrick. I mean, Marcus. What are you thinking ? | |
Why would Ivana be at Texarkana ? | |
So, uh, wasn't Rothchild originally handling the Fisher account ? | |
How'd you get it ? Well, I could tell you that, Halberstram, | |
but then I'd have to kill you. | |
I like to dissect girls. Did you know I'm utterly insane ? | |
Great tan, Marcus. I mean, really impressive. | |
Where do you tan ? Salon. | |
I've got a tanning bed at home. You should look into it. | |
And, uh, Cecilla. | |
How is she ? Where is she tonight ? | |
Cecilla's, uh-- Well, you know Cecilla. | |
I think she's having dinner with, um, Evelyn Williams. | |
Evelyn ? Great ass. | |
Goes out with that loser Patrick Bateman. What a dork. | |
Another martini, Paul ? | |
You like Huey Lewis and the News ? | |
Um, they're okay. | |
They're early work was a little too new wave for my taste. | |
But when Sports came out in '83, | |
I think they really came into their own, commercially and artistically. | |
The whole album has a clear, crisp sound, | |
and a new sheen of consummate professionalism... | |
that really gives the songs a big boost. | |
He's been compared to Elvis Costello, | |
but I think Huey has a far more bitter, cynical sense of humor. | |
Hey, Halberstram ? Yes, Allen ? | |
Why are there copies of the Style section all over the place ? | |
Do you-- Do you have a dog ? A little chow or something ? | |
- No, Allen. - Is that a raincoat ? | |
Yes, it is. | |
In '87, Huey released this-- | |
Fore, their most accomplished album. | |
I think their undisputed masterpiece is "Hip To Be Square." | |
The song's so catchy, most people probably don't listen to the lyrics. | |
But they should, because it's not just about... | |
the pleasures of conformity and the importance of trends. | |
It's also a personal statement about the band itself. Hey, Paul ! | |
Try getting a reservation at Dorsia now, | |
you fuckin' stupid bastard ! | |
You fucking bastard ! | |
He was completely naked and standing up on the table. | |
He had no clothes on what so ever, and he-- | |
Patrick ? Patrick. | |
Is that you ? | |
No, Luis, it's not me. You're mistaken. | |
This is my very good friend, Patrick Bateman. | |
Where are you going ? We're going to Nell's. Gwendolyn's father is buying it. | |
Ooh. | |
Where did you get that overnight bag ? | |
Jean-Paul Gaultier. | |
When I get to Paul Allen's place, | |
I use the keys I took from his pocket... | |
before disposing of the body. | |
There is a moment of sheer panic... | |
when I realize that Paul's apartment overlooks the park... | |
and is obviously more expensive than mine. | |
I calm myself and move into the bedroom, | |
where I find his suitcase and start to pack. | |
It's time for Paul to take a little trip. | |
Where do I send the bastard ? | |
Dallas ? | |
Paris ? Singapore ? | |
London ? I'll send the asshole to London. | |
Hi. This is Paul. | |
I've been called away to London for a few days. | |
Meredith, I'll call you when I get back. Hasta la vista, baby. | |
What is it ? | |
Patrick. Yes, Jean ? | |
There's a Mr. Donald Kimball here to see you. Who ? | |
Detective Donald Kimball. | |
Tell him I'm at lunch. | |
Patrick, it's only 10:30. I think he knows you're here. | |
Send him in, I guess. | |
Now, John, you've gotta wear clothes in proportion to your physique. | |
There are definite do's and don'ts, good buddy, of wearing a bold-striped shirt. | |
A bold-striped shirt calls for solid-colored... | |
or discreetly patterned suits and ties. | |
Yes, always tip the stylist 15 percent. | |
Listen,John, I've gotta go. T. Boone Pickens just walked in. | |
Just joking. No, don't tip the owner of the salon. | |
Okay, John ? Right. | |
Got it. Sorry about that. | |
No, I'm sorry. I should've made an appointment. | |
Was that anything important ? | |
Oh, that ? Just mulling over business problems, | |
examining opportunities, exchanging rumors, spreading gossip. | |
Hi. | |
I'm Donald Kimball. Hi. Pat Bateman. | |
Nice to meet you. Sorry to barge in on you like this. | |
I know how busy you guys can get. | |
So, what's the, uh, topic of discussion ? | |
I've been hired by Meredith Powell... | |
to investigate the disappearance of Paul Allen. | |
I see, yeah. Paul's disappearance, yeah. | |
So it's nothing that official. | |
- I just have some questions about Paul Allen and yourself. - Coffee ? | |
- No, I'm okay. - Apollinaris ? | |
No, I'm okay. | |
Can you bring Mr.-- | |
Kimball. No, I'm okay. Mr. Kimball a bottle of Apollinaris. | |
It's no problem. | |
So, what's the topic of discussion ? | |
The disappearance of Paul Allen. | |
Uh-huh, right. Well, I, um, haven't-- | |
I haven't heard anything about the disappearance or anything. | |
Not on page six, at least. | |
- I think his family wants this kept quiet. - Understandable. Lime ? | |
- No, really, I'm okay. - You sure ? I can always get you a lime. | |
Just some preliminary questions that I need for my own files, okay ? | |
Shoot. | |
Hold old are you ? Twenty-seven. | |
Where did you go to school ? Harvard. | |
Then Harvard Business School. Your address ? | |
The American Gardens Building, West 81st Street. | |
- Nice. Very nice. - Thanks. | |
What can you tell me about Paul Allen ? I'm at a loss. | |
He was part of that whole Yale thing. "Yale thing" ? | |
- Yeah, Yale thing. - What do you mean, "Yale thing" ? | |
Well, I think for one that he was probably a closet homosexual... | |
who did a lot of cocaine. | |
That "Yale thing." | |
What kind of man was he, besides the information you've just given ? | |
- I hope I'm not being cross-examined here. - You feel like that ? | |
No, not really. | |
Where did Paul hang out ? | |
Hang out ? Yeah, you know, hang out. | |
Let me think. Um, the Newport, Harry's, | |
Fluties, Indochine, | |
Nell's, the Cornell Club, | |
the New York Yacht Club. He had a yacht ? | |
- No, he just hung out there. - And where did he go to school ? | |
Don't you know this ? | |
I just wanted to know if you know. | |
Before Yale, if I remember correctly, St. Paul's. | |
Listen, I just-- I just wanna help. | |
I understand. | |
Do you have any witnesses or fingerprints ? | |
Well, there's a message on his answering machine that says he went to London. | |
- Well, maybe he did, huh ? - His girlfriend doesn't think so. | |
- But has anyone seen him in London ? - Actually, yes. | |
Hmm. But I've had a hardtime getting actual verification. | |
A Stephen Hughes said he saw him at a restaurant there. | |
But I checked it out, and what happened is... | |
he mistook a Herbert Ainsworth for Paul, so-- | |
- Had his apartment been burglarized ? - No, actually, it hadn't. | |
Toiletries were missing, a suit was gone, so was some luggage. That's it. | |
I mean, no one's dealing with the homicide squad yet or anything, right ? | |
No, not yet. As I said, we're not sure. | |
Basically, no one's seen or heard anything. | |
So typical, isn't it ? It's just strange. | |
One day, someone's walking around, | |
going to work, alive, and then-- | |
Nothing. | |
People just disappear. | |
The earth just... opens up and swallows them. | |
Eerie. Really eerie. | |
Listen, you'll have to excuse me. | |
I have a lunch meeting with Cliff Huxtable at Four Seasons in 20 minutes. | |
The Four Seasons ? Isn't that a little far uptown ? | |
I mean, aren't you gonna be late ? No, there's one down here. | |
Oh, really ? I didn't know that. Yeah, it's very good. | |
Listen, if anything else occurs to you, any information-- | |
Absolutely. I'm 100 percent with you. Great. | |
And thanks for your time, Mr. Bateman. | |
Bye-bye. Good-bye. | |
I haven't seen you around here. You just haven't been lookin'. | |
- Would you like to see my apartment ? - I'm not supposed to. | |
Do you wanna come to my apartment or not ? | |
I'm not supposed to, but I can make an exception. | |
Do you take a credit card ? | |
I'm joking. | |
Come on. Get in. | |
I'd like a girl. Early 20s. | |
Blonde, who does couples. Couples. | |
And I really can't stress blonde enough. Blonde. | |
I'm Paul. | |
My name's Paul Allen. You got that ? | |
You're Christie. You're to respond only to Christie. | |
Is that clear ? | |
That's a very fine chardonnay you're drinking. | |
I want you to clean your vagina. | |
No. From behind. Get on your knees. | |
You have a very nice body. | |
Mm-hmm ? | |
Thank you. Send her up. | |
Christie, get out and dry off. | |
Choose a robe-- not the Bijan-- | |
and come and meet me and our guest in the living room for drinks. | |
You've arrived. How lovely. | |
Let me take your coat. | |
I'm Paul. How good of you to come. | |
Not quite blonde, are you ? | |
More dirty blonde. | |
I'm gonna call you Sabrina. | |
I'm Paul Allen. | |
So. | |
Don't you wanna know what I do ? | |
No. No, not really. | |
Well, I work on Wall Street... | |
for Pierce & Pierce. | |
Have you heard of it ? | |
You have a really nice place here, Paul. | |
How much did you pay for it ? | |
Well, actually, | |
that's none of your business, Christie. | |
But I can assure you, it certainly wasn't cheap. | |
No. No smoking. Not in here. | |
Varda truffle ? | |
I don't want you to get drunk, | |
but that's a very fine chardonnay you're not drinking. | |
Do you like Phil Collins ? | |
I've been a big Genesis fan eversince 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. | |
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. | |
Christie, take off the robe. | |
Listen to the brilliant ensemble playing... | |
of Banks, Collins and Rutherford. | |
You can practically hear every nuance of every instrument. | |
Sabrina, remove your dress. | |
ln terms of lyrical craftsmanship and sheer songwriting, | |
this album hits a new peak of professionalism. | |
Sabrina, why don't you, uh, dance a little. | |
Take the lyrics to "Land of Confusion." | |
In this song, Phil Collins... | |
addresses the problems of abusive political authority. | |
"In Too Deep" is the most moving pop song of the 1980s... | |
about monogamy and commitment. | |
The song is extremely uplifting. | |
Their lyrics are as positive and affirmative... | |
as, uh, anything I've heard in rock. | |
Christie, get down on your knees... | |
so Sabrina can see your asshole. | |
Phil Collins' solo career... | |
seems to be more commercial, | |
and therefore more satisfying in a narrower way, | |
especially songs like "In the Air Tonight" and "Against All Odds." | |
Sabrina, don't just stare at it. Eat it. | |
I also think that Phil Collins works best... | |
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. | |
Look at the camera. | |
Christie, look at the camera. | |
Don't touch the watch. | |
Can we go now ? | |
We're not through yet. | |
If they have a good personality and they are not great looking, then who fucking cares ? | |
Let's just say hypothetically, okay ? | |
What if they have a good personality ? | |
I know. I know. | |
There are no girls with good personalities. | |
A good personality consists of a chick with a little hard body... | |
who will satisfy all sexual demands... | |
without being too slutty about things... | |
and who will essentially keep her dumb fucking mouth shut. | |
The only girls with good personalities... | |
who are smart or maybe funny or halfway intelligent or talented-- | |
though God knows what the fuck that means-- are ugly chicks. | |
Absolutely. And this is because they have to make up... | |
for how fucking unattractive they are. | |
- Do you know what Ed Gein said about women ? - Maitre d' at Canal Bar ? | |
- No, serial killer, Wisconsin, in the 50s. - And what did Ed say ? | |
"When I see a pretty girl walking down the street, I think two things. | |
"One part of me wants to take her out and talk to her, | |
be real nice and sweet and treat her right." | |
- And what did the other part of him think ? | |
What her head would look like on a stick. | |
Hi, guys. I wanna get your opinion on something. | |
It's my business card. | |
I decided to get a new one too. | |
Oh, it's-- | |
Very nice, Luis. | |
Thank you. | |
Listen, what about dinner ? | |
Is that all you ever have to contribute, Van Patten ? "What about fucking dinner" ? | |
Cheer up there, Bateman. What's the matter ? No shiatsu this morning ? | |
Keep touching me like that, you'll draw back a stump. Hold on there, little buddy. | |
Excuse me. | |
God. Patrick. Why here ? | |
I've seen you looking at me. | |
I've noticed your... | |
hot body. | |
Don't be shy. | |
You can't imagine how long I've wanted this-- | |
ever since that Christmas party at Arizona 206. | |
You know, the one you were wearing that red-striped paisley Armani tie. | |
I want you. I want you too. | |
Patrick. What is it ? | |
Where are you going ? | |
I've gotta return some video tapes. | |
Patrick ! | |
Okay, London the-- | |
London, there's, um, a reservation-- Any Paul Allen ? | |
No. A reservation, but-- Kimball ! | |
I've been wanting to talk with you. Come into my office. | |
Jean, greatjacket. Matsuta ? | |
Do you remember where you were the night of Paul's disappearance, | |
which was on the 20th of December ? | |
God. | |
I guess I was probably returning video tapes. | |
I had a date with a girl named Veronica. | |
That's not what I've got. What ? | |
That's not the information I've received. | |
Well, I-- Wait. | |
- What information have you received ? - Let me see. | |
Well-- | |
You were with-- Well, I could be wrong. | |
When was the last time you were with Paul Allen ? | |
We'd gone to a new musical... | |
called Oh, Africa, Brave Africa. | |
It was a laugh riot. That was about it. | |
I think we had dinner at Orso's. No, Peto-- No, Orso's. | |
I hope I've been informative. Long day, a bit scattered. | |
I'm a little spent now too. | |
But how about lunch in a week or so... | |
when I've sorted out all this information ? | |
Great. Yes, I'd like that. | |
And if you could try and pin down where you were... | |
the night of Paul Allen's disappearance, it would make my job a lot easier. | |
Absolutely. I'm with you on that one. | |
Huey Lewis and the News. | |
Great stuff. I just bought it on my way here. You heard it ? | |
Never. I mean, I don't really like singers. | |
Not a big music fan, huh ? No, I like music. | |
Just they're-- Huey's too black sounding for me. | |
To each his own. | |
So, lunch next week ? | |
I'll be there. | |
Oh ! | |
Oh ! | |
Will you call me before Easter ? Maybe. | |
What are you doing tonight ? | |
Dinner at, uh, River Cafe. | |
Au Bar afterwards, maybe. That's nice. | |
I never knew you smoked. | |
You never noticed. | |
Listen, Patrick. | |
Can we talk ? | |
You look... marvelous. | |
There's nothing to say. | |
You're gonna marry Luis. Isn't that special ? | |
Patrick ? | |
Yes, Courtney ? | |
If I don't see you before Easter, | |
have a nice one, okay ? | |
You too. | |
Patrick ? | |
Yeah ? | |
Nothing. | |
There is this theory now-- Listen to me. | |
There is this theory now that if you can catch the AlDS virus... | |
by having sex with someone who's infected, then you can catch anything. | |
Alzheimer's, muscular dystrophy, hemophilia, | |
leukemia, diabetes, dyslexia. | |
I'm not sure, but I don't think dyslexia is a virus. | |
But who knows ? They don't know that. | |
Prove it. | |
Oh, God. What ? | |
It's a fucking milligram of sweetener. I wanna get high off this, | |
not sprinkle it on my fucking oatmeal. It's definitely weak, | |
but I have a feeling if we do enough of it, we'll be okay. | |
Can you keep it down ? I'm trying to do drugs. | |
Fuck you ! Calm down. Let's do it anyway. | |
That's right. | |
That is if the faggot in the next stall thinks it's okay ! | |
Fuck you ! Hey, fuck you ! | |
Sorry, dude. Steroids. | |
Okay, let's do it. | |
Where did Craig go ? | |
Well, Gorbachev is downstairs. McDermott went to sign a peace treaty... | |
between the United States and Russia. | |
He's the one behind Glasnost. | |
- He said he was in mergers and acquisitions. - You're not confused, are you ? | |
No, not really. | |
Gorbachev is not downstairs. - Karen's right. | |
Gorbachev's not downstairs. He's at Tunnel. | |
Ask me a question. | |
So, what do you do ? | |
I'm into, uh, well, murders and executions, mostly. | |
- Do you like it ? - Well, it depends. Why ? | |
Well, most guys I know who work in mergers and acquisitions really don't like it. | |
So, where do you work out ? | |
You think I'm dumb, don't you ? | |
What ? You think I'm dumb. You think all models are dumb. | |
No. I really don't. | |
That's okay. I don't mind. | |
There's something sweet about you. | |
Doin' the crossword ? | |
You need any help ? | |
-Jean ? - Yes, Patrick ? | |
Would you like to accompany me to dinner ? | |
That is, if you're not doing anything. | |
Um, no. No, I don't have any plans. | |
Well, | |
isn't this a coincidence ? | |
Listen, where should we go ? Anywhere you want. | |
Let's not think about what I want. How about anywhere you want ? | |
I don't know, Patrick. I can't make this decision. | |
Come on. Where do you wanna go ? | |
Anywhere you want, just say it. I can get us in anywhere. | |
What about... | |
Dorsia ? | |
So, | |
Dorsia is where Jean wants to go. | |
Well, I don't know. We'll go wherever you wanna go. | |
Dorsia is fine. | |
Dorsia. Yes ? | |
Yeah, can you take two tonight at, oh, let's say 9:00 ? We're totally booked. | |
Really ? That's great. | |
No, I said we are totally booked. Two at 9:00 ? Perfect. | |
See ya then. | |
Yeah ? | |
You're... dressed okay. | |
- You didn't give a name. - They know me. | |
Why don't you meet me at my place at 7:00... | |
for drinks. | |
And Jean, | |
you'll wanna change before we go out. | |
Patrick, it's so elegant. | |
What a wonderful view. | |
Jean, | |
sorbet ? | |
Thanks, Patrick. I'd love some. | |
Do you want a bite ? I'm on a diet. But thank you. | |
You don't need to lose any weight. You're kidding, right ? | |
You look great. Very fit. | |
You can always be thinner, look better. | |
Well, maybe we shouldn't go out to dinner. I don't wanna ruin your will power. | |
No, it's all right. | |
I'm not very good at controlling it anyway. | |
So listen. | |
What do you really wanna do with your life ? | |
Just briefly, summarize. | |
And don't tell me you enjoy working with children, okay ? | |
Well, I'd like to travel and maybe go back to school, | |
but I don't really know. | |
I'm at a point in my life where there seems to be so many possibilities, | |
but I'm-- I don't know-- I'm just so unsure. | |
Do you have a boyfriend ? | |
No, not really. Interesting. | |
Are you seeing anyone ? I mean, seriously ? | |
Maybe. | |
I don't know. Not really. | |
Jean, | |
do you feel... fulfilled ? | |
I mean, in your life ? | |
I guess I do. For a long time I was too focused on my work. | |
But now I've really begun to think about changing myself, you know, | |
developing and growing. | |
Growing. I'm glad you said that. | |
Did you know that, uh, Ted Bundy's first dog, | |
a collie, was named Lassie ? | |
Had you heard this ? Who's Ted Bundy ? | |
Forget it. | |
What's that ? | |
Duct tape. I need it for, uh, taping something. | |
Patrick, | |
have you ever wanted to... make someone happy ? | |
What ? No ! Put it in the carton. | |
Sorry. | |
Jean ? | |
What ? Uh, make someone happy ? | |
Have you ever wanted to ? | |
I'm looking for, uh, | |
I guess you could say I just wanna have a meaningful relationship... | |
with someone special. Hmm. | |
Patrick ? Patrick ? I know you're there. | |
Pick up the phone, you badboy. | |
What are you up to tonight ? It's me. Don't try to hide. | |
I hope you're not with some little number you picked up because you're my Mr. Bateman. | |
My boy next door. | |
Anyway, you never called me and you said you would, | |
and I'll leave a message for Jean about this, too, to remind you, | |
but we're having dinner with Melania and Taylor. | |
You know Me lania. She went to Sweet Briar. | |
And we're meeting at the Cornell Club, | |
so I'll call you tomorrowmorning, honey. | |
Oops. Sorry. I know you hate that. | |
Bye, Patrick. Bye, Mr. Big Time C.E.O. Bye-bye. | |
Was that Evelyn ? | |
Are you still seeing her? | |
I'm sorry. I have no right to ask that. | |
Do you want me to go ? | |
Yeah. | |
I don't think I can control myself. | |
I know. I should go. I know I have a tendency to get involved with unavailable men. | |
I mean, | |
do you want me to go ? | |
I think if you stay, | |
something bad will happen. | |
I think I might hurt you. | |
You don't wanna get hurt, do you ? | |
No. No, I guess not. | |
I don't wanna get bruised. | |
You're right. I should go. | |
Oh. Don't forget you have a lunch date tomorrow with Donald Kimball at Smith and Wolenski's. | |
Thanks. | |
It slipped my mind completely. | |
So, the night he disappeared-- | |
any new thoughts about what you did ? | |
Not sure. Um, I had a shower... | |
and some sorbet ? | |
I think you're getting your dates mixed up. | |
But how ? | |
Where do you place... Paul that night ? | |
According to his date book, and this was verified by his secretary, | |
he had dinner with Marcus Halberstram. | |
And ? I questioned him. | |
- Marcus ? - Yes, and he denies it, though, at first, he couldn't be sure. | |
But he denied it. Yes. | |
Well, does Marcus have an alibi ? | |
Yes. He does ? You'resure ? | |
I checked it out. It's clean. | |
Now, where were you ? | |
Where was Marcus ? | |
He wasn't with Paul Allen. | |
Who was he with ? He was... | |
at Atlantis... with... | |
Craig McDermott, Frederick Dibble, Harry Newman, George Butner... | |
and... you. | |
Oh, right, yeah. Of course. | |
We had wanted Paul Allen to come, | |
but he had made plans. | |
And I guess I had dinner with Victoria the following night. | |
Personally, I think the guy went a little nutso. | |
Split town for a while. Maybe he did go to London, sightseeing, drinking, whatever. | |
Anyway, I'm pretty sure he'll turn up sooner or later. I mean, to think... | |
that one of his friends killed him for no reason whatsoever would be too ridiculous. | |
Isn't that right, Patrick ? | |
Christie. Christie. | |
I'm not so sure about this. I had to go to Emergency after last time. | |
This won't be anything like last time. I promise. | |
I don't think so. | |
Just come in the limo and talk to me for a minute. | |
The driver's here. You'll be safe. | |
Nothing like last time. Promise. | |
All right. | |
So, you're looking great. How have you been ? | |
Well, I actually might need surgery after last time. Really ? | |
My friend told me I should maybe even get a lawyer. | |
Lawyers are so complicated. | |
Don't do that. | |
Here's a check. | |
Uh-uh. Half now, half later. | |
Okay, your name is Christie. | |
We're meeting a friend of mine, Elizabeth. | |
She'll bejoining us in my new apartment shortly. | |
You'll like her. She's a very nice girl. | |
You look really familiar. Did you go to Dalton ? | |
I think I met you at Surf Bar, didn't I ? With Spicey ? | |
Well, maybe not with Spicey, but definitely at SurfBar. You know, SurfBar. | |
Anyway, Surf Bar sucks now. It's terrible. | |
Went to a birthday party there for Malcolm Forbes. Oh, my God, please. | |
This is nicer than your other apartment. | |
Oh, it's not that nice. | |
Where did you two meet ? Oh, God. We met at... | |
oh, God, at the Kentucky Derby in '85, or '86. | |
You were hanging out with that bimbo Allison Poole. Hot number. | |
What do you mean ? She was a hot number. | |
If you had a platinum card, she'd give you a blowjob. This girl worked in a tanning salon. | |
What do you do ? | |
She's my... cousin. | |
Uh-huh. She's from... France. | |
Where's your phone ? I've gotta call Harley. | |
Where do you summer, South Hampton ? | |
- No. - Oh, God, it's his machine. | |
It's 3:00 in the morning. He's a goddamn drug dealer. These are his peak hours. | |
Don't tell him you're here. Why would I ? | |
This tastes weird. | |
Harley, it's me. I need your services. Translate that howeveryou want. | |
- I'm at-- - Paul Allen's. | |
Who ? Paul Allen's. | |
I want the number, idiot. Anyway, I'm at Paul Norman's and I'll try you again later. | |
And if I don't see you at Canal Bar tomorrow night I'm gonna sic my hairdresser on you. | |
Did you know that guy who disappeared ? | |
Didn't he work at Pierce & Pierce ? Was he a friend of yours ? | |
No. | |
Do you have any coke ? Or Halcyon ? | |
I would take a Halcyon. Listen. | |
I would just like to see... | |
the two of you... get it on. | |
What's wrong with that ? | |
It's totally disease free. | |
Patrick, you're a lunatic. Come on. | |
Don't you find Christie attractive ? | |
Let's not get lewd. I'm in no mood for a lewd conversation. | |
Come on. | |
I think it'd be a turn-on. Does he do this all the time ? | |
Christie, you're not drinking your wine. | |
Are you telling me you've never gotten it on with a girl? | |
No. I'm not a lesbian. | |
Why would you think I would be into that ? | |
Well, you went to Sarah Lawrence for one thing. | |
Those are Sarah Lawrence guys, Patrick. You're making me feel weird. | |
Did you know... | |
that Whitney Houston's debut LP... | |
called simply Whitney Houston... | |
had four number-one singles on it ? | |
Did you know that, Christie ? | |
You actually listen to Whitney Houston ? | |
You own a Whitney Houston CD ? | |
More than one ? | |
It's hard to choose a favorite among so many great tracks. | |
But the "Greatest Love Of All" is one of the best, most powerful songs... | |
ever written... | |
about self-preservation... | |
and dignity. | |
It's universal message crosses all boundaries... | |
and instills one... | |
with the hope that it's not too late... | |
to better ourselves. | |
Since, Elizabeth, | |
it's impossible in this world we live in to empathize with others, | |
we can always empathize with ourselves. | |
It's an important message. Crucial, really. | |
And it's beautifully stated on the album. | |
- Not the face ! | |
You bitch, not the fucking face, you piece of bitch trash ! | |
I want a firm commitment. | |
I think, um, Evelyn, that, uh, we've lost touch. | |
Why ? What's wrong ? | |
My need to engage in homicidal behavior... | |
on a massive scale cannot be corrected, | |
but I have no other way to fulfill my needs. | |
We need to talk. Talk about what, Patrick ? | |
It's over, Evelyn. | |
It's all over. | |
Touchy, touchy. I'm sorry I brought up the wedding. | |
Let's just avoid the issue, all right ? Now, are we having coffee ? | |
I'm fucking serious. It's fucking over, us. This is no joke. | |
Uh, I don't think we should see each other anymore. | |
But your friends are my friends and my friends are your friends. | |
I really don't think it would work. You have a little something-- | |
I know that your friends are my friends, and, uh-- and I've thought about that. | |
You can have 'em. | |
You're really serious, aren't you ? Yes, lam. | |
- What about the past ? Our past ? - We never really shared one. | |
You're inhuman. No. | |
I'm in touch with humanity. | |
Evelyn, I'm, uh, sorry. I just, uh-- | |
You're not terribly important to me. | |
Oh, no ! | |
No. No, Patrick. | |
I know my behavior can be... erratic sometimes. | |
What do you want me to do ? What is it that you want ? | |
If you really wanna do something for me, then stop making this scene right now. | |
Oh, God, I can't believe this. | |
I'm leaving. I've assessed the situation, and I'm going. | |
Where are you going ? I'm just leaving. | |
But where ? | |
I have to return some videotapes. | |
Here, kitty, kitty. | |
Oh, my God. What are you doing ? | |
Stop that. | |
Drop the weapon ! Drop it now ! | |
Get on the ground! Put your-- | |
Burning the midnight oil, Mr. Smith ? | |
Hey, now don't forget to sign in. | |
Howard, it's Bateman. Patrick Bateman. | |
You're my lawyer, so I think you should know I've killed a lot of people. | |
Some escort girls in an apartment uptown, | |
uh, some homeless people, maybe five or ten, | |
an N.Y.U. girl I met in Central Park. | |
I left her at a parking lot behind some doughnut shop. | |
I killed Bethany, my old girlfriend, with a nail gun. | |
And-And-And then some man, s-s-some old faggot with a dog. | |
Last week, I, uh-- | |
I killed another girl with a chain saw. | |
I had to. She almost got away. | |
And-- | |
Someone else there. I can't remember, maybe a model-- She's dead too. | |
And, uh, Paul Allen. | |
I killed Paul Allen with an ax in the face. | |
His body is dissolving in a bathtub in Hell's Kitchen. | |
I don't wanna leave anything out here. I guess I've killed maybe... 20 people. | |
Maybe 40 ! | |
I have tapes of a lot of it. | |
Some of the girls have seen the tapes. | |
I even, um, | |
I ate some of their brains... | |
and I tried to cook a little. | |
Tonight, I, uh-- | |
I just had to kill a lot of people ! | |
And, um, | |
I'm not sure I'm gonna get away with it... this time. | |
So, uh-- I mean, | |
I guess... | |
I'm a pretty, uh-- | |
I mean, I guess I'm a pretty sick guy. | |
So, | |
if you get back tomorrow, | |
I may show up at Harry's Bar. | |
So, you know, | |
keep your eyes open. | |
Okay. | |
Oh ! | |
Are you my 2:00 ? | |
No. Can I help you ? | |
I'm looking for... Paul Allen's place. | |
Doesn't he... live here ? No, he doesn't. | |
You sure ? | |
You saw the ad in the Times ? | |
No. Yeah. I mean, yeah. | |
ln the Times. There was no ad in the Times. | |
I think you should go now. | |
But I think-- | |
I wanna know what happened here. | |
Don't make any trouble, please. | |
I suggest you go. | |
Don't come back. | |
I won't. | |
Don't worry. | |
Patrick Bateman's office. | |
Jean ? I need help. Patrick, is that you ? | |
Jean, I'm not-- | |
Craig McDermott called. Wants to meet you, David Van Patten and Tim Bryce at Harry's. | |
Oh, God. What did you say, you dumb bitch ? | |
Patrick, I can't hear you. What am I doing ? | |
Where are you, Patrick ? What's wrong ? | |
I don't think I'm gonna make it,Jean, to the, uh, | |
office this afternoon. | |
Why ? | |
Just say no ! What is it, Patrick ? Are you all right ? | |
Stop sounding so fucking sad. | |
Jesus ! | |
That's a table for three. Bateman, you're looking wild-eyed. Rough day ? | |
Hey, look. Bryce is back and he's drinking mineral water. | |
He's a changed man, except for he still can't a reservation to save his life. | |
Why don't you just try 150 Wooster? | |
I'm not going anywhere unless we have a reservation. | |
Le Cirque, Flamingo East, OysterBar. Come on, faggots. Let's get a "res." | |
Keep your shirt on. Maybe lose the suspenders. | |
Need a reservation for 8:30. | |
Excuse me, gentlemen. Right back. | |
10:00 would not be any good. No. | |
Just fucking call them. Give me the phone. I'll do it. I'll call you back. | |
Face it. The Japanese will own most of this country by the end of the '90s. | |
Shut up, Carnes. They will not. | |
So, uh, Harold, did you get my message ? | |
Jesus, yes. That was hilarious. That was you, wasn't it ? | |
Yeah, naturally. Bateman killing Allen and the escort girls. | |
That's fabulous. That's rich. What exactly do you mean ? | |
The message you left. By the way, Davis, how's Cynthia ? You're still seeing her, right ? | |
W-Wait, Harold. What do you mean ? | |
Excuse me. Nothing. It's good to see you. | |
Is that Edward Towers ? | |
Carnes, wait. Uh-- | |
Davis, I'm not one to bad-mouth anyone. Your joke was amusing. | |
But come on, man. You had one fatal flaw: | |
Bateman is such a dork. | |
Such a boring, spineless lightweight. | |
Now, if you said Bryce or Mc Dermott. Otherwise, it was amusing. | |
Now, if you'll excuse me, I really must be going. | |
Wait. Uh-- Stop. | |
I did it, Carnes. | |
I killed him. | |
I'm Patrick Bateman. | |
I chopped Allen's fucking head off. | |
The whole message I left on your machine was true. | |
Excuse me. I really must be going now. | |
No. No, listen. | |
Don't you know who I am ? | |
I'm not Davis. I'm Patrick Bateman. | |
We talk on the phone all the time. | |
Don't you recognize me ? | |
You're my lawyer. | |
Now, Carnes, listen. | |
Listen very, very carefully. | |
I killed Paul Allen, | |
and I liked it. | |
I can't make myself any clearer. | |
But that's simply not possible. And I don't find this funny anymore. | |
It never was supposed to be. Why isn't it possible ? | |
It's just not. Why not, you stupid bastard ? | |
Because I had dinner with Paul Allen... | |
twice in London just ten days ago. | |
No, you... | |
didn't. Now, if you'll excuse me. | |
We've seen the results of that mistrust... | |
in the form of lies, provisions in the states. | |
We need to find a way to cooperate while realizing foreign policy... | |
can't be run by committee. | |
And I believe there's now the growing sense... | |
that we can accomplish more by cooperating. | |
And in the end, this maybe the eventual blessing in disguise... | |
to come out of the Iran-Contra mess. | |
How can he lie like that ? | |
How can he pull that shit ? What shit ? | |
Now, where do we have reservations at ? | |
I'm not really hungry, but I'd like to have reservations someplace. | |
How can you be so fucking, | |
I don't know, cool about it ? | |
Some guys arejust born cool, I guess. | |
Bateman ? | |
- What are you so fucking zany about ? - I'm just a happy camper. | |
Rockin' and a rollin' ! | |
Oh, brother, look. | |
He presents himself as this harmless old codger, but inside-- | |
but inside-- | |
But inside doesn't matter. | |
Inside ? Believe or not, Bryce, we're actually listening to you. | |
Come on, Bateman. What do you think ? | |
- Whatever. - Whose moronic idea was it to order dry beers ? | |
I need a scotch. | |
There are no more barriers to cross. | |
All I have in common with the uncontrollable and the insane, | |
the vicious and the evil, all the mayhem I have caused... | |
and my utter indifference toward it, | |
I have now surpassed. | |
My pain is constant and sharp... | |
and I do not hope for a better world for anyone. | |
In fact, I want my pain to be inflicted on others. | |
I want no one to escape. | |
But even after admitting this, | |
there is no catharsis. | |
My punishment continues to elude me... | |
and I gain no deeper knowledge of myself. | |
No new knowledge can be extracted from my telling. | |
This confession has meant... nothing. | |
Word. | |
Come on. | |
Why? | |
Who me? | |
Why? | |
Feet don’t fail me now | |
Take me to the finish line | |
Oh my heart it breaks every step that I take | |
But I’m hoping at the gates, | |
They’ll tell me that you’re mine | |
Walking through the city streets | |
Is it by mistake or design | |
I feel so alone on the Friday nights | |
Can you make it feel like home, if I tell you you’re mine? | |
It's like I told you honey | |
Don’t make me sad, don’t make me cry | |
Sometimes love is not enough and the road gets tough | |
I don’t know why | |
Keep making me laugh | |
Let’s go get high | |
The road is long, we carry on | |
Try to have fun in the meantime | |
Come on take a walk on the wild side | |
Let me kiss you hard in the pouring rain | |
You like your girls insane | |
Choose your last words, this is the last time | |
Cause you and I, we were born to die | |
Lost but now I am found | |
I can see but once I was blind | |
I was so confused as a little child | |
Trying to take what I could get | |
Scared that I couldn't find | |
All the answers honey | |
Don’t make me sad, don’t make me cry | |
Sometimes love is not enough and the road gets tough | |
I don’t know why | |
Keep making me laugh | |
Let's go get high | |
The road is long, we carry on | |
Try to have fun in the meantime | |
Come on take a walk on the wild side | |
Let me kiss you hard in the pouring rain | |
You like your girls insane | |
Choose your last words, | |
This is the last time | |
Cause you and I | |
We were born to die [3x] | |
Come on and take a walk on the wild side | |
Let me kiss you hard in the pouring rain | |
You like your girls insane | |
Don’t make me sad, don’t make me cry | |
Sometimes love is not enough and the road gets tough | |
I don’t know why | |
Keep making me laugh | |
Let's go get high | |
The road is long, we carry on | |
Try to have fun in the meantime | |
Come on take a walk on the wild side | |
Let me kiss you hard in the pouring rain | |
You like your girls insane... | |
Choose your last words, | |
This is the last time | |
Cause you and I | |
We were born to die | |
My old man is a bad man but | |
I can't deny the way he holds my hand | |
And he grabs me, he has me by my heart | |
He doesn't mind I have a Las Vegas past | |
He doesn't mind I have an LA crass way about me | |
He loves me with every beat of his cocaine heart | |
Swimming pool glimmering darling | |
White bikini off with my red nail polish | |
Watch me in the swimming pool bright blue ripples you | |
Sitting sipping on your black Cristal | |
Oh yeah | |
Light of my life, fire of my loins | |
Be a good baby, do what I want | |
Light of my life, fire of my loins | |
Give me them gold coins, gimme them coins | |
And I'm off to the races, cases of Bacardi chasers | |
Chasing me all over town | |
Cause he knows I'm wasted, facing | |
Time again at Riker's Island and I won't get out | |
Because I'm crazy, baby I need you to come here and save me | |
I'm your little scarlet, starlet singing in the garden | |
Kiss me on my open mouth | |
Ready for you | |
My old man is a tough man but | |
He's got a soul as sweet as blood red jam | |
And he shows me, he knows me | |
Every inch of my tar black soul | |
He doesn't mind I have a flat broke down life | |
In fact he says he thinks it's why he might like about me | |
Admires me, the way I roll like a Rolling Stone | |
Likes to watch me in the glass room bathroom, Chateau Marmont | |
Slippin' on my red dress, puttin' on my makeup | |
Glass film, perfume, cognac, lilac | |
Fumes, says it feels like heaven to him | |
Light of his life, fire of his loins | |
Keep me forever, tell me you own me | |
Light of your life, fire of your loins | |
Tell me you own me, gimme them coins | |
And I'm off to the races, cases of Bacardi chasers | |
Chasing me all over town | |
Cause he knows I'm wasted, facing | |
Time again at Riker's Island and I won't get out | |
Because I'm crazy, baby I need you to come here and save me | |
I'm your little scarlet, starlet singing in the garden | |
Kiss me on my open mouth | |
Now I'm off to the races, laces | |
Leather on my waist is tight and I am fallin' down | |
I can see your face is shameless, Cipriani's basement | |
Love you but I'm going down | |
God I'm so crazy, baby, I'm sorry that I'm misbehaving | |
I'm your little harlot, starlet, Queen of Coney Island | |
Raising hell all over town | |
Sorry 'bout it | |
My old man is a thief and I'm gonna stay and pray with him 'til the end | |
But I trust in the decision of the Lord to watch over us | |
Take him when he may, if he may | |
I'm not afraid to say that I'd die without him | |
Who else is gonna put up with me this way? | |
I need you, I breathe you, I never leave you | |
They would rue the day I was alone without you | |
You're lying with your gold chain on, cigar hanging from your lips | |
I said "Hon' you never looked so beautiful as you do now, my man." | |
And we're off to the races, places | |
Ready, set the gate is down and now we're goin' in | |
To Las Vegas chaos, Casino Oasis, honey it is time to spin | |
Boy you're so crazy, baby, I love you forever not maybe | |
You are my one true love, you are my one true love | |
You are my one true love | |
Blue jeans, white shirt | |
Walked into the room you know you made my eyes burn | |
It was like, James Dean, for sure | |
You're so fresh to death and sick as ca-cancer | |
You were sorta punk rock, I grew up on hip hop | |
But you fit me better than my favourite sweater, and I know | |
That love is mean, and love hurts | |
But I still remember that day we met in December, oh baby! | |
I will love you 'til the end of time | |
I would wait a million years | |
Promise you'll remember that you're mine | |
Baby can you see through the tears | |
Love you more | |
Than those bitches before | |
Say you'll remember, oh baby, say you'll remember, oh baby ooh | |
I will love you 'til the end of time | |
Big dreams, gangster | |
Said you had to leave to start your life over | |
I was like, “No please, stay here, | |
We don't need no money we can make it all work,” | |
But he headed out on Sunday, said he'd come on Monday | |
I stayed up waitin', anticipatin', and pacin' | |
But he was chasing paper | |
"Caught up in the game" ‒ that was the last I heard | |
I will love you 'til the end of time | |
I would wait a million years | |
Promise you'll remember that you're mine | |
Baby can you see through the tears | |
Love you more | |
Than those bitches before | |
Say you'll remember, oh baby, say you'll remember, oh baby ooh | |
I will love you 'til the end of time | |
You went out every night | |
And baby that's alright | |
I told you that no matter what you did I'd be by your side | |
Cause Imma ride or die | |
Whether you fail or fly | |
Well shit at least you tried. | |
But when you walked out that door, a piece of me died | |
I told you I wanted more-but that's not what I had in mind | |
I just want it like before | |
We were dancing all night | |
Then they took you away-stole you out of my life | |
You just need to remember.... | |
I will love you 'til the end of time | |
I would wait a million years | |
Promise you'll remember that you're mine | |
Baby can you see through the tears | |
Love you more | |
Than those bitches before | |
Say you'll remember, oh baby, say you'll remember, oh baby ooh | |
I will love you 'til the end of time | |
Swinging in the backyard | |
Pull up in your fast car | |
Whistling my name | |
Open up a beer | |
And you say, "Get over here | |
And play a video game." | |
I'm in his favorite sun dress | |
Watching me get undressed | |
Take that body downtown | |
I say, "You the bestest." | |
Lean in for a big kiss | |
Put his favorite perfume on | |
Go play a video game | |
It's you, it's you, it's all for you | |
Everything I do | |
I tell you all the time | |
Heaven is a place on earth with you | |
Tell me all the things you wanna do | |
I heard that you like the bad girls | |
Honey, is that true? | |
It's better than I ever even knew | |
They say that the world was built for two | |
Only worth living if somebody is loving you | |
Baby, now you do | |
Singing in the old bars | |
Swinging with the old stars | |
Living for the fame | |
Kissing in the blue dark | |
Playing pool and wild darts | |
Video games | |
He holds me in his big arms | |
Drunk and I am seeing stars | |
This is all I think of | |
Watching all our friends fall | |
In and out of Old Paul's | |
This is my idea of fun | |
Playing video games | |
It's you, it's you, it's all for you | |
Everything I do | |
I tell you all the time | |
Heaven is a place on earth with you | |
Tell me all the things you wanna do | |
I heard that you like the bad girls | |
Honey, is that true? | |
It's better than I ever even knew | |
They say that the world was built for two | |
Only worth living if somebody is loving you | |
Baby, now you do | |
Now you do | |
Now you do | |
Now you do | |
Now, now you do | |
Now you do | |
Now you do | |
It's you, it's you, it's all for you | |
Everything I do | |
I tell you all the time | |
Heaven is a place on earth with you | |
Tell me all the things you wanna do | |
I heard that you like the bad girls | |
Honey, is that true? | |
It's better than I ever even knew | |
They say that the world was built for two | |
Only worth living if somebody is loving you | |
Baby, now you do | |
Now you do | |
Now you do | |
Now you do | |
(Now you do) | |
Now you do | |
Now you do | |
Now you do | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want | |
Diet mountain dew, baby, New York City | |
Never was there ever a girl so pretty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Diet mountain dew, baby, New York City | |
Can we get it now low, down and gritty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Baby put on heart shaped sunglasses | |
Cause we gonna take a ride | |
I’m not gonna listen to what the past says | |
I’ve been waiting up all night | |
Take another drag turn me to ashes | |
Ready for another lie? | |
Says he’s gonna teach me just what fast is | |
Say it’s gonna be alright | |
Diet mountain dew, baby, New York City | |
Never was there ever a girl so pretty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Diet mountain dew, baby, New York City | |
Can we get it now low, down and gritty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Let’s take Jesus off the dashboard | |
Got enough on his mind | |
We both know just what we’re here for | |
Saved too many times | |
Maybe I like this roller coaster | |
Maybe it keeps me high | |
Maybe the speed it brings me closer | |
I could sparkle up your eye | |
Diet mountain dew, baby, New York City | |
Never was there ever a girl so pretty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Diet mountain dew, baby, New York City | |
Can we get it now low, down and gritty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want you | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want you, I want you | |
Diet mountain dew, baby, New York City | |
Never was there ever a girl so pretty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Baby stoppin’ at seven eleven | |
There in his white Pontiac heaven | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Diet mountain dew, baby, New York City | |
Never was there ever a girl so pretty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
Diet mountain dew, baby, New York City | |
Can we get it now low, down and gritty | |
Do you think we’ll be in love forever? | |
Do you think we’ll be in love? | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want | |
You’re no good for me | |
Baby you’re no good for me | |
You’re no good for me | |
But baby I want you, I want | |
Happy Birthday to you | |
Happy Birthday to you | |
Happy Birthday, Mr. President | |
Happy Birthday to you | |
Thanks, Mr. President | |
For all the things you've done | |
The battles that you've won | |
The way you deal with US Steel and our problems by the ton | |
We thank you so much | |
Everybody | |
Money is the anthem | |
Of success | |
So before we go out | |
What's your address? | |
I'm your National Anthem | |
God, you're so handsome | |
Take me to the Hamptons | |
Bugatti Veyron | |
He loves to romance them | |
Reckless abandon | |
Holdin' me for ransom | |
Upper echelon | |
He says to "be cool" but | |
I don't know how yet | |
Wind in my hair | |
Hand on the back of my neck | |
I said, "Can we party later on?" | |
He said, "Yes, yes, yes" | |
Tell me I'm your National Anthem | |
Ooh, yeah, baby, bow down | |
Making me so wild now | |
Tell me I'm your National Anthem | |
Sugar, sugar, how now | |
Take your body down town | |
Red, white, blue is in the sky | |
Summer's in the air and | |
Baby, heaven's in your eyes | |
I'm your National Anthem | |
Money is the reason | |
We exist | |
Everybody knows it, it's a fact | |
Kiss, kiss | |
I sing the National Anthem | |
While I'm standing over your body | |
Hold you like a python | |
And you can't keep your hands off me | |
Or your pants on | |
See what you've done to me | |
King of Chevron | |
He said to "be cool" but | |
I'm already coolest | |
I said to “get real", | |
“Don't you know who you're dealing with? | |
Um, do you think you'll buy me lots of diamonds?” | |
Tell me I'm your National Anthem | |
Ooh, yeah, baby, bow down | |
Making me so wild now | |
Tell me I'm your National Anthem | |
Sugar, sugar, how now | |
Take your body down town | |
Red, white, blue is in the sky | |
Summer's in the air and | |
Baby, heaven's in your eyes | |
I'm your National Anthem | |
It's a love story for the new age | |
For the six page | |
We're on a quick sick rampage | |
Wining and dining | |
Drinking and driving | |
Excessive buying | |
Overdose and dyin' | |
On our drugs and our love | |
And our dreams and our rage | |
Blurring the lines between real and the fake | |
Dark and lonely | |
I need somebody to hold me | |
He will do very well | |
I can tell, I can tell | |
Keep me safe in his bell tower, hotel | |
Money is the anthem of success | |
So put on mascara, and your party dress | |
I'm your National Anthem | |
Boy, put your hands up | |
Give me a standing ovation | |
Boy, you have landed | |
Babe, in the land of | |
Sweetness and Danger | |
Queen of Saigon | |
Tell me I'm your National Anthem | |
Ooh, yeah, baby, bow down | |
Making me so wild now | |
Tell me I'm your National Anthem | |
Sugar, sugar, how now | |
Take your body down town | |
Red, white, blue is in the sky | |
Summer's in the air and | |
Baby, heaven's in your eyes | |
I'm your National Anthem | |
Money is the anthem | |
God, you're so handsome | |
Money is the anthem | |
Of success | |
Money is the anthem | |
God, you're so handsome | |
Money is the anthem | |
Of success | |
Money is the anthem | |
God, you're so handsome | |
Money is the anthem | |
Of success | |
Money is the anthem | |
God, you're so handsome | |
Money is the anthem | |
Of success | |
[Music video spoken ending:] | |
And I remember when I met him. | |
It was so clear that he was the only one for me. | |
We both knew right away. | |
And as the years went on things got more difficult, | |
We were faced with more challenges. | |
I begged him to stay, | |
Tried to remember what we had in the beginning. | |
He was charismatic, magnetic, electric, and everybody knew him | |
When he walked in every woman's head turned. | |
Everyone stood up to talk to him. | |
He was like this hybrid, this mix of a man who couldn't contain himself. | |
I always got the sense that he became torn between being a good person and missing out on all of the opportunities that life could offer a man as magnificent as him. | |
And in that way, I understood him. | |
And I loved him, I loved him, I loved him, I loved him. | |
And I still love him, I love him. | |
All my friends tell me I should move on | |
I'm lying in the ocean, singing your song | |
Ahhh, that's how you sang it | |
Loving you forever, can't be wrong | |
Even though you're not here, won't move on | |
Ahhh, that's how we played it | |
And there's no remedy | |
For memory | |
Your face is like a melody, | |
It won't leave my head | |
Your soul is haunting me | |
And telling me | |
That everything is fine | |
But I wish I was dead | |
(dead like you) | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
I'm scared that you | |
Won't be waiting on the other side | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
I'm scared that you | |
Won't be waiting on the other side | |
All my friends ask me why I stay strong | |
Tell 'em when you find true love it lives on | |
Ahhh, that's why I stay here | |
And there's no remedy | |
For memory | |
Your face is like a melody, | |
It won't leave my head | |
Your soul is haunting me | |
And telling me | |
That everything is fine | |
But I wish I was dead | |
(dead like you) | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
I'm scared that you | |
Won't be waiting on the other side | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
But there's no you, | |
Except in my dreams tonight, | |
Oh oh oh oh, ha ha ha ha | |
I don't wanna wake up from this tonight | |
Oh oh oh oh, ha ha ha ha | |
I don't wanna wake up from this tonight | |
There's no relief, | |
I see you in my sleep | |
And everybody's rushing me, | |
But I can feel you touching me | |
There's no release, | |
I feel you in my dreams | |
Telling me I'm fine | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
I'm scared that you | |
Won't be waiting on the other side | |
Every time I close my eyes | |
It's like a dark paradise | |
No one compares to you | |
But there's no you, | |
Except in my dreams tonight, | |
Oh oh oh oh, ha ha ha ha | |
I don't wanna wake up from this tonight | |
Oh oh oh oh, ha ha ha ha | |
I don't wanna wake up from this tonight | |
Not even they can stop me now | |
Boy, I’ll be flying overhead | |
Their heavy words can’t bring me down | |
Boy I've been raised from the dead | |
No one even knows how hard life was | |
I don't even think about it now because | |
I've finally found you | |
Oh, sing it to me | |
Now my life is sweet like cinnamon | |
Like a fucking dream I'm living in | |
Baby love me cause I'm playing on the radio | |
(How do you like me now?) | |
Pick me up and take me like a vitamin | |
'Cause my body's sweet like sugar venom oh yeah | |
Baby love me cause I'm playing on the radio | |
(How do you like me now?) | |
American dreams came true somehow | |
I swore I'd chase until I was dead | |
I heard the streets were paved with gold | |
That's what my father said | |
No one even knows what life was like | |
Now I'm in LA and it's paradise | |
I've finally found you | |
Oh, sing it to me | |
Now my life is sweet like cinnamon | |
Like a fucking dream I'm living in | |
Baby love me cause I'm playing on the radio | |
(How do you like me now?) | |
Pick me up and take me like a vitamin | |
'Cause my body's sweet like sugar venom oh yeah | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
(On the radio) | |
Sweet like cinnamon | |
Like a fucking dream I'm living in | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
(On the radio) | |
Sweet like cinnamon | |
Like a fucking dream I'm living in | |
I've finally found you | |
(Oh, sing it to me) | |
Now my life is sweet like cinnamon | |
Like a fucking dream I'm living in | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
Pick me up and take me like a vitamin | |
'Cause my body's sweet like sugar venom oh yeah | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
Oh, sing it to me | |
Now my life is sweet like cinnamon | |
Like a fucking dream I'm living in | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
Pick me up and take me like a vitamin | |
'Cause my body's sweet like sugar venom oh yeah | |
Baby love me 'cause I'm playing on the radio | |
(How do you like me now?) | |
Darling, darling, doesn't have a problem | |
Lying to herself 'cause her liquor's top shelf | |
It's alarming honestly how charming she can be | |
Fooling everyone, telling them she's having fun | |
She says, "You don't want to be like me | |
Don't wanna see all the things I've seen." | |
I'm dying, I'm dying | |
She says, "You don't want to get this way | |
Famous and dumb at an early age." | |
Lying, I’m lying | |
The boys, the girls, they all like Carmen | |
She gives them butterflies, bats her cartoon eyes | |
She laughs like god, her mind's like a diamond | |
Audio tune lies, she's still shining | |
Like lightning, ohh, white lightning | |
Carmen, Carmen, staying up til morning | |
Only seventeen, but she walks the streets so mean | |
It's alarming truly how disarming you can be | |
Eating soft ice cream | |
Coney Island Queen | |
She says, "You don't want to be like me | |
Looking for fun, getting high for free." | |
I'm dying, I'm dying | |
She says, "You don't want to get this way | |
Street walk at night, and a star by day." | |
It's tiring, tiring | |
The boys, the girls, they all like Carmen | |
She gives them butterflies, bats her cartoon eyes | |
She laughs like god, her mind's like a diamond | |
Audio tune lies, she's still shining | |
Like lightning, ohh, white lightning | |
Baby's all dressed up with nowhere to go | |
That's the little story of the girl you know | |
Relying on the kindness of strangers | |
Tying cherry knots, smiling, doing party favors | |
Put your red dress on, put your lipstick on | |
Sing your song, song, now the camera's on | |
And you're alive again | |
Mon amour, je sais que tu m'aimes aussi | |
Tu as besoin de moi | |
Tu as besoin de moi dans ta vie | |
Tu ne peux plus vivre sans moi | |
Et je mourrais sans toi | |
Je tuerais pour toi | |
[English translation: | |
My love, I know you love me, too | |
You need me, | |
You need me in your life, | |
You can not live without me, | |
And I'd die without you, | |
I would kill for you] | |
The boys, the girls, they all like Carmen | |
She gives them butterflies, bats her cartoon eyes | |
She laughs like god, her mind's like a diamond | |
Audio tune lies, she's still shining | |
Like lightning, ohh, white lightning | |
Like lightning, ohh, white lightning | |
Darling, darling, doesn't have a problem | |
Lying to herself 'cause her liquor's top shelf | |
You said I was the most exotic flower | |
Holding me tight in our final hour | |
I don't know how you convince them and get them, but | |
I don't know what you do, it's unbelievable | |
And I don't know how you get over, get over | |
Someone as dangerous, tainted and flawed as you | |
One for the money, and two for the show | |
I love you honey, I'm ready, I'm ready to go | |
How did you get that way? I don't know | |
You're screwed up and brilliant, | |
Look like a million dollar man, | |
So why is my heart broke? | |
You got the world but baby at what price? | |
Something so strange, hard to define | |
It isn't that hard boy to like you or love you | |
I'd follow you down down down, | |
You're unbelievable | |
If you're going crazy just grab me and take me | |
I'd follow you down down down, anywhere anywhere | |
One for the money, two for the show | |
I love you honey, I'm ready, I'm ready to go | |
How did you get that way? I don't know | |
You're screwed up and brilliant, | |
Look like a million dollar man, | |
So why is my heart broke? | |
One for the money, two for the show | |
I love you honey, I'm ready, I'm ready to go | |
How did you get that way? I don't know | |
You're screwed up and brilliant, | |
Look like a million dollar man, | |
So why is my heart broke? | |
I don't know, | |
You're screwed up and brilliant, | |
Look like a million dollar man, | |
So why is my heart broke? | |
Kiss me hard before you go | |
Summertime sadness | |
I just wanted you to know | |
That, baby, you're the best | |
I got my red dress on tonight | |
Dancing in the dark in the pale moonlight | |
Done my hair up real big beauty queen style | |
High heels off, I'm feeling alive | |
Oh, my God, I feel it in the air | |
Telephone wires above are sizzling like a snare | |
Honey, I'm on fire, I feel it everywhere | |
Nothing scares me anymore | |
(1, 2, 3, 4) | |
Kiss me hard before you go | |
Summertime sadness | |
I just wanted you to know | |
That, baby, you're the best | |
I got that summertime, summertime sadness | |
S-s-summertime, summertime sadness | |
Got that summertime, summertime sadness | |
Oh, oh, oh, oh, oh | |
I'm feelin' electric tonight | |
Cruising down the coast goin' 'bout 99 | |
Got my bad baby by my heavenly side | |
I know if I go, I'll die happy tonight | |
Oh, my God, I feel it in the air | |
Telephone wires above are sizzling like a snare | |
Honey, I'm on fire, I feel it everywhere | |
Nothing scares me anymore | |
(1, 2, 3, 4) | |
Kiss me hard before you go | |
Summertime sadness | |
I just wanted you to know | |
That, baby, you're the best | |
I got that summertime, summertime sadness | |
S-s-summertime, summertime sadness | |
Got that summertime, summertime sadness | |
Oh, oh, oh, oh, oh | |
Think I'll miss you forever | |
Like the stars miss the sun in the morning sky | |
Later's better than never | |
Even if you're gone I'm gonna drive (drive, drive) | |
I got that summertime, summertime sadness | |
S-s-summertime, summertime sadness | |
Got that summertime, summertime sadness | |
Oh, oh, oh, oh, oh | |
Kiss me hard before you go | |
Summertime sadness | |
I just wanted you to know | |
That, baby, you're the best | |
I got that summertime, summertime sadness | |
S-s-summertime, summertime sadness | |
Got that summertime, summertime sadness | |
Oh, oh, oh, oh, oh | |
Remember how we used to party up all night | |
Sneaking out and looking for a taste of real life | |
Drinking in the small town firelight | |
(Pabst Blue Ribbon on ice) | |
Sweet sixteen and we had arrived | |
Walking down the streets as they whistle, "Hi, hi!" | |
Stealin' police cars with the senior guys | |
Teachers said we'd never make it out alive | |
There she was my new best friend | |
High heels in her hands, swayin' in the wind | |
While she starts to cry, mascara runnin' down her little Bambi eyes: | |
"Lana, how I hate those guys." | |
This is what makes us girls | |
We all look for heaven and we put our love first | |
Somethin' that we'd die for, it's our curse | |
Don't cry about it, don't cry about it | |
This is what makes us girls | |
We don't stick together 'cause we put our love first | |
Don't cry about him, don't cry about him | |
It's all gonna happen | |
And that's where the beginning of the end begun | |
Everybody knew that we had too much fun | |
We were skippin' school and drinkin' on the job | |
(With the boss) | |
Sweet sixteen and we had arrived | |
Baby's table dancin' at the local dive | |
Cheering our names in the pink spotlight | |
Drinkin' cherry schnapps in the velvet night | |
Yo we used to go break in | |
To the hotel, glimmer and we’d swim | |
Runnin' from the cops in our black bikini tops | |
Screaming, "Get us while we're hot. Get us while we're hot." | |
(Come on take a shot) | |
This is what makes us girls | |
We all look for heaven and we put our love first | |
Somethin' that we'd die for, it's our curse | |
Don't cry about it, don't cry about it | |
This is what makes us girls | |
We don't stick together 'cause we put our love first | |
Don't cry about him, don't cry about him | |
It's all gonna happen | |
The prettiest in crowd that you had ever seen | |
Ribbons in our hair and our eyes gleamed mean | |
A freshmen generation of degenerate beauty queens | |
And you know something? | |
They were the only friends I ever had | |
We got into trouble and when stuff got bad | |
I got sent away, I was waving on the train platform | |
Crying 'cause I know I'm never comin' back. | |
This is what makes us girls | |
We all look for heaven and we put our love first | |
Somethin' that we'd die for, it's our curse | |
Don't cry about it, don't cry about it | |
This is what makes us girls | |
We don't stick together 'cause we put our love first | |
Don't cry about him, don't cry about him | |
It's all gonna happen | |
Share my body and my mind with you, | |
That's all over now. | |
Did what I had to do, | |
'Cause it's so far past me now. | |
Share my body and my life with you, | |
That's way over now. | |
There's not more I can do, | |
You're so famous now. | |
Got your bible, got your gun, | |
And you like to party and have fun. | |
And I like my candy and your women, | |
I'm finally happy now that you're gone. | |
With my little red party dress on, | |
Everybody knows that I'm the best, I'm crazy. | |
Get a little bit of bourbon in ya, | |
Get a little bit suburban and go crazy. | |
'Cause you're young, you're wild, you're free, | |
You're dancin' circles around me, | |
You're fuckin' crazy, | |
Oh, you're crazy for me. | |
I shared my body and my mind with you, | |
That's all over now, | |
I did what I had to do, | |
I found another anyhow. | |
Share my body and my mind with you, | |
That's all over now, | |
I did what I had to do, | |
I could see you leaving now. | |
I got your bible and your gun, | |
And you love to party and have fun. | |
And I love your women and all of your heroin, | |
And I'm so happy now that you're gone. | |
With my little red party dress on, | |
Everybody knows that I'm a mess, I'm crazy, yeah. | |
Get a little bit of bourbon in ya, | |
Go a little bit suburban and go crazy. | |
'Cause you're young, you're wild, you're free, | |
You're dancin' circles around me, | |
You're fuckin' crazy, | |
Oh, you're crazy for me. | |
Got your bible and your gun, | |
You like your women and you like fun. | |
I like my candy and your heroin, | |
And I'm so happy, so happy now you're gone. | |
With my little red party dress on, | |
Everybody knows that I'm a mess, I'm crazy, yeah. | |
Get a little bit of bourbon in ya, | |
Get a little bit suburban and go crazy. | |
'Cause you're young, you're wild, you're free, | |
You're dancin' circles around me, | |
You're fuckin' crazy, | |
Oh, you're crazy for me. | |
Oh, oh, you're crazy for me. | |
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