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Looking at the Toronto-Dominion Centre today, you can definitely see why it would be the perfect setting for that climax. It’s unassuming, postmodernist, and by today’s standards, very generic. So much of Bateman’s characterization lies in the idea that he’s “better” than everyone else because of his two identities — but deep down, he’s just as scared and boring as everyone else, no matter how many people he kills to convince himself otherwise.
“The whole idea of the mistaken identity is in the towers, because he runs into one thinking it’s his office, and it’s not,” Harron told e-flux, “and he ends up shooting a guard, and then he runs across the plaza to the other identical tower, where he finally makes a confession to his lawyer.”
By making that location the place where he confesses his crimes, he’s accepted his normalcy and finally, albeit unwillingly, relinquished his desperation to be unique. The only problem for him is that his identities have merged so much, his sense of reality has broken, leaving the question of whether or not he actually is a murderer in the air. This is demonstrated in the climactic scene where Bateman runs into the Toronto-Dominion Centre towers, frantic and lost.
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