Hidden in a toolbox, in the rafters of his four-car garage, was an envelope full of pictures taken by a private detective...They were pictures of a scrawny, boyish looking nine year old with a wide mouth and a tangle of brown hair...Her eyes were oblong and deep set, their color hidden from the camera by the slant of the sun. The angles and planes of her face were oddly beautiful just then, in that moment, frozen on Kodak paper. A hint of the woman she would someday become.

In March of 1915, all three of Lord and Lady Chetwynd-Pitt's sons'd been gassed, blown up or machine-gunned in the very same week at the battle of Neuve-Chapelle. All three. Imagine that: On Monday, you've got three sons, by Friday you've got none. Lady Albertina had just, y'know, caved in. Physically, mentally, spiritually, brutally.

I put it to the great man [Hitchcock], the key to fictitious terror is partition or containment: so long as the Bates Motel is sealed off from our world, we want to peer in, like at a scorpion enclosure. But a film that shows the world is a Bates Motel, well, that's... the stuff of Buchloe, dystopia, depression. We'll dip our toes in a predatory, amoral, godless unive3rse, but only our toes.

What if the differences between social strata stem not from genomics or inherent xcellence or even dollars, but merely differences in knowledge? Would this not mean the whole Pyramid is built on shifting sands?" I speculated such a suggestion could be seen as a serious deviancy. Melphi seemed delited. "Try this for deviancy: fabricants are mirrors held up to purebloods' consciences; what purebloods see reflected there sickens them. So they blame you for holding up the mirror." I hid my shock by asking when purebloods might blame themselves. Melphi relplied, "History suggests, not until they are made to.

Depression is evil. Before you know it, it takes over and there's no escaping it.

...evil fascinates and repels us - it's a terrible beauty that enthralls us the more we stare into it...