Bio-Ethics essays

Bio-Ethics essays Bioethics is the study of the ethical problems arising from scientific advances. This usually is dealt with in the field of biology and medicine, (Webster 1). Bioethical research is beneficial to the prosperity and growth of humans. With advances in the biology field, humans can open doors to the unknown world. Stem cells present a new way to explore fundamental questions of biology (Sharples and Pellmar 55). This will prove to be extremely beneficial to the success of the biology field. Advancement in genetics will create more opportunities for cures of harmful diseases. Bioethics produces many benefits and even more opportunities. Stem cell research offers unprecedented opportunities for developing new treatments for debilitating diseases for which there are few or no cures (Sharples and Pellmar 55). By using stem cell research, humankind can help increase the longevity and prosperity of our lives. If humans can live longer healthier lives, in turn they will be able to find new medicines. This will lead to happier and more productive lives. With advances in the field of biology, there wouldnt be any boundaries to what scientists cant improve. Scientists have already begun to research and make new and improved foods. Some people say that these adjustments to cells are harmful. Yet, Scientists know of no generic harms associated with genetically engineered organisms (www.ucsusa.org). Why wouldnt humans want to take the most productive way of getting food? By genetically engineering plants, food quantities would be greatly increased. Along with increasing quantity comes increased quality. Genetically engineering foods helps bring out the best of the best. It would rid the agricultural industry of rotten corn, half developed tomatoes, and small corn husks. Destruction done to crops because of insects and weeds are a major reason why ...

Introduction to Beaux Arts Architecture

Introduction to Beaux Arts Architecture Beaux Arts is an opulent subset of the Neoclassical and Greek Revival architectural styles. A dominant design during the Gilded Age, Beaux Arts was popular but short-lived in the United States from roughly 1885-1925. Also known as Beaux-Arts Classicism, Academic Classicism, or Classical Revival, Beaux Arts is a late and eclectic form of Neoclassicism. It combines classical architecture from ancient Greece and Rome with Renaissance ideas. Beaux-Arts architecture became part of the American Renaissance movement. Beaux Arts is characterized by order, symmetry, formal design, grandiosity, and elaborate ornamentation. Architectural characteristics include balustrades, balconies, columns, cornices, pilasters and triangular pediments. Stone exteriors are massive and grandiose in their symmetry; interiors are typically polished and lavishly decorated with sculptures, swags, medallions, flowers, and shields. Interiors will often have a grand stairway and opulent ballroom. Large arches rival the ancient Roman arches. In the United States, the Beaux-Arts style led to planned neighborhoods with large, showy houses, wide boulevards, and vast parks. Because of the size and grandiosity of the buildings, the Beaux-Arts style is most commonly used for public buildings like museums, railway stations, libraries, banks, courthouses, and government buildings. In the US, Beaux Arts was used in some of the public architecture in Washington, DC, most notably Union Station by architect Daniel H. Burnham and the Library of Congress (LOC) Thomas Jefferson building on Capitol Hill. The Architect of the Capitol describes the LOC as theatrical and heavily ornamented, which is perfectly suited to a young, wealthy and imperialistic nation in its Gilded Age. In Newport, Rhode Island, the Vanderbilt Marble House and Rosecliff Mansion stand out as grand Beaux-Arts cottages. In New York City, Grand Central Terminal, Carnegie Hall, the Waldorf, and the New York Public Library all express Beaux-Arts grandeur. In San Francisco, California, the Palace of Fine Arts and the Asian Art Museum made the California Gold Rush a reality. Besides Burnham, other architects associated with the style include Richard Morris Hunt (1827-1895), Henry Hobson Richardson (1838-1886), Charles Follen McKim (1847-1909), Raymond Hood (1881-1934), and George B. Post (1837-1913). The popularity of the Beaux-Arts style waned in the 1920s, and within 25 years the buildings were considered ostentatious. Today the phrase beaux arts is used by English-speaking people to attach a dignity and even a frivolity to the ordinary, such as the volunteer fundraising group named Beaux Arts in Miami, Florida. Its been used to suggest luxury and sophistication, as the Marriott hotel chain expresses with its Hotel Beaux Arts Miami. Its also part of a famous poem, Musà ©e des Beaux Arts, by W.H. Auden. French in Origin In French, the term beaux arts (pronounced BOZE-ar) means fine arts or beautiful arts. The Beaux-Arts style emanated from France, based on ideas taught at the legendary LÉcole des Beaux Arts (The School of Fine Arts), one of the oldest and most esteemed schools of architecture and design in Paris. The turn into the 20th century was a time of great growth throughout the world. It was a time after the American Civil War when the United States was truly becoming a country- and a world power. It was a time when architecture in the US was becoming a licensed profession requiring schooling. These French ideas of beauty were brought to America by American architects fortunate enough to have studied at the only internationally known school of architecture, L’Ecole des Beaux Arts. European aesthetics spread to wealthy areas of the world that had profited from industrialization. It is found mostly in urban areas, where it can make a more public statement of prosperity or an embarras sment of riches. In France, Beaux-Arts design was most popular during what became known as the Belle Époque, or the beautiful age. Perhaps the most important if not best-known example of this French opulence within a logical design is the Paris Opà ©ra house by the French architect Charles Garnier. Definitions of Beaux-Arts Architecture Historical and eclectic design on a monumental scale, as taught at the Ecole des Beaux Arts in Paris in the 19th cent.- Dictionary of Architecture and Construction, Cyril M. Harris, ed., McGraw- Hill, 1975, p. 48 The Beaux Arts is a classical style with the full range of Greco-Roman elements: the column, arch, vault and dome. It is the showy, almost operatic, manner in which these elements are composed that gives the style its characteristic flavor.- Louisiana Division of Historic Preservation To Hyphenate or Not Generally, if beaux arts is used alone, the words are not hyphenated. When used together as an adjective to describe a style or architecture, the words are often hyphenated. Some English dictionaries always hyphenate these non-English words. About Musà ©e des Beaux Arts The English poet W. H. Auden wrote a poem called Musà ©e des Beaux Arts in 1938. In it, Auden describes a scene from a painting by the artist Peter Breughel, a piece of art that Auden observed while visiting the Museum of Fine Arts in Brussels, Belgium. The poems theme of the commonplace of suffering and tragedy- how it takes place / While someone else is eating or opening a window or just walking dully along- is as relevant today as it ever was. Is it ironic or on purpose that the painting and the poem are paired with one of the most visibly ornate styles of architecture in an era of conspicuous consumption? Sources Richard Morris Hunt, Beaux-Arts Architectural Drawings The Architecture of the Ecole Des Beaux-Arts by Arthur Drexler, 1977 The Beaux Arts Style by Jonathan and Donna Fricker, Fricker Historic Preservation Services, LLC, February 2010, Louisiana Division of Historic Preservation (PDF) [accessed July 26, 2016]; Beaux Arts Architecture on Capitol Hill, Architect of the Capitol [accessed April 13, 2017]

Ricardos Theory of Comparative Advantage Essay Example | Topics and Well Written Essays - 750 words

Ricardos Theory of Comparative Advantage - Essay Example Ricardo's Theory of Comparative Cost states that trade helps two parties - whether individuals or countries - if they focus on the production of the commodity in which they have a comparative advantage, and then trade that one for the commodity for which they do not have a comparative advantage. A country has an absolute advantage if it can produce all goods cheaper than another country. Even a country which has an absolute advantage should not produce all goods. It should concentrate on the production of that commodity in which it has a comparative advantage, and exchange it for the goods it needs - produced by other countries. These countries would be producing those goods in which it has the least comparative disadvantage, and overall consumption and satisfaction would thus be maximized. Ricardo used the example of England and Portugal producing wine and corn to explain the theory. Portugal finds it easier to produce wine instead of cloth although it can produce both cheaper than England does. England produces cloth relatively easier than it does wine, although the cost of production for both are more than when they are produced in Portugal. In this scenario it is beneficial for both countries if Portugal produces only wine, which it can do with relative ease, and England produces only cloth, in which industry it reduces its costs. Portugal trades its excess wine for England's cloth. (David Ricardo and Comparative Cost) Let us assume that one worker in Portugal can produce 8 yards of cloth or 8 gallons of wine, in a year; and one worker in England can produce 8 yards of cloth or 4 gallons of wine. Portugal has an absolute advantage in wine production, as compared to England. In cloth production, both countries are equal. However, England has a relative advantage in cloth production as against wine, when compared to Portugal. Situation 1 Both the countries have no trade. Both countries have ten thousand workers each. The production possibilities would be as follows. Portugal has 5000 workers producing wine and 5000 producing cloth. Then Portugal produces 40,000 (8 * 5000) yards of cloth, and 40,000 (8* 5000) gallons of wine. If England had 5000 workers producing wine and 5000 producing cloth then it would produce 40,000 (8* 5000) yards of cloth and 20,000 (4* 5000) gallons of wine. There is no trade, and the economies exist independently. However, total production for both economies would be 60,000 gallons of wine and 80000 yards of cloth. Situation 2: Now, let us suppose that Portugal puts all its workers in producing wine, and England puts all its workers in cloth. Then Portugal will produce 80,000 gallons of wine, and England would produce 80,000 yards of cloth. Situation 3: If England produced only wine, and Portugal only cloth, then the total wine production would be 40000 gallons and cloth production would be 80, 000 yards. Production is maximized in Situation 2, which is the one in which England has a relative advantage in the production of cloth. Ricardo's theory was a strong argument in favor of free trade, although the model was rather a simplistic one. Some of the assumptions it made do not correspond to the real world situation. It is assumed that full employment exists in the countries, and that opportunity costs are constant. Full mobility of factors of production within a country, and immobility across borders are assumed. Surely, it's not as easy

VIDEO QUESTIONS Movie Review Example | Topics and Well Written Essays - 250 words

VIDEO QUESTIONS - Movie Review Example This species of snake is not killed by the high level of toxicity in the newt’s skin so the newt has to evolve and increasing its own toxicity to finally be also able to kill the garter snake which has developed a unique resistance to its poison, unlike what a newt does with its other predators. 3. What is the trade-off for the snake in developing greater resistance to toxicity? - The snake is temporarily paralyzed or slowed down for a few minutes after eating a newt but does not die. The snake moves slower as a trade-off for developing a higher resistance but then becomes more vulnerable to its own set of predators because it cannot move fast enough to get away. 5. Why are antibiotic resistant strains of bacteria so prevalent in prisons? The drugs used in the treatment of tuberculosis were of low quality and in inadequate amount or the regimen was not followed strictly so the TB microorganisms are not killed off entirely and started to evolve into new strains or variants or hybrids which were more resistant to antibiotics. 6. How can evolution domesticate a disease? – Misuse, overuse, and widespread use of antibiotics had effectively made many disease-causing microorganisms seen in the world today to become highly-resistant. But evolution can also domesticate a disease by making it less virulent by reducing its level of toxicity through some means, such as making its spread easier. 7. What does mutualistic symbiosis mean? Give an example. Mutualistic symbiosis means different species of animals or living organisms living together which benefit them both which is opposite to the usual evolutionary picture of constant competition or the so-called biological arms-race. A group (a type of fish) is cleaned by a tiny shrimp of its numerous parasites on its skin. 8. Describe the relation among allergies and asthma among children of farmers and non-farmer. – Children who lived on farms and in contact

Management Theories and Philosophies Assignment

Management Theories and Philosophies - Assignment Example This research will begin with the statement that the Management Theory and Philosophy is referred to an independent forum that pays attention to the essential philosophical matters of management in terms of both theories as well as practice. Management includes planning, organizing, commanding, coordinating and controlling. The fundamental theories which are used in today’s management are the Classical theory and the Human Relation theory. The Classical Approach acknowledges the main part of management thought, which depends on the principle that employees do only have physical and economic needs; and the requirement for the satisfaction of job and social needs either is unimportant or does not subsist. It defines the homogenous facts on the administration of organizations. This approach supports decision making, high interest of labor and profit maximization. The analysis will focus on the contribution of various authors such as Frederick Winslow Taylor, Henri Fayol and Max W eber who have applied these theories in various disciplines. The classical approach includes Scientific Management, Administrative Management, and the Bureaucratic management. On the other hand, the Human Relation Approach focuses on the people and human being’s behavior. It refers to an organizational tool that assists in efficiency thinking and rationalization. It goes further than physical contributions in order to include cognitive, emotional, and creative aspects of workers. Employees communicate opinions, suggestions, feelings, and complaints to boost production and satisfaction.

History, Structure and Function of the Nucleus

History, Structure and Function of the Nucleus STRUCTURE AND FUNCTION OF THE NUCLEUS The nucleus was the first organelle to be discovered in 1632 by Antonie Van Leeuwenhoek who was a microscopist. He observed the nucleus in red blood cells of salmon. Furthermore nucleus is the most prominent organelle in the cell as it houses the cell`s chromosomes and is the place where all deoxyribose nucleic acid (DNA) replication and Ribose nucleic acid (RNA) synthesis occur. According to Solomon et al (2008) the nucleus averages 5 micrometers (ÂÂ µm) in diameter. The nucleus can be classified as the control centre of the cell as it helps in maintaining the integrity of the genes and by controlling the activities of the cell by gene expression. Moreover the nucleus is spheroid in shape and separated from the cytoplasm by a membrane called nuclear envelope. The nucleus consists of 4 inner parts as shown in the picture below. It consists of the nuclear envelope, nucleolus, nucleoplasm and chromatin. Pictures adapted from: http://www.agen.ufl.edu/~chyn/age2062/OnLineBiology/OLBB/www.emc.maricopa.edu/faculty/farabee/BIOBK/nucleus_1.gif last accessed on Wednesday 20.1.10 The nuclear envelope consists of two concentric membranes that separate the nuclear contents from the surrounding cytoplasm. Becker et al. (2005) illustrated that these membranes are separated by about 20 to 40 nanometres (nm).At intervals these membranes come together to form nuclear pores which consist of protein complexes. Nuclear pores control the course of materials between the nucleoplasm and cytoplasm. According to Lamb et al. (2006) the nuclear pores is approximately 80 nm in diameter. The nuclear pore complex (NPC) is formed by union of the inner and outer nuclear membranes. Therefore it facilitates the movement of certain molecules in both ways between the nucleus and the cytoplasm by the use of a 9 nm channel opening. Solomon et al. (2008) stated that the nuclear pore complex is composed of nearly 100 proteins also it consists of the cytoplasmic ring nucleoplasmic ring and the middle ring. Palgrave et al. (2007) further noticed that the nucleoplasmic side of the pore consi sts of a nuclear basket whereas the cytoplasmic side exhibits fibres extending into the cytoplasm. As the transporter protein is situated in the inner core it is responsible for transferring proteins into and out of the nucleus via receptor-mediated transport. The nucleolus is a secondary organelle that can change its size basing in ribosomal requirements. For instance if a cell produces huge amounts of protein t it definitely requires big amounts of ribosomes thus the nucleolus will increase its size to provide accommodation for the production of the proteins. Palgrave et al. (2007) stated that most of the cell`s ribosomal RNA is synthesised in the nucleolus. Moreover the nucleolus is the site mainly responsible for the assembly of ribosomes. The nucleolus consists of four components such as fibrilla centres, Pars fibrosa, Pars granulosa and nuclear matrix. The picture shown below illustrates the purpose of the nucleolus in ribosome and other ribonucleoprotein synthesis. Picture adapted from: http://www.ncbi.nlm.nih.gov/bookshelf/br.fcgi?book=mboc4part=A972rendertype=figureid=A1047 last accessed on Wednesday 20.1.10 The fibrilla centres are composed of inactive DNA where minimal synthesis of DNA and RNA takes place. The Pars fibrosa is consisted of 5 nm fibrils surrounding the fibrillar centres which contain transcriptional active DNA and the rRNA precursors are being transcribed. According to Palgrave et al. (2007) the Pars granulosa are composed of 15 nm maturing ribosomal precursor particles and the nucleolar matrix is a fibre network which participates in the organisation of the nucleolus. In addition to that the nucleoplasm is a highly viscous liquid that surrounds the chromosomes. Many substances such as the nucleotides which are necessary for replication of DNA and enzyme which direct activities that occurs in the nucleus are dissolved in the nucleoplasm. The nucleoplasm is the protoplasm within the nuclear envelope and it contains a nuclear matrix. The matrix acts as a scaffold that helps in organising the nucleoplasm. Lamb et al. (2006) noted that it contains other components such as th e structural components and functional components. The structural components include fibrillar elements, nuclear pore, nuclear lamina complex, residual nucleoli, and a residual ribonucleoprotein (RNP) network whereas the functional components are involved in the transcription and processing of mRNA and rRNA, steroid receptor binding sites, carcinogen binding sites, heat-shock proteins and viral proteins (1st antigen). DNA replication occurs when the genetic code is copied exactly before the cell division. In RNA transcription and splicing, genes are copied and adapted to form complementary strands of messenger mRNA (mRNA) which can then be translated into proteins. Lamb et al. (2006) noted that chromosomes are long strands of DNA that carry the genetic code. In eukaryotes DNA is complexed with histone and non histone proteins to form chromatin.Histones are DNA binding proteins that are important for DNA packaging and other DNA associated proteins function as enzymes for replication and transcription. Lamb et al. (2006) further noted that the nucleoli are dense staining areas within the nucleus where ribosomal RNA (rRNA) is made. Clegg et al. (1994) described chromatin as the composite combination of DNA and protein that formulate chromosomes. Chromosomes are separated between heterochromatin (condensed) and euchromatin (extended) forms. The euchromatin is the transcriptionally active form of chrom atin that appears in the electron light microscope as a lightly stained region of the nucleus. The major components of chromatin are DNA and histone proteins. The main functions of the chromatin are to package DNA into a smaller size ratio to fit into the cell to strengthen DNA thus allowing mitosis and meiosis to occur. It also acts as a system to control expression and DNA replication. Smith et al. (1992) noted that alterations in chromatin structure are influenced by chemical modifications of histone proteins such as methylation (DNA and proteins) and acetylation (proteins) and by non-histone DNA- binding proteins. Finally it can be concluded that the nucleus is one of the most important organelles in the cell because inside of it holds the nucleic acids (DNA and RNA) which makes possible to reproduce. In addition to that it also holds chromatin which forms chromosomes which are the ones in charge of the hereditary information. DNA replication processes take place inside the nucleus and it stores all the information that is to be transferred to the next generation. The information generated by nucleus governs the formation of enzymes and other proteins that carry out all the processes of body. Lamb et al. (2006) elaborated that the nucleus is indeed the most prominent organelle in the cell as it sequesters and replicates DNA, transcribes and splices RNA which allows facilitated selective exchange of molecules such as transfer RNA (tRNA) within the cytoplasm. REFERENCES Becker, Wayne M. The world of the cell / Wayne M. Becker, Lewis J. Kleinsmith, Jeff Hardin. 6th edition. New York : Pearson/Benjamin Cummings, 2005 pg 82,83 Cell biology / [edited by] Smith and Wood. London : Chapman and Hall, 1992 Clegg, C. J. (Christopher James), 1938- Advanced biology: principles applications / C.J. Clegg with D.G. Mackean. London : John Murray 1994 pg 155,156 http://www.agen.ufl.edu/~chyn/age2062/OnLineBiology/OLBB/www.emc.maricopa.edu/faculty/farabee/BIOBK/nucleus_1.gif Nucleus picture last accessed on Wednesday 20.1.10 http://www.ncbi.nlm.nih.gov/bookshelf/br.fcgi?book=mboc4part=A972rendertype=figureid=A1047 nucleolus last accessed on Wednesday 20.1.10 Lamb, Neil Cell biology and genetics / Neil Lamb. Edinburgh : Elsevier Mosby, 2006 pg 6,7 Molecular cell biology. 6th ed. -Basingstoke : Palgrave Macmillan, 2007 pg 378 Solomon, Eldra Pearl Biology / Eldra Pearl Solomon, Linda R. Berg, Diana W. Martin. 8th ed. (International). New York : Brooks Cole, 2008 pg 84,85

Succubus Blues CHAPTER 11

Hospitals are creepy places, cold and sterile. A true reminder of the tenuous nature of mortality. The thought of Hugh here made me nauseous, but I squelched the feeling as best I could, sprinting through the halls to the room Samantha had named. When I reached it, I found Hugh lying calmly in a bed, his large body clad in a gown, his skin bruised and bandaged. A blond figure sat next to the bed with him, holding his hand. She turned in surprise when I burst into the room. â€Å"Georgina,† Hugh said, giving me a weak smile. â€Å"Nice of you to stop by.† The blond woman, presumably Samantha, studied me uneasily. Slim and doe-eyed, she tightened her grip on Hugh's hand, and I figured this must be the twenty-year old from work. Her unnatural breasts verified as much. â€Å"It's all right,† he told her reassuringly. â€Å"This is my friend Georgina. Georgina, Samantha.† â€Å"Hi,† I told her, offering my hand. She took it. Hers was cold, and I realized then that her nervousness was not so much at meeting me as general concern over what had happened to Hugh. It was touching. â€Å"Sweetie, would you excuse Georgina and me for a bit? Maybe go get yourself a drink from the cafeteria?† He spoke gently and kindly to her, a tone he rarely used with the rest of us on our pub nights. Samantha turned to Hugh anxiously. â€Å"I don't want to leave you alone.† â€Å"I won't be alone. Georgina and I just need to talk. Besides, she's a, uh, black belt; nothing will happen to me.† I made a face at him behind her back as she considered. â€Å"I suppose that's all right†¦ you'll call my cell if you need me, right? I'll come right back.† â€Å"Of course,† he promised, kissing her hand. â€Å"I'll miss you.† â€Å"I'll miss you more.† She rose, gave me another uncertain look, and retreated out the door. I watched her go a moment before taking her chair beside Hugh. â€Å"Very sweet. I think I'm getting cavities.† â€Å"No need to be bitter. Just because you can't form meaningful attachments with mortals.† His jest hurt a lot more than it probably should have, but then, I still had Roman on the brain. â€Å"Besides,† he continued, â€Å"she's a little upset about what happened today.† â€Å"Yeah, I imagine so. Jesus. Look at you.† I surveyed his wounds in greater detail. Hints of stitches appeared beneath some bandages, and dark blotchy bruises blossomed here and there. â€Å"Could be worse.† â€Å"Could it?† I wondered archly. I'd never seen any immortal sustain so much injury. â€Å"Sure. First, I could be dead, and I'm not. Second, I heal just like you do. You should have seen me this afternoon when they brought me in. The trick now will be to get me out of here before someone notices just how fast I'm recovering.† â€Å"Does Jerome know about this?† â€Å"Of course. I called him earlier, but he'd already felt it. I expect him to show up any time now. Did he call you?† â€Å"Not exactly,† I admitted, hesitant to bring up the note quite yet. â€Å"What happened? When you were attacked?† â€Å"I don't remember a lot of details.† Hugh shrugged slightly, an awkward maneuver for one lying down. I suspected he'd already gone through this story with a number of others. â€Å"I stepped out for coffee. I was the only one in the parking lot, and while coming back to my car, this†¦ person, I guess, just jumped out and attacked me. No warning.† â€Å"You guess?† He frowned. â€Å"I never really got a good look. He was big, though, I could peg that much. And strong – really strong. A lot stronger than I would have thought.† Hugh himself was no weakling. True, he didn't work out or do much with his body, but he had a big frame and a lot of density to fill that frame out. â€Å"Why did he stop?† I asked. â€Å"Did someone find you guys?† â€Å"Nah, I don't know why he quit. It was all beating and slashing one minute; the next, he's gone. Took about fifteen minutes before someone else came along and helped me.† â€Å"You keep saying ‘he.' You think it was a guy?† He attempted another shrug. â€Å"I don't really know. Just an impression I got. Could have been a hot blonde for all I know.† â€Å"Yeah? Should I question Samantha?† â€Å"You shouldn't be questioning anyone, according to Jerome. Did you ever talk to Erik?† â€Å"Yeah†¦ he's looking into some things for me. He also reaffirmed that vampire hunters can't kill you or me, nor has he ever heard of anything that can.† Hugh turned thoughtful. â€Å"This person didn't kill me.† â€Å"Do you think he was trying?† â€Å"He was certainly trying to do something. Seems like if he could have killed me, he would have.† â€Å"But he couldn't,† a voice behind me pointed out, â€Å"because, as I've said, vampire hunters can only inconvenience you, not kill you.† I turned, startled at hearing Jerome's voice. It startled me further to see Carter with him. â€Å"Leave it to Jerome to play devil's advocate,† joked the angel. â€Å"What are you doing here, Georgina?† demanded the demon icily. My mouth gaped, and it took me a moment to speak. â€Å"How†¦ how did you do that?† Carter stood there dressed as disreputably as ever. Whereas Doug and Bruce looked like they were in a grunge band, the angel looked like the band had kicked him out. He gave me a lopsided grin. â€Å"Do what? Come up with a clever pun referencing Jerome's demonic status? The truth is, I usually keep a stash of them on hand and – â€Å" â€Å"No. Not that. I can't feel you†¦ can't sense you†¦Ã¢â‚¬  I could see Carter with my eyes, but I could not feel that powerful signature, aura, or whatever, that normally radiated from an immortal. Turning to Jerome suddenly, I realized he was the same. â€Å"Or you. I can't sense either of you. I couldn't the other night either.† Angel and demon exchanged glances over my head. â€Å"We can mask it,† said Carter at last. â€Å"What, like a light switch or something? You can turn it on and off?† â€Å"It's a bit more complicated than that.† â€Å"Well, this is news to me. Can we do it? Hugh and I?† â€Å"No,† both Jerome and Carter answered together. Jerome elaborated, â€Å"Only higher immortals can do it.† Hugh weakly attempted to sit up. â€Å"Why†¦ are you doing it?† â€Å"You never answered my question, Georgie,† Jerome pointed out, obviously avoiding the subject. He glanced at the imp. â€Å"I told you not to contact the others.† â€Å"I didn't. She just came.† Jerome turned his gaze back on me, and I fished the mysterious note out of my purse. I handed it to him, and the demon read it expressionlessly before handing it over to Carter. When the angel finished, he and Jerome looked at each other again in that annoying way of theirs. Jerome deposited the note into an inner pocket of his suit jacket. â€Å"Hey, that's mine.† â€Å"Not anymore.† â€Å"Don't tell me you're going to stick to your party line about this being a vampire hunter,† I shot back. Jerome's dark eyes narrowed shrewdly at me. â€Å"Why wouldn't I? This person mistook Hugh for a vampire, but as you've already observed, Nancy Drew, Hugh could not be killed.† â€Å"I think this person knew Hugh wasn't a vampire.† â€Å"Oh? Why do you say that?† â€Å"The note. The person who wrote it mentions my shape-shifting. He knows I'm a succubus. He probably knows Hugh's an imp.† â€Å"His knowing you're a succubus explains why he didn't attack you. He knew he couldn't kill you. He wasn't sure about Hugh, however, so he took his chances.† â€Å"With a knife.† Again, I remembered: How do you know if a demon is lying? His lips are moving. â€Å"I thought the story was that this was some amateur vampire hunter arbitrarily going after people with a stake because he didn't know any better. Instead, this person somehow knows about me and took on Hugh with a knife.† Carter stifled a yawn and joined in on Jerome's game. â€Å"Maybe this person's learning. You know, expanding their choice of weapons. After all, no one stays an amateur for long. Even new vampire hunters wise up eventually.† I jumped on the one detail here no one had addressed yet. â€Å"And even children know that vampires don't come out in daylight. What time were you attacked, Hugh?† A strange look crossed the imp's face. â€Å"Late this afternoon. When the sun was up.† I looked exultantly at Jerome. â€Å"This person knew Hugh wasn't a vampire.† Jerome leaned against a wall, appearing unfazed as he picked nonexistent pieces of lint from his slacks. He looked more like John Cusack than ever today. â€Å"So? Mortals get delusions of grandeur. He kills one vampire and decides to do his part against the rest of the evil forces inhabiting this city. That changes nothing.† â€Å"I don't think it was a mortal.† Both Jerome and Carter, looking at other things in the room, now snapped their heads toward me. â€Å"Oh?† I swallowed, slightly flustered under that scrutiny. â€Å"I mean†¦ you guys prove higher immortals can go around without being sensed, and no one's been able to sense anything from this guy. Plus, look at Hugh's damage. Erik said mortals can't really do substantial – † I bit off my words, realizing my error. Carter laughed softly. â€Å"Damn it, Georgie.† Jerome straightened like a whip. â€Å"I told you to let us handle this. Who else have you talked to?† Whatever cloaking Jerome had been doing vanished, and I suddenly became aware of the power crackling around him. It reminded me of one of those sci-fi movies when a door opens into outer space, and all the debris gets sucked out as a result of the vacuum. Everything in the room seemed to be drawn into Jerome, toward his swelling power and might. To my immortal perceptions, he became a glowing bonfire of terror and energy. I cringed against Hugh's bed, resisting the urge to shade my eyes. The imp put a hand on my arm, though whether it was for my comfort or his own, I didn't know. â€Å"No one. I swear it, no one else. I just asked Erik some questions†¦Ã¢â‚¬  Carter took a step toward the furious demon, face angelically calm. â€Å"Easy there. You're sending up a beacon to any immortal in a ten-mile radius.† Jerome's eyes stayed fixed on me, and I felt true fear for the first time in centuries in the focus of all that intensity. Then, like the light switch I'd joked about earlier, it all vanished. Just like that, Jerome stood before me completely incognito for all arcane intents and purposes. Like a mortal. He exhaled heavily and rubbed a spot between his eyes. â€Å"Georgina,† he said at last. â€Å"Contrary to whatever you believe, this is not all some elaborate attempt to vex you. Please stop going against me. We're doing what we're doing for a reason. Your best interests really are at heart here.† My catty nature wanted to ask if demons had hearts, but something else struck me as more pressing. â€Å"Why the ‘we' here? I assume you mean him.† I nodded toward Carter. â€Å"What could involve both a demon and an angel and make them skulk around hiding their presence? Are you guys afraid of something?† â€Å"Skulking?† Carter sounded jovially indignant. â€Å"Please, Georgie,† intoned Jerome, patience obviously at a breaking point, â€Å"leave well-enough alone. If you really want to do something useful, you will avoid dangerous situations like I advised before. I can't make you stay in protected company, but if you persist in being a nuisance otherwise, I can find a convenient place to stash you until this all blows over. This is not about anyone's ‘side,' and you only run the risk of muddling up matters you don't understand.† I unconsciously squeezed Hugh's hand for support. I did not want to think about what sort of â€Å"convenient place† Jerome had in mind. â€Å"Do we understand each other?† the demon asked softly. I nodded. â€Å"Good. You will be of most assistance to me by keeping yourself safe. I have too many things to worry about now without adding you to the list.† I nodded again, not trusting myself to speak. His small display had had its intended effect on temporarily cowing me, though some niggling part of me knew I would be unable to â€Å"leave well-enough alone† once I walked out of here. It would be best to keep that knowledge to myself. â€Å"That will be all, Georgie,† Jerome added. I heard the dismissal. â€Å"I'll walk you out,† offered Carter. â€Å"No thanks.† But the angel followed in my wake anyway. â€Å"So how'd it go with Seth Mortensen?† â€Å"Okay.† â€Å"Just okay?† â€Å"Just okay.† â€Å"I hear he's living here now. And spends a lot of time at Emerald City.† I eyed him askance. â€Å"Where'd you hear that?† He only grinned. â€Å"So? Tell me about it.† â€Å"There's nothing to tell,† I snapped, uncertain why I was even discussing this. â€Å"I've talked to him a few times, toured him around. We don't really click. We can't communicate.† â€Å"Why not?† Carter wanted to know. â€Å"He's a hardcore introvert. Doesn't talk much. Just watches. Besides, I don't want to encourage him.† â€Å"So you're increasing his silence.† I shrugged and pushed the button for an elevator. â€Å"I think I know a book that might help you. I'll dig it out and let you borrow it.† â€Å"No thanks.† â€Å"Don't knock it. It'll improve your communication skills with Seth. I saw it on a talk show.† â€Å"Aren't you listening? I don't want to improve things.† â€Å"Ah,† said Carter sagely. â€Å"You don't go for introverts.† â€Å"I – no, that's not it. I don't have a problem with introverts. â€Å" â€Å"Then why don't you like Seth?† â€Å"I do like him! Damn it, stop this.† The angel quirked me a grin. â€Å"It's all right to feel that way. I mean, past evidence shows you tend to go for showy, flirty guys anyway.† â€Å"What's that supposed to mean?† I immediately thought of my attraction to Roman. Carter's eyes flashed mischievously. We were at the hospital's exit now. â€Å"I don't know. You tell me, Letha.† I had nearly walked out the door, but his comment jerked me back. I spun around so fast, my hair whipped around and hit me in the face. â€Å"Where did you hear that name?† â€Å"I have my sources.† A great nebulous emotion swelled up in my chest, something I couldn't entirely identify. It fell somewhere on the continuum of hate and despair, not really subscribing to either one. Hotter and hotter it grew within me, making me want to scream at Carter and that smug, knowing look on his face. I wanted to beat my fists against him or shape-shift into something horrific. I didn't know where he'd learned that name, but it woke up some sort of sleeping monster within me, something that had been tightly coiled up. He continued watching me coolly, undoubtedly reading my thoughts. Slowly, I became aware of my surroundings. The chilly corridors. The anxious visitors. The efficient staff. I calmed my breathing and fixed the angel with a scathing look. â€Å"Don't you ever call me that again. Ever.† He shrugged, still smiling. â€Å"My mistake.† I turned smartly on my heels and left him there. I stormed out to my car and didn't even realize I was driving until I was halfway across the bridge, tears leaking from the corners of my eyes.