Hapscomb's Texaco sat on Number 93 just north of Arnette, a pissant four-street burg about 110 miles from Houston.

He was a clot looking for a place to happen, a splinter of bone hunting a soft organ to puncture, a lonely lunatic cell looking for a mate - they would set up housekeeping and raise themselves a cozy little malignant tumor.

A scary movie puts a lot of people, a mob, in one place. There are advantages to that because the panic runs through the audience. If it's a good movie, the fear jumps from one person to the next. You can find yourself screaming just because everybody around you is screaming. There's a real atmosphere of terror. It's also visual, which means that you can't look away from this thing - it's happening. You're in the dark. It's like a nightmare. It's like a dream. It's very, very visual. It works on all those levels.

I started after him...and the clown looked back. I saw Its eyes, and all at once I understood who It was." "Who was it, Don?" Harold Gardner asked softly. "It was Derry," Don Hagarty said. "It was this town.

You could not turn off love- even the rather absent, sometimes taken for granted love- the way you'd turn off a faucet. Love ran from the heart and the heart had it's own imperatives

The idea that the creative endeavor and mind-altering substances are entwined is one of the great pop-intellectual myths of our time. Substance abusing writers are just substance abusers — common garden variety drunks and druggies, in other words. Any claims that the drugs and alcohol are necessary to dull a finer sensibility are just the usual self-serving bullshit. I've heard alcoholic snowplow drivers make the same claim, that they drink to still the demons.

I was being paid to do what I loved, and there's no gig on earth better than that; it's like a license to steal.