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He is terrifying not because he threatens physical harm, but because his conquests carry with them this dread of objectification and exploitation, and because every major character who interacts with him comes to feel some sort of shame, be it due to the sexual objectification Faye and Rhonda suffer at his hands, or the artistic exploitation to which he subjects BV.
Faye, who says that she did not believe that she had a soul, to the point of being embarrassed by the word, who allows herself to be objectified by being the victim of violence, and who rejects the reality of the world in favour of subjective experience, starts on the road to conversion because of this shame.
Because she feels shame, she knows that her sexuality has nature with which she must live in accordance, and so reality does have a moral meaning that she cannot fully displace or ignore.
This scene is shot so that we see them as if they are weightless, but then realize that they are supporting themselves.
Knowing the objectification that results in shame, she strives to act in accordance with natural law, so that she might neither be objectified and shamed nor objectify and shame another.
Instead of, to use her words, toying with the flame of life, sexuality, as if it has no inherent meaning, she treats it with more reverence and acknowledges its unitive and procreative nature.
Cook speaks of deceiving the world, describes the world as a “stage show,” and offers Rhonda hallucinogenic drugs whilst promising her that she will not die if she ingests them.
, who declares that there no principles, but only circumstances, so there is no moral meaning to creation, and people may act as they like without reference to any natural law or ethic.