the hat did not; there was danger ahead. Despite this warning, the traveler resumed his journey, to more mocking shouts from the soldiers. In darkness, the carriage ascended a mountain road, approaching a massive structure of turrets and walls, drenched in a forbidding moonlight. What lay ahead was obvious: the mustached man had more or less explained it. Vampires. An old word, but one Peter knew. He waited for the virals to appear, falling on the carriage and tearing the traveler to shreds, but this didn’t happen. The carriage pulled through the gate; the man, Renfield, stepped out to find that he was alone; the driver was gone. A creaking door, opening of its own accord, beckoned him inside, where he found himself in a great ruined cave of a room. Renfield, unaware, his innocence almost laughable, backed toward a massive flight of stairs, where a figure in a dark cloak, holding a single candle, was descending. As the cloaked figure reached the bottom, Renfield turned, the whites of his eyes expanding with such horror it was as if he’d stumbled on a whole pod of smokes, not a single man in a cape.
“I am … Drrrrrac-ulaaah.”
Another tent-shaking detonation of whoops, whistles, cheers. One of the soldiers in the front row shot to his feet.
“Hey, Count, eat this!”
A flash of spinning steel through the stream of light from the projector: the tip of the blade met the wood of the screen with a meaty thunk, burying itself squarely in the chest of the caped man, who seemed, surprisingly, to take no notice of this.
“Muncey, what the fuck!” the projector operator yelled.
“Get your blade,” someone else shouted, “it’s in the way!”
But the voices weren’t angry; everybody thought it was hilarious. Under a storm of catcalls, Muncey bounded to the screen, the images washing over him, to yank his blade free of the wood. He turned, grinning, and gave a little bow.
Despite it all—the chaotic interruptions, the laughter and mocking recitations of the soldiers, who anticipated every line—Peter soon found himself sliding into the story. He sensed that some pieces of the film were missing; the narrative leapt ahead in confusing jerks, leaving the castle behind for a ship at sea, then for a place called London. A city, he realized. A city from the Time Before. The Count—some kind of viral, though he didn’t look like one—was killing women. First a girl handing out flowers in the street, then a young woman asleep in her bed, with great sleepy curls of hair and a face so composed she looked like a doll. The Count’s movements were comically slow, as were his victim’s; everyone in the movie seemed trapped in a dream in which they couldn’t make themselves move fast enough, or even at all. Dracula himself possessed a pale, almost womanly face, his lips painted to look bowed, like the wings of a bat; whenever he was about to bite someone, the screen would hold for a long, lingering moment on his eyes, which were lit from below to glow like twin candle flames.
Part of Peter knew it was all fake, nothing to take seriously, and yet as the story continued, he found himself worried for the girl, Mina, the daughter of the doctor—Dr. Seward, owner of the sanatorium, whatever that was—and whose husband, the ineffectual Harker, seemed to have no idea how to help her, always standing around with his hands in his pockets, looking helpless and lost. None of them knew what to do, except for Van Helsing, the vampire hunter. He wasn’t like any hunter Peter had ever seen—an old man with thick, distorting eyeglasses, given to vast, windy pronouncements that were the object of the soldiers’ most outspoken mockery. “Gentlemen, we are dealing with the unthinkable!” and “The superstitions of tomorrow can become the scientific reality of today!” The catcalls flew each time, and yet a great deal of what Van Helsing said seemed true to Peter, especially the part about a vampire being “a creature whose life has been unnaturally prolonged.” If that didn’t describe a smoke, he didn’t know what did. He found himself wondering if Van Helsing’s trick with the jewelry-box mirror wasn’t some version of what had happened with the pans in Las Vegas, and if, as Van Helsing claimed, a vampire “must sleep each night in his native soil.” Was that why they always came home, the ones who’d been taken up? At times the movie seemed almost to be a kind