More laughter. Greer let it go.

“As I was saying, with the break in the weather, we have some news. General?”

Vorhees stepped forward from where he’d been waiting, off to the side. “Thank you, Major. Good evening, Second Battalion.”

A shouted chorus: “Good evening, sir!”

“It looks like we’ve got ourselves a bit of a window here with the weather, so I’m calling it. Oh-five-hundred, report to your squad leaders after morning chow for your sections. We need this place racked and packed by lights tomorrow. When Blue Squad gets back, we’re moving south. Any questions?”

A soldier raised his hand. Peter recognized him as the one who had spoken to Michael in the mess hall. Sancho.

“What about the heavy mechs, sir? They won’t make it in the mud.”

“The decision’s been made to leave them in place. We’ll be traveling L and Q. Your squad leaders will go over this with you. Anyone else?”

Silence from the crowd.

“All right then. Enjoy the show.”

The lanterns were doused; at the back of the room, the wheels of the projector began to turn. So there it was, Peter thought; the moment to decide was upon them. A week had suddenly become no time at all. Peter felt someone slip onto the bench next to him: Sara. Beside her was Amy, wearing a dark woolen blanket over her shoulders, against the cold.

“You shouldn’t be here,” Peter whispered.

“The hell with that,” Sara said quietly. “You think I’d miss this?”

The screen blazed with light. Encircled numbers, descending in sequence: 5, 4, 3, 2, 1. Then:

CARL LAEMMLE

PRESENTS

“DRACULA”

by BRAM STOKER

FROM THE PLAY ADAPTED BY
HAMILTON DEANE & JOHN L. BALDERSTON

A TOD BROWNING PRODUCTION

A chorus of cheers rose up from the benches as, incredibly, the screen was filled with the moving image of a horse-drawn carriage, racing along a mountain road. The picture was bleached of all color, composed entirely of tones of gray—the palette of a half-remembered dream.

“Dracs,” said Hollis. He turned to Peter, frowning. “Dracula?”

“Sound!” one of the soldiers bellowed, followed by others. “Sound! Sound!”

The soldier operating the projector was frantically checking connections, twisting knobs. He jogged briskly forward and knelt by a box positioned under the screen.

“Wait, there, I think that’s it—”

A crackling boom of static: Peter, entranced by the moving image on the screen—the carriage was entering a village now, people running to meet it—reflexively bolted in his chair. But then he realized what had occurred, what the box under the screen was. The clop of horses, the creak of the carriage on its springs and the voices of the villagers, speaking to one another in a strange language he had never heard before: the images were more than pictures, more than light. They were alive and breathing with sound.