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.