A black-clad figure swarmed up the front of the Embassy, to the broken window. Flames were already pouring out, blackening the sill.

There was gunfire inside the building.

Richard Jeperson helped her stand and brush herself down, showing real concern. His style was more Charles Beauregard than Edwin Winthrop: she wondered how long he could last under the likes of Ruthven and Croft, not to mention Margaret Thatcher.

Along with the police, TV crews surged forward.

She heard commentators chattering, speculating on the rapid pace of events.

Another vampire was tossed out of the window, turning to a rain of ashes. Hamish Bond was doing his job. Kate thought Orlok might give him a fight, then she saw Dravot, out of his police helmet, signalling a cadre of black ninja-suited men, vampires all, to move in. Britain had been working for a century to create the vampires it needed rather than the ones imposed upon it.

The front door was smashed. Vampires crawled head-down from the flat roof and lizard-swarmed in through upper-storey windows. It was over in moments.

Jeperson and she were separated from the action by a press of people. Between riot shields, she saw Meinster and Ruthven facing each other, warily but without going for the throat. It was as if they were looking in reflecting mirrors for the first time since their turning.

'What was the point?' she asked. 'This was all arranged between them. This wasn't a siege, it was a pantomime. It's not about vampires, it's about communism.'

Jeperson was sad-eyed.

'You of all people know Romania,' he said. 'You've seen what happens in the satellite countries. There's no real detente. We have to get rid of the whole shoddy system. Nicolae Ceauescu is a monster.'

'And Meinster is better?'

'He isn't worse.'

'Richard, you don't know. You weren't there during the Terror. When people like Meinster, and people like Ruthven, are in charge, people like you, and people like me, get shoved into locked boxes. It happens slowly, without a revolution, without fireworks, and the world grows cold and hard. Ruthven's back and you're supporting Meinster. How long will it be before we start praying for Dracula?'

'I'm sorry, Kate. I do understand.'

'Why was I here?'

'To be a witness. For history. Beauregard said that about you. Someone outside the Great Game has to know. Someone has to judge.'

'And approve?'

Jeperson was chilled. 'Not necessarily.'

Then, he was pulled away too. She was in a crowd.

A cheer rose up. A line of people, hands on heads, bent over, scurried out of the Embassy door. The hostages. Among them was Orlok, with the poodles. She would have bet he'd survive.

She tripped over thick cable, and followed it back out of the press of bodies. A BBC OB van hummed with activity.

This was news. She was a newspaperwoman.

Somewhere near, she would find a phone. It was time to call her editor.

PART THREE.

THE OTHER SIDE OF MIDNIGHT.

ANNO DRACULA 1981.

1.

At midnight, 1980 flew away across the Pacific and 1981 crept in from the East. A muted cheer rose from the pretty folk around the barbecue pit, barely an echo of the raucous welcome to a new decade, which had erupted at the last Paradise Cove New Year party.

Of this company, only Genevieve clung to the old - the proper -manner of reckoning decades, centuries and (when they came) millennia. The passing of time was important to her; born in 1416, she'd let more time pass than most. Even among vampires, she was an elder. Five minutes ago - last year, last decade - she'd started to explain proper dating to a greying California boy, an ex-activist they called 'the Dude'. His eyes, already glazed from the weed he'd been toking throughout the party, grew heavy-lidded. She doubted he'd drawn a straight breath since Jefferson Airplane changed their name. She quite liked the Dude's eyes, in any condition.

'It's as simple as this,' she reiterated, hearing the French in her accent ('eet's', 'seemple', 'ziss') which only came out when she was tipsy ('teep-see') or trying for effect. 'Since there was no Year Nothing, the first decade ended with the end of Year Ten AD; the first century with the end of ad 100; the first millennium with the end of ad 1000. Now, at this moment, a new decade is to begin. 1981 is the first year of the 1980s, as 1990 will be the last.'

Momentarily, the Dude looked as if he understood, but he was just concentrating to make out her accented words. She saw insight spark in his mind, a vertiginous leap which made him want to back away from her. He held out his twisted, tufted joint.

'Man, if you start questioning time,' he said, 'what have you got left? Physical matter? Maybe you question that next, and the mojo won't work any more. You'll think holes between molecules and sink through the surface of the Earth. Drawn by gravity. Heavy things should be left alone. Fundamental things, like the ground you walk on, the air you breathe. You do breathe, don't you, man? Suddenly it hits me, I don't know if you do.'

'Yes, I breathe,' she said. 'When I turned, I didn't die. That's not common.'

She proved her ability to inhale by taking a toke from the joint. She didn't get a high like his; for that, she'd have to sample his blood as it channelled the intoxicants from his alveoli to his brain. She had the mellow buzz of him, from saliva on the roach as much as from the dope smoke. It made her thirsty.

Because it was just after midnight on New Year's Eve, she kissed him. He enjoyed it, non-committally. Tasting straggles of tobacco in his beard and the film of a cocktail - white Russian - on his teeth and tongue, she sampled the ease of him, the defiant crusade of his back-burnered life. She understood now precisely what the expression 'ex-activist' meant. If she let herself drink, his blood would be relaxing.

Breaking the kiss, she saw more sparks in his eyes where her face was not reflected. Her lips were sometimes like razors, even more than her fang-teeth. She'd cut him slightly, just for a taste, not even thinking, and left some of herself on his tongue. She swallowed: mostly spit, but with tiny ribbons of blood from his gums.

French kissing was the kindest form of vampirism. From the minute exchange of fluid, she could draw a surprising sustenance. For her, just now, it was enough. It took the edge off her red thirst.

'Keep on breathing, man,' said the Dude, reclaiming his joint, smiling broadly, drifting back towards the rest of the party, enjoying the unreeling connection between them. 'And don't question time. Let it pass.'

Licking her lips daintily, she watched him amble. He wasn't convinced 1980 had been the last year of the old decade and not the first of the new. Rather, he wasn't convinced that it mattered. Like a lot of Southern Californians, he'd settled on a time that suited him and stayed in it. Many vampires did the same thing, though Genevieve thought it a waste of longevity. In her more pompous moments, she felt the whole point was to embrace change while carrying on what was of value from the past.

When she was born and when she was turned, time was reckoned by the Julian Calendar, with its annual error of eleven minutes and fourteen seconds. Thinking of it, she still regretted the ten days - the 5th to the 14th of October, 1582 - Pope Gregory XIII had stolen from her, from the world, to make his sums add up. England and Scotland, ten days behind Rome, held out against the Gregorian Calendar until 1752. Other countries stubbornly stuck with Julian dating until well into the twentieth century: Russia had not chimed in until 1918, Greece until 1923. Before the modern era, those ten-day shifts made diary-keeping a complex business for a necessarily much-travelled creature. In his 1885 journal, maintained while travelling on the continent and later excerpted by Bram Stoker, Jonathan Harker refers to May the 4th as the eve of St George's Day, which would have been April the 22nd back home in England. Those leap-frogged weeks had been far much more jarring than the time-zone-hopping she sometimes went through as an air passenger.

The Paradise Cove Trailer Park Colony had been her home for all of four years, an eyeblink which made her a senior resident among the constitutionally impermanent peoples of Malibu. Here, ancient history was Sonny and Cher and Leave It to Beaver, anything on the 'golden oldies' station or in off-prime time re-run.

Genevieve - fully, Genevieve Sandrine de l'Isle Dieudonne, though she went by Gene Dee for convenience - had once paddled in the Atlantic and not known what lay between France and China. She was older than the name 'America'; had she not turned, she'd probably have been dead before Columbus brought back the news. In all those years, ten days shouldn't matter, but supposedly significant dates made her aware of that fold in time, that wrench which pulled the future hungrily closer, which had swallowed one of her birthdays. By her internal calendar, the decade would not fully turn for nearly two weeks. This was a limbo between unarguable decades. She should have been used to limbos by now. For her, Paradise Cove was the latest of a long string of pockets out of time and space, cosy coffins shallowly buried away from the rush of the world.

She was the only one of her kind at the party; if she took 'her kind' to mean vampires - there were others in her current profession, private investigation, even other in-comers from far enough out of state to be considered foreign parts. Born in Northern France under the rule of an English king, she'd seen enough history to recognise the irrelevance of nationality. To be Breton in 1416 was to be neither French nor English, or both at the same time. Much later, during the Revolution, France had scrapped the calendar again, ducking out of the 1790s, even renaming the months. In the long term, the experiment was not a success. That was the last time she - Citizen Dieudonne - had really lived in her native land; the gory business soured her not only on her own nationality, but humanity in general. Too many eras earned names like 'the Terror'. Vampires were supposed to be obscenely bloodthirsty and she wasn't blind to the excesses of her kind, but the warm drank just as deeply from open wounds and usually made more of a mess of it.

From the sandy patio beside her chrome-finished airstream trailer, she looked beyond the gaggle of folks about the pit, joking over franks impaled on skewers. The Dude was mixing a pitcher of white Russians with his bowling buddies, resuming a months-long argument over the precise wording of the opening narration/song of Branded. An eight-track in an open-top car played 'Hotel California', The Eagles' upbeat but ominous song about a vampire and her victims. Some were dancing on the sand, shoes in a pile that would be hard to sort out later. White rolls of surf crashed on the breakers, waves edged delicately up the beach.

Out there was the Pacific Ocean and the curve of the Earth, and beyond the blue horizon, as another shivery song went, was a rising sun. Setting, rather - she was looking west. Dawn didn't worry her: at her age, as long as she dressed carefully - sunglasses, a floppy hat, long sleeves - she wouldn't even catch a severe tan, let alone frazzle up into dust and essential salts like some nosferatu of the Dracula bloodline. She had grown out of the dark. To her owl eyes, it was no place to hide, which meant she had to be careful where she looked on party nights like this. She liked living by the sea: its depths were still impenetrable to her, still a mystery.

'Hey, Gidget,' came a rough voice, 'need a nip?'

It was one of the surfers, a shaggy bear of a man she had never heard called anything but Moondoggie. He wore frayed shorts, flip-flops and an old blue shirt, and probably had done since the 1950s. He was a legendary veteran of tubes and pipes and waves long gone. He seemed young to her, though his friends called him an old man.

His offer was generous. She had fed off him before, when the need was strong. With his blood came a salt rush, the sense of being enclosed by a curl of wave as his board torpedoed across the surface of the water.

Just now, she didn't need it. She still had the taste of the Dude. Smiling, she waved him away. As an elder, she didn't have the red thirst so badly. Since Charles, she had fed much less. That wasn't how it was with many vampires, especially those of the Dracula line. Some nosferatu got thirstier and thirstier with passing ages, and were finally consumed by their own raging red needs. Those were the ones who got to be called monsters. Beside them, she was a minnow.

Moondoggie tugged at his open collar, scratching below his salt-and-pepper beard. The LAPD had wanted to hang a murder rap on him two years ago, when a runaway turned up dead in his beach hut. She had investigated and cleared his name. He would always be grateful to his 'Gidget', which she learned was a contraction of 'Girl Midget'. Never tall, she had turned - frozen - at sixteen. Recently, after centuries of being treated like a child, she was most often taken for a woman in her twenties. That was: by people who didn't know she wasn't warm, wasn't entirely living. She'd have examined her face for the beginnings of lines, but mirrors were no use to her.

Shots were fired in the distance. She looked at the rise of the cliffs and saw the big houses, decks lit by fairy light UFO constellations, seeming to float above the beach, heavy with heavy hitters. Firing up into the sky was a Malibu New Year tradition. Reputedly started by the film director John Milius, a famous surf and gun nut, it was a stupid, dangerous thing to do. Gravity and momentum meant bullets came down somewhere, and not always into the water. In the light of New Year's Day, she found spent shells in the sand or pocked holes in driftwood. One year, someone's head would be under a slug. Milius had made her cry with Big Wednesday, though. Movies with coming-of-age, end-of-an-era romanticism crawled inside her heart and melted her. She would have to tell Milius it got worse and worse with centuries.

So, the 1980s?

Some thought her overly formal for always using the full form, but she'd lived through decades called 'the eighties' before. For the past hundred years 'the eighties' had meant the Anni Draculae, the 1880s. Among other things, the founding of Dracula's brief empire had drawn her out of the shadow of eternal evening into something approaching the light. That brought her together with Charles, the warm man with whom she had spent seventy-five years, until his death in 1959, the warm man who had shown her that she, a vampire, could still love, that she had turned without dying inside.

She wasn't unique, but she was rare. Most vampires lost more than they gained when they turned; they died and came back as different people, caricatures of their former selves, compelled to extremes by an inner drive. Creatures like that were one of the reasons why she was here, at the far western edge of a continent where 'her kind' were still comparatively rare.

Other vampires had nests in the Greater Los Angeles area. Don Drago Robles, a landowner before the incorporation of the state into the Union, had quietly waited for the city to close around his hacienda, and was rising as a political figure with a growing constituency, a Californian answer to Baron Meinster's European Transylvania Movement. A few long-lived movie or music people, the sort with reflections in silver and voices that registered on recording equipment, had Spanish-style castles along Sunset Boulevard, like eternal child rock god Timmy V or silent movie star David Henry Reid. More, small sharks mostly, swam through Angelino sprawl, battening on marginal people to leech them dry of dreams as much as blood, or - in that ghastly new thing - selling squirts of their own blood ('drac') to sad addicts ('dhampires') who wanted to be a vampire for the night but didn't have the heart to turn all the way.

She should be grateful to the rogues; much of her business came from people who got mixed up with bad egg vampires. Her reputation for extricating victims from predators was like gold to distressed parents or cast-aside partners. Sometimes she worked as a deprogrammer, helping kids out of all manner of cults. They grew beliefs stranger than Catholicism, or even vampirism, out here among the orange groves: the Moonies, the Esoteric Order of Dagon, Immortology, Psychoplasmics.

As always, she stuck it out until the party died. All the hours of the night rolled away and red light cast the shadows of clifftop homes onto the beach. January cold gathered, driving those warmer folks who were still sensible from their barbecues and beach-towels to their beds.

Marty Burns, sometime sit-com star and current inhabitant of a major career slump, was passed out face down on the chilling sands in front of her trailer space. She found a blanket to throw over him. He murmured in liquor-and-pills lassitude. She tucked the blanket comfortably around his neck. Marty was hilarious in person, even when completely off his face, but Salt & Pepper, the star-making show he was squandering residuals from, was puzzlingly free of actual humour. The dead people on the laugh-track audibly split sides at jokes deader than they were. The year was begun with a moderate good deed, though purging the kid's system and dragging him to AA might have been a more lasting solution to whatever was inside him, chewing away.

She would sleep later, in the morning, locked in her sleek trailer, a big metal coffin equipped with everything she needed. Of all her homes over the years, this was the one she cherished the most. The trailer was chromed everywhere it could be, and customised with steel shutters that bolted over the windows and the never-used sun roof. Economy of space forced her to limit her possessions - so few after so long - to those that really meant the most to her: ugly jewellery from her mediaeval girlhood, some of Charles's books and letters, a Dansette gramophone with an eclectic collection of sides, her beloved answering machine, a tacky Mexican crucifix with light-up eyes that she kept on show just to prove she wasn't one of those vampires, a rubber duck with a story attached, two decent formal dresses and four pairs of Victorian shoes (custom-cobbled for her tiny feet) which had outlasted everything made this century and would do for decades more. On the road, she could kink herself double and rest in the trunk of her automobile, a pillar-box red 1958 Plymouth Fury, but the trailer was more comfortable.

She wandered towards the sea-line, across the disturbed sands of the beach. There had been dancing earlier, grown-ups who had been in Frankie and Annette movies trying to fit their old moves to current music. Le freak, c'est chic.

She trod on a hot pebble that turned out to be a bullet, and saluted Big John up on his A-list Hollywood deck. Milius had written Dracula for Francis Ford Coppola, from the novel she was left out of. Not wanting to have the Count brought back to mind, she'd avoided the movie, though her vampire journalist friend Kate Reed, also not mentioned in Stoker's fiction, had worked on it.

She hadn't heard from Kate in too long; Genevieve knew she'd spent some time behind the Iron Curtain, on the trail of the Transylvania Movement, that odd faction of the Baron Meinster's which wanted Dracula's estates as a homeland for vampires. God, if that ever happened, she would get round to re-applying for American citizenship; they were accepting nosferatu now, which they hadn't been in 1917 when she last looked into it. Meinster was one of those Dracula wannabes who couldn't quite carry off the opera cloak and ruffle shirt, with his prissy little fangs and his naked need to be the new King of the Cats. She'd already seen him make a grab for the title once, and get bloody egg on his face -but the absence of Dracula made even a metaphorical empty throne a temptation to the ambitious.

Wavelets lapped at her bare toes. Her nails sparkled under water.

1970s music hadn't been much, not after the 1960s. Glam rock. The Bee Gees. The Carpenters. Disaster movies. M*A*S*H. Burt Reynolds. The zipless fuck. Watergate. An oil crisis. The Bicentennial Summer. The Iran hostage crisis. No Woodstock. No Swinging London. No one like Kennedy. Nothing like the Moon Landing.

If she were to fill a diary page for every decade, the 1970s would be heavily padded. She'd been to some parties and helped some people, settled into the slow, pastel, dusty ice-cream world of Southern California, a little to one side of the swift stream of human history. She wasn't even much bothered by memories, the curse of the long-lived.

Not bad, not good, not anything.

She wasn't over Charles, never would be really. He was a constant, silent presence in her heart, an ache and a support and a joy. He was a memory she would never let slip. And Dracula, finally destroyed soon after Charles's death, still cast a long cloak-shadow over her life. And Kate's, and Penelope Churchward's too - and who knew what Penny was up to these days? Without Charles - without Dracula - they were all three adrift. It struck Genevieve that if anyone rose to take the place of the two dead men they'd spent their lives clinging to or running from, she, Kate and Penny would end up together, like the three witches in Macbeth - prophesying, misleading and anointing, in thunder, lightning or in rain. Once, it'd have been a tragedy. Now, it'd be a sit-com.

Like Bram Stoker, she wondered what her life, what the world, would have been like if Vlad Tepes had never turned or been defeated before his rise to power.

Might-have-beens and the dead. Bad company.

John Lennon was truly dead, too. Less than a month ago, in New York, he'd taken a silver bullet through the heart, a cruel full stop for the 1970s, for what was left of the 1960s. Annie Wilkes, Lennon's killer, said she was the musician's biggest fan, but that he had to die for breaking up the Beatles. Genevieve didn't know how long Lennon had been a vampire, but she sadly recognised in the dirge 'Imagine' that copy-of-a-copy voidishness characteristic of creatives who turned to prolong their artistic lives, but found the essential thing that made them who they were, that powered their talent, gone, and that the best they could hope for was a kind of rarefied self-plagiarism. Mad Annie might have done John a favour, making him immortal again. Currently the most famous vampire-slayer in the world, she was a heroine to the bedrock strata of warm America which would never accept vampirekind as even kissing cousins to humanity.

What, she wondered as the sun touched the sky, would this new decade bring?

2.

COUNT DRACULA.

A SCREENPLAY.

by Herman J. Mankiewicz and Orson Welles Based on the novel of Bram Stoker Nov 30, 1939 Fade In 1. EXT. TRANSYLVANIA - FAINT DAWN - 1885.

Window, very small in the distance, illuminated. All around this an almost totally black screen. Now, as the camera moves slowly towards this window, which is almost a postage stamp in the frame, other forms appear: spiked battlements, vast granite walls, and now, looming up against the still-nighted sky, enormous iron grillwork.

Camera travels up what is now shown to be a gateway of gigantic proportions and holds on the top of it - a huge initial 'D' showing darker and darker against the dawn sky. Through this and beyond we see the gothic-tale mountaintop of Dracula's estate, the great castle a silhouette at its summit, the little window a distant accent in the darkness.

Dissolve (A series of setups, each closer to the great window, all telling something of:) 2. EXT. THE LITERALLY INCREDIBLE DOMAIN OF VLAD, COUNT DRACULA.

Its right flank resting for forty miles along the Borgo Pass, the estate truly extends in all directions farther than the eye can see. An ocean of sharp tree-tops, with occasionally a deep rift where there is a chasm. Here and there are silver threads where the rivers wind in deep gorges through the forests. Designed by nature to be almost completely vertical and jagged - it was, as will develop, primordial forested mountain when Dracula acquired and changed its face - it is now broken and shorn, with its fair share of carved peaks and winding paths, all man-made.

Castle Dracula itself - an enormous pile, compounded of several demolished and rebuilt structures of varying architecture, with broken battlements and many towers - dominates the scene from the very peak of the mountain. It sits on the edge of a very terrible precipice.

Dissolve 3. EXT. THE VILLAGE.

In the shadows, literally the shadows, of the mountain. As we move by, we see that the peasant doors and windows are shuttered and locked, with crucifixes and obscene clusters of garlic as further protection and sealing. Eyes peep out, timid, at us. The camera moves like a band of men: purposeful, cautious, intrepid, curious.

Dissolve 4. EXT. FOREST OF STAKES.

Past which we move. The sward is wild with mountain weeds, the stakes tilted at a variety of Dutch angles, the execution field unused and not seriously tended for a long time.

Dissolve 5. EXT. WHAT WAS ONCE A GOOD-SIZED PRISON STOCKADE.

All that now remains, with one exception, are the individual plots, surrounded by thorn fences, on which the hostages were kept, free and yet safe from each other and the landscape at large. (Bones in several of the plots indicate that here there were once human cattle, kept for blood.) Dissolve 6. EXT. A WOLF PIT.

In the f.g., a great shaggy dire wolf, bound by a silver chain, is outlined against the fawn murk. He raises himself slowly, with more thought than an animal should display, and looks out across the estates of Count Dracula, to the distant light glowing in the castle on the mountain. The wolf howls, a child of the night, making sweet music.

Dissolve 7. EXT. A TRENCH BELOW THE WALLS.

A slow-scuttling armadillo. A crawling giant beetle. Reflected in the muddy water - the lighted window.

Dissolve 8. EXT. THE MOAT.