Ray's sleep is deep and profound, as I expect. I have brought him back to the house, and laid him in front of a fire I built, and wiped away his blood. Not long after his transfusion, while still lying crumpled on the driveway, his breath had accelerated rapidly, and then ceased altogether. But it had not scared me, because the same had happened to me, and to Mataji, and many others. When it had started again, it was strong and steady.

His wounds vanished as if by magic.

I am weak from sharing my blood, very tired.

I anticipate that Ray will sleep away most of the night, and that Yaksha will keep his word and not return until dawn. I leave the house and drive in my Ferrari to Seymour's place. It is not that late--ten o'clock. I do not want to meet his parents. They might suspect I have come to corrupt their beloved son. I go around the back and see Seymour through his bedroom window, writing on his computer. I scratch on his window with my hard nails and give him a scare. He comes over to investigate, however. He is delighted to see me. He opens the window and I climb inside. Contrary to popular opinion, I could have climbed in without being invited.

"It is so cool you are here," he says. "I have been writing about you all day."

I sit on his bed; he stays at his desk. His room is filled with science things--telescopes and such--but the walls are coated with the posters of classic horror films. It is a room I am comfortable in. I often go to the movies, the late shows.

"A story about me?" I ask. I glance at his computer screen, but he has returned to the word processor menu.

"Yes. Well, no, not really. But you inspired the story. It comes to me in waves. It's about this girl our age who's a vampire."

"I am a vampire."

He fixes his bulky glasses on his nose. "What?"

"I said, I am a vampire."

He glances at the mirror above his chest of drawers. "I can see your reflection."

"So what? I am what I say I am. Do you want me to drink your blood to prove it?"

"That's all right, you don't have to." He takes a deep breath. "Wow, I knew you were an interesting girl, but I never guessed..." He stops himself. "But I suppose that's not true, is it? I have been writing about you all along, haven't I?"

"Yes."

"But how is that possible? Can you explain that to me?"

"No. It's one of those mysteries. You run into them every now and then, if you live long enough."

"How old are you?"

"Five thousand years."

Seymour holds up his hand. "Wait, wait. Let's slow down here. I don't want to be a pest about this, and I sure don't want you to drink my blood, but before we proceed any further, I wouldn't mind if you showed me some of your powers. It would help with my research, you understand."

I smile. "You really don't believe me, do you? That's OK. I don't know if I want you to, not now. But I do want your advice." I lose my smile. "I am getting near the end of things now. An old enemy has come for me, and for the first time in my long life I am vulnerable to attack. You are the smart boy with the prophetic dreams. Tell me what to do."

"I have prophetic dreams?"

"Yes. Trust me or I wouldn't be here."

"What does this old enemy want? To kill you?"

"To kill both of us. But he doesn't want to die until I am gone."

"Why does he want to die?"

"He is tired of living,"

"Been around for a while, I guess." Seymour thinks a moment. "Would he mind dying at the same time as you?"

"I'm sure that would be satisfactory. It might even appeal to him."

"Then that's the answer to your problem. Place him in a situation where he is convinced you're both goners. But arrange it ahead of time so that when you do push the button--or whatever you do--that only he is destroyed and not you."

"That's an interesting idea*"

"Thank you. I was thinking of using it in my story."

"But there are problems with it. This enemy is extremely shrewd. It will not be easy to convince him that I am going to die with him unless it is pretty certain that I am going to die. And I don't want to die."

"There must be a way. There is always a way."

"What are you going to do in your story?"

"I haven't worked out that little detail yet."

"That detail is not little to me at the moment."

"I'm sorry."

"That's all right." I listen to his parents watching TV in the other room. They talk about their boy, hisr health. The mother is grief-stricken. Seymour watches me through his thick lenses.

"It's hardest on my mother," he says.

"The AIDS virus is not new. A form of it existed in the past, not exactly the same as what is going around now, but close enough. I saw it in action. Ancient Rome, in its decline, was stricken with it. Many people died. Whole villages. That's how it was stopped. The mortality rate in certain areas was so high that there was no one left alive to pass it on."

"That's interesting. There is no mention of that in history books."

"Do not trust in your books too much. History is something that can only be lived, it cannot be read about. Look at me, I am history." I sigh. "The stories I could tell you."

"Tell me."

I yawn, something I never do. Ray has drained me more than I realized. "I don't have time."

"Tell me how you managed to survive the AIDS epidemic of the past."

"My blood is potent. My immune system is impenetrable. I have not just come here to seek your help, although you have helped me. I have come here to help you. I want to give you my blood. Not enough to make you a vampire, but enough to destroy the virus in your system."

He is intrigued. "Will that work?"

"I don't know. I have never done it before."

"Could it be dangerous?"

"Sure. It might kill you."

He hesitates only a moment. "What do I have to do?"

"Come sit beside me on the bed." He does so.

"Give me your arm and close your eyes. I am going to open up one of your veins. Don't worry, I have had a lot of practice with this."

"I can imagine." He lets his arm rest in my lap, but he does not close his eyes.

"What's the matter?" I ask. "Are you afraid I will try to take advantage of you?"

"I wish you would. It's not every day the school nerd has the most beautiful girl in the school sitting on his bed." He clears his throat. "I know that you're in a hurry, but I wanted to tell you something before we begin."

"What's that?"

"I wanted to thank you for being my friend and letting me play a part in your story."

I think of Krishna, always of him, how he stood near me and I saw the whole universe as his play. "Thank you, Seymour, for writing about me," I lean over and kiss his lips. "If I die tonight, at least others will know I once lived." I stretch out my nails. "Close your eyes. You do not want to watch this."

I place a measured amount of blood inside him. His breath quickens, it burns, but not so fast or hot as Ray's had. Yet, like Ray, Seymour quickly falls into a deep slumber. I turn off his computer and put out the light. There is a blanket on the bed that looks as if it was knitted by his mother, and I cover him with it. Before I leave, I put my palm on his forehead and listen and feel as deep as my senses will allow.

The virus, I am almost sure of this, is gone.

I kiss him once more before I leave.

"Give me credit if you get your story published," I whisper in his ear. "Or else there will be no sequels."

I return to my car.

Giving out so much blood, taking none back in return.

I feel weaker than I have in centuries.

'There will be no sequels," I repeat to myself.

I start the car. I drive into the night.

I have work to do.

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