Dracula
About the dracula
PLAY Guide
This play guide is a standards-based resource designed to enhance
your theatre experience. Its goal is twofold: to nurture the teaching and learning of theatre arts and to encourage essential questions
that lead to enduring understandings of the play’s meaning and
relevance. Inside you will find history/contextual information,
vocabulary and worksheets that lay the groundwork of the story and
build anticipation for the performance. Oral discussion and writing
prompts encourage your students to reflect upon their impressions
and to analyze and relate key ideas to their personal experiences and
the world around them. These can easily be adapted to fit most
writing objectives. The Bridgework connects theatre elements with
ideas for drama activities in the classroom as well as integrated curriculum. We encourage you to adapt and extend the material in any
way to best fit the needs of your community of learners. Please feel
free to make copies of this guide, or you may download it from our
website: www.actorstheatre.org. We hope this material, combined
with our pre-show workshops, will give you the tools to make your
time at Actors Theatre a valuable learning experience.
Table of Contents
Actors Theatre Education Department
Steven Rahe, Education Director
Jacob Stoebel, Associate Education Director
Lee Look, Playwriting in the Schools Coordinator
Stone Nelson,Julie Mercurio and Jeffrey Mosser,
Education Interns
Synopsis.......................................... 2
Cast of Characters............................ 2
Vlad the Impaler............................... 3
Bram Stoker..................................... 4
Vampire Survival Kit.......................... 5
Dracula on Stage and Screen............ 6
Theatre-in-the-Round......................... 7
Bridgework...................................... 8-9
Word Scramble................................ 10
Discussion & Themes......................... 11
Writing Portfolio............................... 12
Dracula matinee and play guide address specific Ky Core Content:
n AH-1.3.1: Students will identify the elements of drama DOK 2
Fund for the Arts
Members Agency
The Hearst
Foundation, Inc.
n AH-2.3.1: Students will analyze how time, place and ideas are reflected in drama/theatre DOK 2
n AH-3.3.1: Students will explain how drama/theatre fulfills a variety of purposes DOK 2
If you have any questions or suggestions regarding our play guides,
please contact the Director of Education, at (502) 584-1265
Play Guide compiled by Aurelia Clunie, Sarah Lunnie, Jess Jung
and Katie Blackerby Weible.
Synopsis
Trouble is brewing when the curtain rises on William McNulty’s new adaptation of
Dracula. Dr. Abram Van Helsing has arrived at the estate of his old friend, Dr. Seward,
who is desperate for help. Seward’s beloved Mina has recently died of a sudden and
mysterious illness. Her horrific symptoms have proved baffling to the bereaved doctor:
sudden loss of blood; bouts of sleepwalking in the cemetery; and strange puncture
wounds on the neck. To make matters worse, Mina’s friend, Lucy, has begun to display
the same symptoms! Seward hopes that Van Helsing, a noted expert in exotic medicine,
will be able to uncover the cause of Lucy’s illness, and save her before it’s too late.
Meanwhile, Count Dracula, a strange and imposing man from Transylvania, has
taken up residence in nearby Carfax Abbey. And Lucy’s fiancé, Jonathan Harker, has
mysteriously vanished. A solicitor who helped arrange the sale of the Abbey, Harker
traveled to Transylvania a few months ago to finalize business matters with the Count…
and never returned home.
At Seward’s estate, Renfield, a mental patient, is becoming more wild and unruly by the
day, almost as though he were possessed. Lucy’s symptoms continue to grow worse. And
how to account for the sudden onslaught of howls, coming by night from up the hill?
Van Helsing believes the problem they face is a grave one: “My diagnosis is there is no
disease! The symptoms are real. But the cause is not internal.” He believes that Mina,
and now Lucy, have suffered at the hands of a vampire. To save Lucy’s life, they will have
to uncover the identity of the life-sucking demon, and destroy him. But the endeavor is a
dangerous one. A vampire is a fearsome enemy, and the risks are greater than death.
Should the doctors perish in their pursuit, they too will become vampires, spending an
eternity preying upon the bodies and souls of those whom once they dearly loved. Will
Seward and Van Helsing find the vampire and save Lucy’s life? Or is the monster about
to claim yet another victim?
Cast of Characters
Dr. Seward
Count Dracula
Seward’s new neighbor; recently
moved from Transylvania
Professor Abram Van Helsing
Old friend of Seward; comes to help Lucy
Mina: Love of Seward
recently died of a mysterious illness
Lucy: Mina’s friend
displaying same symptoms
Jonathan Harker
Lucy’s fiancé; missing after trip to Transylvania
Renfield
mental patient; receiving treatment from Seward
Miss Sullivan
the maid
Mr. Briggs
Seward’s employee
2
The Real Dracula:
Vlad the Impaler
Vlad Dracula, later named Vlad
the Impaler after his favorite form of
torture, was a 15th century prince who
ruled with an iron fist. This infamous
ruler controlled his subjects with such
violence that he is now referred to
as the bloodiest ruler in history.
Vlad was born in Transylvania
in 1430 or 1431. His father, the
warrior Vlad Dracul, was a member
of a secret society of knights called
the Order of the Dragon. This society
was formed to fight and defeat the
Turks, as well as secure the throne of
Wallachia (a town located in presentday Romania). The Order brothers
dressed in long green capes except on
special occasions in which they would
wear long black capes and drape gold
dragon medallions around their necks.
Young Vlad was nicknamed Dracula after
his father. In Romanian, Dracul translates
to ‘dragon’ or ‘devil,’ and the ‘a’ stands
for ‘son of.’ So Dracula literally translates
to ‘son of the dragon’ or ‘son of the devil.’
In 1444 Dracul was traveling with
Dracula and his youngest son across the
Danube River when they were captured
by the Turks. Dracula was imprisoned
for four years. These years are thought
to be the beginning of Vlad Dracula’s
violent nature. It wasn’t long before
Dracul was assassinated and Dracula’s
brother was buried alive by the ruler
of Hungary, Jamos Hunyadi. Fearful
for his life, Dracula joined Hunyadi
who taught him cunning and severe
military tactics that would soon secure
Dracula the throne of Wallachia.
As Prince, Vlad Dracula continued to
battle the Turks. Those taken hostage
were impaled (a large pole was driven
through their body). But it was not only
Dracula’s enemies who suffered. Many
townspeople were also subject to his
wrath. One story tells of Dracula noticing
a peasant man who was wearing a
shirt that was too short. When Dracula
asked the man’s wife why the man was
improperly dressed, she said she was too
busy cooking and cleaning to sew. She
was immediately impaled. Graciously,
Dracula chose a new wife for the man.
He made sure to show the new wife
what had happened to the old so that
she would not make the same mistake.
Dracula died in battle in 1476. He was
promptly decapitated by order of the
Turkish sultan. His head was then sent
to the sultan who displayed it, fittingly,
on a stake for all to see. Although gone,
rumors of Vlad Dracula and his relentless
temper spread throughout Europe. Stories
of his villainy were published, read, and
reread, and it was these stories that led
Bram Stoker in creating the infamous
Count Dracula we know today.
3
Bram Stoker:
The Man Behind the Monster
Bram Stoker always liked scary stories.
He was born near Dublin, Ireland on
November 8, 1847, but was sick during
most of his childhood. He read in bed
a lot and liked to listen to the stories
his mother Charlotte told. Her stories
were sometimes creepy, like the ones
about victims of the 1832 Irish cholera
epidemic who were buried before they
were entirely dead. As he grew up,
Stoker got stronger and even played
sports and joined clubs when he went
to Trinity College. He still liked to read
strange stories like the influential 1871
vampire novel Carmilla by Le Fanu. Stoker
tried writing his own horror story, “The
Chain of Destiny,” which appeared in
a magazine in 1875. Stoker’s first book
was pretty boring. The Duties of Clerks of
Petty Sessions in Ireland didn’t raise hairs
on the backs of readers’ necks, but was
a really useful resource for other clerks.
Stoker first worked for the Irish
government, but loved putting his
imagination to use and loved the
theatre. In college he saw The Rivals,
starring Henry Irving, and was blown
away. The show inspired Stoker to
write a theatre review column for the
newspaper the Dublin Mail. Years
later, he wrote a good review about
Henry Irving’s performance in Hamlet,
and the actor invited him backstage.
The two began a close friendship
and Stoker moved to London with his
young wife to become the Business
Manager of Irving’s Lyceum Theatre.
Stoker continued writing fiction while
working at the Lyceum. He published
a collection of scary children’s stories
called Under the Sunset in 1881. In the
1890’s, he wrote some romantic novels,
but was working on his vampire thriller.
Stoker painstakingly researched places,
superstitions, and myths while writing
Dracula. He visited many of the locations
he wrote about in the book, including the
Regent’s Park Zoo where he observed
animals that would appear in Dracula.
Stoker stayed up nights discussing dark
4
Bram Stoker
matters with his friends. Diary entries,
letters, newspaper articles, verbal
testimonies and other first hand accounts
form Stoker’s frightening narrative. He
creatively used many fictional sources
to make the story seem more authentic.
When Dracula finally reached readers in
1897, reviewers generally praised it. They
enjoyed its “ingenious and gruesome
details” and how exciting it was for
readers. Stoker had successfully written
a thrilling horror novel that would terrify
generations. He wrote other novels before
he died in 1912, but none could compete
with the legend he created in Dracula.
Vampire Survival Kit
everything you need to know for your encounter with the undead.
The vampire is an ancient and mythic figure. There’s a good
chance you’ve heard the Dracula tale, made famous by Bram
Stoker’s novel and by countless classic film remakes based
on his book. But less widely known, perhaps, is the fact that
countries all over the world have their very own vampire
stories—each one stranger and more frightening than the next!
What is a vampire?
Stories vary from country to country,
but all of the dark tales share certain things in common:
vampire is neither human, nor dead, but rather undead: a being from beyond the grave, who destroys life in order to continue its own unnatural existence.
nA
most cultures, vampires are said to feed on human blood in order to
sustain themselves—usually with a quick bite to the neck!
nIn
Where do vampires come from?
Depending on who you ask, you’ll find many different stories about
where a vampire comes from. But many cultures believe that the arrival
of a vampire in town means a social taboo has been broken.
Macedonia, people once believed vampires (known as vrykolakas), turned
up when someone didn’t respect local burial rituals, or because of the death
of an unbaptized child.
nIn
Portugal and Russia, people attributed the arrival of a vampire to the practice
of witchcraft.
nIn
How do you kill a vampire?
There are lots of stories about where a vampire comes from, but even
more opinions on how to do away with him. Wreathes of garlic around
the neck, holy water, and stakes to the heart are well-known vampire
remedies, but there are others you may not be familiar with. Here’s
what you need to know if you’re expecting a late-night encounter:
kill a vampire in Albania, Romania, and Russia, you can stab it in the
heart with a knife and cut its throat. (Please be careful: in Russia there’s no room for error. If you strike more than once, it will come back to life.)
nTo
Bavaria and Russia, cut off his head! Ditto for Greece and Crete—
but afterwards, you’ll have to boil it in vinegar.
nIn
nIn
Macedonia, Hungary and Serbia, drive a nail into his head, neck or navel.
nIn
Ireland, place stones on top of his grave to prevent him from escaping.
Poland, bury the vampire face downward. He’ll become confused, and spend eternity digging for freedom in the wrong direction.
nIn
5
Dracula
on Stage and Screen
Actor’s Theatre of Louisville has been performing a stage
adaptation of Dracula every year for the last 13 years. An
adaptation is any work that was originally written in one form
(say a book) and rewritten for use in a new form (say theatre or
film). This year William McNulty has written a new adaptation of
Stoker’s old classic. Actors’ new Dracula follows a long tradition
of stage and film adaptations of Stoker’s novel.
May 18, 1897—Stoker’s novel was quickly adapted
and performed for one night only to protect the copyright
to the play. It was read at the Lyceum Theatre in
London and was four hours long! Stoker’s good friend,
Henry Irving, said this version was “Dreadful.”
1958—The Horror of Dracula was made by Hammer
Films. This English version was the first color version
and starred Christopher Lee as the Count. It began
another series of Dracula-themed films that include The
Brides of Dracula and Dracula, Prince of Darkness.
1922—F. W. Murnau directed a silent film adaptation titled
Nosferatu, A Symphony of Terror. He changed many of the
character and place names, but still told the same story.
1970—Count Dracula starred Christopher Lee
again as the Count and claimed to tell the Dracula
story as Bram Stoker really wrote it.
February 14, 1927—A new stage adaptation opened
at the Little Theatre in London. This version was written
by Hamilton Deane, who also played Van Helsing.
1992—Frances Ford Coppola directed Bram Stoker’s Dracula.
He took an original view of Stoker’s story and incorporated
new historical information about Vlad Tepes. It starred Gary
Oldman, Keanu Reeves, Winona Ryder and Anthony Hopkins.
October 5, 1927—An American stage adaptation
opened on Broadway. This play was adapted by
Hamilton Deane and John Balderston and set in the
1920s. Bela Lugosi starred as Count Dracula.
1931—Bela Lugosi returned as Count Dracula in the
film Dracula by Universal Pictures. It was adapted from
the play by Balderston and Deane and is the film many
people think of when the think of Dracula. Universal
made a series of movies including Dracula’s Daughter
and House of Dracula based on this first film.
6
1995—Dracula opened at Actors Theatre of Louisville. Though
not the first time Actors had ever done the show, this production
started our tradition of scaring audiences every year.
Theatre-in-the-round
Bingham Theatre
Theatre-in-the-round, or an arena stage, is a space in which the audience surrounds the playing area. The stage
is usually a simple shape such as a circle, square, or triangle, with the audience rising up from all sides (think of
a bowl: the bottom is the stage and the sides are the audience). The first professional American theatre-in-theround company, Theatre ’47 in Dallas, was established in 1947.
You will witness a theatre-in-the-round production when seeing Dracula in the Actors Theatre of Louisville’s
Bingham Theatre. The cast and crew use the round space to add extra fright to the production. So be careful!
No matter where you sit, there might be something lurking…
Can you name the other two types of theatre stages? What does each look like?
7
BRIDGEWORK:
Building Connections between Stage and Classroom
The following exercises combine creative drama, theatre concepts and core content to connect the theatre experience with drama activities in your
classroom. By exploring drama as a mode of learning, students strengthen skills for creative problem solving, imagination and critical thinking.
Core Content Connection (Core Content 4.1)
The activities are designed using the Elements of Drama: Literary Elements, Technical Elements and Performance Elements.
AT YOUR DESK Activities
Theme Lines
Choose a character’s line(s) from the script that reflect an
important theme of the play. Write a brief thought of your own
that expresses that theme. What does it mean to you? Read
both the script line and your own thought aloud to the class.
Journal Entry
Stoker begins his novel, Dracula with a journal entry of John
Harker’s: 3 May. Bistritz.—Left Munich at 8:35 P.M., on 1st
May, arriving at Vienna early morning; should have arrived
at 6:46, but train was an hour late. Buda-Pesth seems a
wonderful place from the glimpse which I got of it from the
train and the little I could walk through the streets. I feared to
go very far from the station, as we had arrived late and would
start as near the correct time as possible. The impression I got
was that we were leaving the West and entering the East…
Think about which characters might be the protagonist and
the antagonist in the play. Write a journal entry in the voice
of either character (or both). Explain his objective or goal and
describe reasons for wanting it (motivation). What actions
does this character take to achieve his goal? Remember
to justify every action and thought of your character.
Create a Sound Design
The technical element of sound creates mood and places
us in a specific time and place. Assume the role of sound
designer for your own contemporary production of DRACULA.
Make a list of sound effects and music you would use.
ON YOUR FEET Activities
Warm-up
Sound/Motion Circle – Players in circle. First person starts
a “scary” sound and motion around circle. Person to
his/her right imitates sound/motion and passes it to next
person on right. When sound/motion makes it all the way
around, person standing to left of first person starts new
sound/motion. Repeat until all players have had a turn.
Get Your Freak On
When auditioning for DRACULA, some of the actors are
asked to do their best creepy moves. Ask your students
to walk around the room. Tell them you are going to
play different pieces of music. When they hear the
music, ask them to change their body movement. Ask
them to visualize a character that fits the tone of
the music and to embody that character. Students should focus
only on nonverbal expression. Use several different types of
8
music: classical, spooky Halloween, jazz, etc. Be sure to leave
time for reflection. What did it feel like? Were some pieces
of music easier than others? Why? How can music inform a
character? How can music add to the tone of a production?
Round and Round We Go….
Simulate performing and directing for theatre-in-the-round (or
areana theatre). Have students place desks in a circle. Give
volunteer actors a scene (from DRACULA or another play)
and have a volunteer director lead the movement. After the
scene is completed, discuss the challenges of this type of
stage. What do actors and directors have to think about?
What might a set look like in this space? What type of
plays do you think would be best performed in the round?
Interview with a Vampire
Hot Seating – Choose one student to play Dracula. Have
the rest of the class take on the roles of townspeople
in London who have heard rumors of his evil. They
pose questions and interrogate him about the events
that have happened and choices he has made.
“Dracula” should explain and justify his actions.
Text Work
Read the following lines of dialogue. Notice who said them
and to whom they are spoken. Write a short essay about
each, stating whether you agree or disagree with the thought.
Give reasons to support your position, citing examples from
your own life as well as observations. Your essays could serve
as a start for a personal narrative or persuasive paper.
Van Helsing: (to Seward) My friend, “adventure” is a
term most often used in hindsight. An “adventure” as one
is experiencing it is usually referred to as “trouble”.
•••••••••••••••••••••
Dracula: (to Van Helsing) Sometimes good
and evil are just a matter of perception.
•••••••••••••••••••••
Dracula: Come, Professor, who does not have the
Beast within? Humans are so hypocritical; they deny
their lust for blood. I am a free creature. I hunt; kill
without mercy or conscience to spoil my enjoyment.
Van Helsing: Humans seek to distinguish
themselves from the animals. That is our destiny.
CROSS-CURRICULAR CONNECTIONS
English/Language Arts
1) Locate and read several British newspaper articles
from 1897. How are they written? In what ways is the
language and style different from ours? Imagine that you
are a reporter from 1897 London. You have been sent
to write a story about Count Dracula. What has been
seen and heard about this mysterious man? Write your
story in keeping with the flavor of the time period.
2) Folk songs from the late 19th century are sung by various
characters to comment on character, plot and theme.
Analyze the following song lyrics from Ghost Lover sung
by Dracula. Why does he sing this song? What is Dracula
communicating to the others about himself? Can you
identify the metaphors? What is the mood of the poem?
She feels he is as cold as the clay.
She said, my dearest dear, if I only had my wish,
This long night would never turn to day.
Oh, where is your soft bed of down, my love?
Where is your white hall and sheet?
And where is the fair maid who watches over you,
As you lie in your long dreamless sleep?
The sea is my soft bed of down, my love,
The sand is my white hall and sheet,
And the long hungry worms they do feed off of me,
As I lie every night in the deep.
Geography
Locate Transylvania on a map (hint- it’s in Romania). What
are the 16 present-day counties it encompasses? What
are the most populated cities? Find other interesting
facts about the region. Now locate London. How far
did Dracula have to travel to inhabit his new castle?
Social Studies
DRACULA is classified as a Gothic novel. Many scholars
consider Horace Walpole’s novel The Castle of Otranto (1764)
to be the first Gothic novel. Gothic novels generally focus on
mystery and horror and often contain supernatural elements.
The Gothic style of architecture flourished in Europe during the
late medieval period (think of great cathedrals, abbeys and
castles). The Gothic style enjoyed revivals in the late 1800s
and 1900s. In contemporary culture, the Gothic or “Goth”
movement is popular among some young people. How would
you describe the “Goth” style? How does it relate to historical
gothic elements? What is our fascination with the dark side?
9
DRACULA’S
POWERS
worD SCrAmblE
DrACulA'S PowErS
WORD SCRAMBLE
1) SESruVVi no olDbo fo EoSHrT
_______________________________
2) CnA PAPErA SA iTSm
_______________________________
3) runTS CTViSim noiT EmSAVrPi
_______________________________
4) loTnTEyiAlP TmlrimAo
_______________________________
5) nCA nrTu niTo A AbT
_______________________________
6) nTSHgrET fo nwTTEy Enm
_______________________________
7) CnA yoSPHTniE miViCTS
_______________________________
8) STCAS on oADHwS
_______________________________
9) SAH on TrnfoElCEi
_______________________________
10) ACn Trun Tnio A fwlo
_______________________________
AnSwErS:
1) SuRVIVeS oN the bLood oF otheRS; 2) cAN APPeAR AS MISt; 3) tuRNS VIctIMS
INto VAMPIReS; 4) PoteNtIALLY IMMoRtAL; 5) cAN tuRN INto A bAt;
6) StReNGth oF tWeNtY MeN; 7) cAN hYPNotISe VIctIMS; 8) cAStS No ShAdoW;
9) hAS No ReFLectIoN; 10) cAN tuRN INto A WoLF
DISCUSSION QUESTIONS
Pre-show Questions
1) Before you enter the Bingham theatre, picture a stage in the center with seats all around (arena stage). Think about the world of Bram Stoker’s story. What kind of set do you expect to see?
What style and colors? What elements do you think will set the mood? How?
2)How is seeing a play different from seeing a movie? As an audience member, what types of things do you need to keep in mind when going to see a live performance?
THEMES
GOOD vs. EVIL
SALVATION & DAMNATION
BLOOD
SCIENCE vs. SUPERSTITION
DREAMS & NIGHTMARES
Post-show Questions
1)During the show (and in the opening scene specifically), how did the technical elements create the mood that evoked fear from the audience? What sounds, lighting effects and costumes do you recall?
2)What themes are present in DRACULA? As this is fundamentally a story about good and evil, which characters
are good and which are evil? Do any characters show traits of both? Which force ultimately wins?
3)Why do you think Vlad the Impaler was Bram Stoker’s inspiration for DRACULA? Where did you see examples of Vlad in the
production? Do you think using history to create a story is a valuable writing tool? Why or why not? What are some examples?
4)Do you feel any empathy for the evil characters? What parts of their existence might evoke pity?
5)Why do you think vampires are ingrained in pop culture? Why are vampires in the movies, on TV,
popular Halloween costumes, etc.? Trace the evolution of the vampire in literature and film. (Compare/
contrast Bela Lugosi’s characterization to Brad Pitt’s in “Interview with a Vampire”, for example). How has our perception of vampires changed over the years? How has it stayed the same?
11
Writing Portfolio
Note for teachers: All Writing Portfolio prompts have been
designed to correspond with Kentucky Department of Education
Core Content for Writing Assessment.
PERSONAL EXPRESSIVE
What was the scariest thing that ever happened to you?
Write a story narrating the event for your reader. Lead the reader through the
experience moment-by-moment in detail, using clear, descriptive images. Why was
this a memorable moment in your life?
LITERARY WRITING
Dracula ends leaving the story open to the audience’s interpretation. What you think
happens? This is your chance to continue writing the play! If you could imagine one
more scene at the end of our Dracula what would it be? Which characters would be
in it? What do they still need to do? Be creative!
TRANSACTIVE WRITING
After seeing Dracula, write a theatrical critique of the production. Pretend you are
writing for a local newspaper. Describe three elements that stood out to you (maybe
an actor’s performance, the set, the costumes, etc.). Why should or shouldn’t someone
go see this production?
Need more help?
Check out our Young Critics Workshops!
Have an Actors Theatre teaching artist visit your classroom to give your students the
inside scoop on how to write a theatrical critique.
Students who have written a critique on an Actors Theatre production may submit
their work to be posted on our website!! To submit online, please send all critiques
as email attachments to jstoebel@actorstheatre.org with the subject heading ‘Young
Critics Contest.’ Please be sure to include your name, school, teacher, grade, and
contact information.
actors theatre of louisville n 316 West Main Street n Louisville, KY 40202-4218
Box office 502-584-1205 n Group Sales 502-585-1210 n Business Office 502-584-1265
ActorsTheatre.org
built on stage
to create
environment
technical
Includes music
and everyday
noises
used to enhance
actor’s facial
features
Includes gestures,
facial expression,
and movement
Includes ‘hand’
and ‘set’
the players
of the story
the tension of
the play
dialogue
Sound
Lights
Story
organization
characters
Nonverbal
expression
Make-up
beginning
Middle
and
end
Test your knowledge!
Elements of Drama
one character
speaking
Another term
for
story line
What actors wear
enhances focus
by creating
areas of
light and dark
use of face, body,
and voice to
portray a
character
Props
Monologue
Literar y
Speaking
Acting
conversation
between
characters
conflict
costumes
Includes vocal
expression,
projection,
and diction
Set
Perfor m ance
Plot
Directions:
cut out the following
terms and paste in
the appropriate box
DRACULA’S
POWERS
worD SCrAmblE
DrACulA'S PowErS
WORD SCRAMBLE
1) SESruVVi no olDbo fo EoSHrT
_______________________________
2) CnA PAPErA SA iTSm
_______________________________
3) runTS CTViSim noiT EmSAVrPi
_______________________________
4) loTnTEyiAlP TmlrimAo
_______________________________
5) nCA nrTu niTo A AbT
_______________________________
6) nTSHgrET fo nwTTEy Enm
_______________________________
7) CnA yoSPHTniE miViCTS
_______________________________
8) STCAS on oADHwS
_______________________________
9) SAH on TrnfoElCEi
_______________________________
10) ACn Trun Tnio A fwlo
_______________________________
AnSwErS:
1) SuRVIVeS oN the bLood oF otheRS; 2) cAN APPeAR AS MISt; 3) tuRNS VIctIMS
INto VAMPIReS; 4) PoteNtIALLY IMMoRtAL; 5) cAN tuRN INto A bAt;
6) StReNGth oF tWeNtY MeN; 7) cAN hYPNotISe VIctIMS; 8) cAStS No ShAdoW;
9) hAS No ReFLectIoN; 10) cAN tuRN INto A WoLF