Taking place after the crazy nature hike, the crew goes to the Karaoke Bar discussed earlier in the story.
Upon walking inside they are greeted to quite a lot of singing and sweet music but the most exceptional one comes from Ramona herself, singing a beautifully chilling song that entices everyone who hears it, both figuratively and literally.
After setting the bar extremely high and getting everyone's attention, most importantly to her, Derrick, she steps down and talks with some of the patrons, leading up to Derrick's group.
Before I continue, allow me to quote Alfred Hitchcock and his Bomb under the table style of filmmaking.
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
After setting the bar extremely high and getting everyone's attention, most importantly to her, Derrick, she steps down and talks with some of the patrons, leading up to Derrick's group.
Before I continue, allow me to quote Alfred Hitchcock and his Bomb under the table style of filmmaking.
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
Now in this scenario, Ramona is the Proverbial Bomb Under The Table. WE know what she is and that she's been stalking Derrick and is responsible for almost everything that's gone wrong in his life, but the CHARACTERS DON'T!
So the tension of the scene stems from the fact that they, and all of the innocent people in the bar, are now stuck in a room with a Vampire who is fully capable of slaughtering them but whom is acting perfectly nice for the majority of the meeting, aside from how close she's acting towards Derrick, and the team doesn't expect anything.
Time passes an they have a lot of fun singing and drinking together until Dolores excuses herself to the lady's room. Followed by a small group of women. Something completely innocent. Right?
Normally, you'd be right. But Ramona's here.
So while Dolores is washing her hands in the sink after doing what she needs to do, she sees a sudden hallucination in the mirror which distracts her as one of the women pulls a knife, grabs her mouth and plunges it into Dolores' back!
While outside, Ramona turns up the volume of the music.
Now normally, this would be the part where Dolores gets fridged to provide easy mangst for Derrick and his friends while Ramona moves in on Derrick in his vulnerable state.
So the tension of the scene stems from the fact that they, and all of the innocent people in the bar, are now stuck in a room with a Vampire who is fully capable of slaughtering them but whom is acting perfectly nice for the majority of the meeting, aside from how close she's acting towards Derrick, and the team doesn't expect anything.
Time passes an they have a lot of fun singing and drinking together until Dolores excuses herself to the lady's room. Followed by a small group of women. Something completely innocent. Right?
Normally, you'd be right. But Ramona's here.
So while Dolores is washing her hands in the sink after doing what she needs to do, she sees a sudden hallucination in the mirror which distracts her as one of the women pulls a knife, grabs her mouth and plunges it into Dolores' back!
While outside, Ramona turns up the volume of the music.
Now normally, this would be the part where Dolores gets fridged to provide easy mangst for Derrick and his friends while Ramona moves in on Derrick in his vulnerable state.
The name of the trope comes from a storyline in Green Lantern, in which the villain Major Force leaves the corpse of Kyle Rayner's girlfriend, Alexandra DeWitt, literally stuffed into a refrigerator for him to find. Years later, Major Force repeated the gimmick with Kyle's mother in an oven. It was just a trick with a mannequin that time, though.
The term (sometimes formed as "fridging") was popularized by comic book writer Gail Simone through her website "Women in Refrigerators." On that site, Simone compiled a list of instances of female comic book characters who were killed off as a plot device. The term came to be used more broadly, over time, to refer to any character who is targeted by an antagonist who has them killed off, abused, raped, incapacitated, de-powered, or brainwashed for the sole purpose of affecting another character, motivating them to take action.
While it is strictly true that Tropes Are Not Bad, this one, especially as a catchphrase, is often given a very negative connotation as it is all too often a hallmark of supremely lazy writing—using the death of a character as "cheap anger" for the protagonist, and devaluing the life of that character in the process, instead of giving the villain something actually interesting to do that can involve all three characters and more emotions than simple anger and angst.
Dolores says fuck that shit!
It takes more than a knife wound in the back to take her down!
She pushes off the sink and wall and flips over her assailant, lands on her feet and fights back.
And it is brutal. Bruuuutal!
They wreck several stalls, break mirrors, and trash sinks.
Normally a small group of normies wouldn't be a problem for Dolores, but she's got two problems.
ONE: Badass or not, she's still been stabbed and she's still losing blood. Running and fighting is going to make that worse.
TWO: No matter how hard she hits them, they just seem to get right back up again! They're normal people, just flesh and blood, not even any powers but she can't seem to put them down, they don't even seem to realize they're being hurt, certainly aren't afraid, are inhumanly strong for their body types and they're coming at her like rabid lunatics!
At first nobody seems to hear the fight, but Derrick does thanks to his enhanced senses, first smell which alerts him to the blood, then his hearing as he focuses on it and actually pulls himself out of Ramona's hypnosis as he runs up to the door and pushes it open just as the fight is spilling out of the bathroom to the main bar.
The crew helps Dolores fight them off while Ramona snaps her fingers behind her back and the women drop to the floor like puppets with their strings cut.
Dolores and the women are taken to the hospital and the area is considered a crime scene.
The doctors are able to save Dolores and the assailants who are held for questioning. PCP is found on their persons, which is what's blamed for the attack.
Dolores' parents are called while her friends comfort her in her hospital bed.
All the while, Ramona continues to play innocent up to the end when she's left the hospital.
Suffice to say, once Nicole hears what's happened, she immediately makes a beeline to the hospital to check in on her.
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