One: The Dorm Room

A blue light comes on, lighting up a mostly dark bedroom. The light source is a laptop computer. It belongs to Marina Elaies, a blond (despite her exotic name) 18-year-old college freshman, a film major, of average height and weight. She's sitting at her wooden desk in her dormitory bedroom.

Her side of the bedroom, were there is more light, is brightly-colored. The biggest theme is red, though she has a rainbow of color of college supplies. Hanging from a cork board strip running along the wall (with one matching on the opposite wall) above her bed is a poster of Johnny Depp as the title character in Sweeney Todd: The Demon Barber of Fleet Street, and a smaller poster of him as the Mad Hatter in Alice in Wonderland. Her bed sheets, at this point, are pink, and the comforter is reversible, at this point, forest green-side up. Sitting by the head of the bed is a pink plastic chest of drawers, which doubles as a small bedside table.

Marina's roommate, Katrina Granger, a so-far undeclared French major, is out-of-town this particular Saturday at the end of the spring semester, back home visiting family. Katrina, also blond and in her late teens, is slightly chubbier than her roommate. Katrina's side of the dorm room is darker than Marina's; it has more of a purple theme, and is more cluttered than Marina's mostly-organized side. Above her bed, hanging from the cork board strip, are three posters, two of various Star Wars characters, and one of French artwork. Her dual-functioning plastic chest of drawers is a sort of an opaque spring green, sitting at the head of the bed.

Sitting between the two drawer chests is a white mini microwave sitting atop a stainless steel micro-fridge. Between the furniture and the window set in the wall is the heater/AC radiator unit.

The blinds on the window are drawn. Outside the window is a six-foot tall bush that runs the length of the side of the building and comes up to the bottom of the first-floor window. On the other side of the bush is a sidewalk that runs somewhat perpendicular to the small road that runs about a yard or so away from the building. On the other side of the sidewalk is a street lamp that's just barely brighter than the low, full moon that is out that night.

On the opposite wall from the window are the door and two wardrobes. At this point, the bedroom door is shut and locked. The two wooden wardrobes have chests of clothing, shelves, and coat hangers. One wardrobe, Marina's, has a mirror attached to the outside of one of the doors. The other door has a combination white board/cork board on it. Katrina's wardrobe has a large hand-drawn rose taped to the front of one of the doors. Attached to both the wardrobes and the ceiling are two more open-front-boxlike shelves, which the two roommates bought a small black-and-white step stool to reach. The floor of the whole building is covered in an old, faded medium-dark turquoise carpet.

The laptop still casts a bluish light over Marina. She brushes a bit of hair behind her ear. She's wearing a dark set of pajamas, a plain black cotton shirt and fuzzy black-and-pale-blue pants.

She's online, researching information for an essay for her English class, a sci-fi/fantasy lit course. The single-semester class had four major essays spread out over the course of the semester. Her current project, more of a final paper than a final exam, was to explain how classic novels like Mary Shelley's Frankenstein and Bram Stoker's Dracula inspired modern pop culture to use the theme of reanimation and the undead.

A bright light comes through the crack under the door from the lounge on the other side. Two dark shapes, what looks sort of like a pair of misshapen feet, appear. The door handle slowly begins to turn.

Marina thinks it's the floor's prankster trying to mess with her head. She barely pays attention, trying to concentrate on her essay. "Knock it off, Tim Johnson!" she says, annoyed.

The door handle starts to turn back and forth furiously. Marina slowly turns to face the door on her right. She grows more worried. "Tim...?"

The bedroom door crashes open, splintering all over the room. Marina screams and drops to the floor, crouching into a ball, trying to protect herself from flying wooden shrapnel. She quickly crawls under her bed, trying to get to safety, shoving her safe, schoolbooks, snack boxes, and laundry basket out of the way. As she falls, the chair falls to the ground, a jacket slides off of the chair and crumples into a ball on the floor, and a red seat cushion slides onto the floor.

Just as quickly as Marina takes cover, a man, Walsh, rushes into the room, jumping over Marina's overturned wooden chair, twisting and breaking the white board from the door as he does. Upon closer inspection, we see that it isn't really a man so much as a werewolf. He's tall, close to six-and-a-half feet tall, with muddy brown fur. He crouches down and grabs at Marina's ankle.

"Don't run, girl. Don't hide. You're coming with me. You're mine for the Sacrifice," the werewolf says.

Marina tries to yank her ankle out of Walsh's grip, but he's too strong.

Outside Marina's smashed door, Marina's floor mates gathering outside her room to see what the commotion was about. One boy, Ian Connito, steps forward. "Don't. Touch. Her," he says.

Walsh snarls, "Get your friends out of here, boy. You don't want to make trouble for the girl, your friends, or yourself."

The crowd scatters out of fear.

"I will NOT be part of some sacrifice! I don't even know what's going on! I'm just an ordinary college student!" Marina kicks at Walsh, still struggling to break free. After the third kick, she breaks his nose, and he recoils, clutching it with both hands. Marina crawls back out from under her bed, making a break for the door, with enough sense to grab her jacket, cell phone, and keys on the way out.

As Marina leaves the threshold of her room, something crashes through her window. Against her better judgment, Marina turns around to look, remembering the large drop into a bush waiting outside the window. "What the...?"

The thing that crashed through the window looks more like a person than Walsh does. This new man, Duke Faiey, is just as human as Walsh, though. He's a vampire. He isn't a vampire like in Twilight; he's more old-fashioned, traditional, like Dracula or Frederick Sackville-Bagg, the father in The Little Vampire.

Walsh and the Duke begin to fight, and this spills out into the hallway, past Marina. She runs back into her room and grabs a notebook and pen. The Duke calls out to someone unseen, waiting outside the window, "The girl, Crys! Get the girl!"

Completely unaware that the Duke's son, Crys, is waiting outside for her, Marina manages to climb over her furniture and radiator unit, and jumps out her broken window. The bushes break her fall, but it's far from comfortable.

She climbs out of the bushes, all scratched up, and begins to run down the street. Crys comes out of the shadows of the small walkway between Marina's dorm building and the neighboring one, and gives chase.

Marina doesn't get very far. Crys is too fast for her. He rushes up to her and grabs her from behind.

Crys drags Marina down the street in the opposite direction from which she was trying to run. Marina gives up the struggle and passes out.