Throw Away The Key

7. Come one, Come all

The warehouse is big enough to resemble a small stadium and there's a wooden stage set up at the front. Rows of chairs and benches have been moved in to accommodate the spectators and nearly everyone is vying for a seat toward the front. There's no numbers and no letters when it comes to finding a seat, its literally first come first serve. Monroe can hear some of the people toward the front snapping and snarling at each other as they fight over seats trying to get closer and he wouldn't be surprised if a full blown fight broke out before it was all said and done. He's already made the conscious decision to hang toward the back because he's honestly not sure he'll be able to control himself once he sees Nick. The human side of him will obviously want to approach the situation rationally but the wolf side is not above charging the stage and ripping the head off of anyone who stands in the way.

He hangs back toward the back few rows, the kids looking at him curiously. They want to be closer to the stage, closer to rescuing Nick, but just as Monroe doesn't exactly trust himself, he certainly doesn't trust the teens not to charge in with guns blazing either. He knows he's on a hair trigger and they can't be too far behind him; one wrong move could ruin the entire rescue mission though and he knows that as well. At the confused looks from the teens, Monroe simply shakes his head and motions them to sit down in one of the back rows. They look ready to protest, all three of them, but no one says anything and they all sit down side by side, shoulder to shoulder. They'd listened to Monroe this far, they'd followed his advice until now, and no one seems ready to break from that streak just yet. Whatever questions or discrepancies they have can wait until later.

There's a shift of movement toward the front and Monroe's attention snaps forward, catching the emergence of two men wearing all black that walk onto the stage. Monroe stiffens instantly, just barely able to catch the growl that builds in his throat. It's the Nachtkrapp, dark and predatory like crows lingering in the shadows. They look similar but not identical, both with dark hair and eyes and sharp avian features that look more animal than human even on the best of days. One has a cast wrapped around his arm, the thick plaster stretching up the length of his forearm and stopping just below his elbow. His movements are stiff and measured with that arm and Monroe feels a grim sense of satisfaction as he realizes Nick was probably the cause of the injury in the first place. The other one looks relatively unscathed, watching his partner on stage with a critical eye like a boss watching his employee. Obviously he's the leader, the one in charge of the other one at least.

He was probably the one who led the attack on Nick…

The growl does escape his throat this time and the kids hear it. Holly frowns and looks from Monroe to the stage, seeing the Nachtkrapp up toward the front. Her eyes narrow and an equally threatening growl rumbles in her chest, her teeth bared and her fingers clenching over denim clad legs. Barry and Roddy notice this as well and both are shooting murderous looks toward the stage, looking like they want nothing more than to go bird hunting and tear off their wings. Wisely, no one moves, they all stay completely still and continue to glare at the stage. No sense in getting caught before the show ever starts.

An announcement comes over the loud speaker advising the audience to remain sitting and not approach the stage until after the show is over. The usual warnings about medical conditions are given and the audience is asked to please refrain from smoking while in the warehouse. Very shortly after the announcement ends, the lights are dimmed and a spotlight is cast on the stage. A short man with sharp, weasel-like features appears in the middle of the spotlight and he smiles wickedly at the audience. He's wearing a red suit jacket and a black top hat. He's the ringleader.

"Ladies and gentlemen, boys and girls, creatures of all different kinds, I humbly thank you for coming to this evening's performance. Some of what you might see tonight will shock and amaze, confound and confuse, terrify and horrify. Those of you with heart conditions, weak stomachs, and small children are cautioned that some of the performances may be disturbing to some audience members. Please note where the exits are." As if taking their cue, the two Nachtkrapp onstage blandly point to the highlighted exit signs on either side of the building. After a moment of silence and eager anticipation, the ringleader smiles another weasely smile and steps to the side. "Let the show begin."