Dillon gives it a moment, to be sure that Martha ascends safely. But instead of coming up to join her, he ultimately turns away. Though he might make it up there at some point in the night, the Reeve is not Heaven bound. Not tonight.
Nor, likely, any other night.
His true entrance is delayed for a moment, as he feels the press of a Beast that does not fear his own. Could be a Gangrel, but it's not the mad, end-of-your-rope grapple for control... in other words, familiar. A Beast he's felt before.
Several seconds pass before Dillon recognizes the beardless Dog .
"Wow," he says with a grin to the Hound in passing. "Be glad we don't film well. I'd have had to have a picture of this. You look good, though."
Taking the stairs to Hell, Dillon no doubt stands out like a sore thumb. Perhaps not as much as Twist, but the contrast in his suit and the decor has to be very striking indeed. The many reds and blacks and flesh tones... then save for Allison's white shirt, one Gangrel almost glowing amidst them.
It's a very important message, whether anyone gets it or not.
The greatest evil comes not as an open, ugly defiler. But with great beauty. Great promise. The epitome of friendly cheer and disarming love. The phrase 'wolf in sheep's clothing' is pale and inadequate. A used-up cliche that dilutes the meaning it was originally intended to convey. But one that should resonate with the Danse Macabre in particular.
Coupled with the attitude of the Beast within Dillon Connery, it is hard to miss.
After all, the great Deceiver himself is an Angel.
Offering a bow of his head and shoulders to Asa and Twist as soon as they look his way, the Reeve moves to what he judges to be the center of the area that isn't the dance floor. Hands slip into pockets, and he glances up to those in the mezzanine and smiles again.
It's rather like how a wolf might smile to a lamb.
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