Hello there folks, after quite some time I was able to finally get this chapter posted to Furaffinity at long last, I hope you enjoy it folks :)
On a related note, I'm looking for an artist and a colorist. Though I may have someone in mind for the former, the latter position is definitely open. If anyone is interested in either position, let me know :)

~

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(Alright folks, before we begin to tell this tale, I would like to tell you now that the descriptions of this, while concise, are also lengthy for the purpose of world-building. I feel it is best to provide warning about this, it's taken me four drafts and a LOT of patience to get to here, with any luck I won't have to spend another several weeks rewriting this while cursing in German...now then, here goes a foray into a weird, over-the-top world where everything and anything paranormal lives openly.
We are within the walls of the Hetelville opera house, it's got the modern fittings and stuff like some of today's opera theaters such as Sydney's famous one, however this is more like a Phantom of the Opera sort of establishment if it was renovated and kept up well. The scene is for the most part kept up on the stage, with the big red curtain drawn. There's multiple tears, cuts and holes in it from claws, bullets, crossbow bolts. The poor stage has suffered the same humiliation, and has a machete embedded in it. The area around them is moderately dark with faint light, but still clearly visible.

The stars of this stage are none other than Alistair Garth, Count Orlok himself and a small cult of five vampires. The hideous grand vampire has a bald head only marginally uglier than Lord Voldemort, gray skin, long fingers and a long black overcoat. His minions are much less revolting but still creepy, in black outfits that're hipster takes on the classic Dracula outfit. All have generally pale skin and no weapons, though one has a nose ring and a crowbar, another possesses a mullet and a pistol, with two more holding knives.
Alistair Garth, the best monster hunter currently active on Earth, is a humanoid Alligator about the height of an adult human male, with digigrade legs, long torso, a modest snout, light green scales with a partially seen light gray underbelly, blue eyes, gator feet with some large, sharp nails and a nice long tail. He's wearing a black longcoat with eight buttons, a wide brimmed hat in the vein of a pilgrim's with a silver buckle, and a tan pair of shorts that're ripped on the bottom and held with a brown belt. Alistair is in heated combat with these vampires, with a couple cuts on his face and a large bruise on his left arm. While semi-tired from fighting he's unconcerned, still determined to take this suckers out, gritting his teeth as he strives to.
He's dealing a 'rock bottom' to the mullet vampire, while at the same time holding a double edged sword in his tail and stabbing a vampire right in the heart as it pounces from behind. Holstered on the left side of his body is a pistol-sized automatic crossbow.

All the vampires are fighting hard to kill the alligator. The one receiving the rock bottom has a true look of mortal terror worse than the impaled, screeching vampire. The others are circling him like a pack of angry buzzards. Count Orlok is flying down from the ceiling, shapeshifting out of bat form to do a flying kick.

There's a description box in the corner reading "8:23 AM, February 27th, 2014. Hetelville Opera House.")

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(Let's take a closer look at the action.

We've now got an impending dust clouds that used to be vampire, hipster, terrorist-cultists, though the one who received the rock bottom is knocked out, laying about like some jackass who had too much to drink and thought your gutter was a good place to take a nap.

Alistair Garth now has his crossbow out, adeptly shooting two of the vampires right in the heart. The pierced vampire was attempting to whack Alistair with a crowbar but the Alligator has rapidly caught the crowbar and is hitting the vampire right across the face enough to smash out one of the dude's fangs. A bit behind him, a frustrated cultist is trying to pull three crossbow bolts right out of his teeth.
Alistair Garth is caught up in the energy of this massive fight, absolutely dominating it.
Count Orlok is half seen on the panel, laying on the floor with Alistair's sword driven right through his left hand, literally nailing him to the stage.

The panel mostly focuses on Alistair Garth more, kinda tighter than the the previous one too. Though there's a small panel in the corner depicting a dead vampire as he expires. Alistair's sword having slashed the heart right out. This is just one of the unspecified vampire minions.)

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(We shall now jump forward in time to a little bit later on, with only one vampire aside from the 'rock bottom guy' still alive, it's the pierced vampire who is presently being used as a club. Alistair Garth has this guy held by the ankles and is swinging the screaming vampire like some large, flailing baseball bat. The force behind this mighty clobber would break an ordinary man's skull. The vampire corpses are present as four other piles of dust, one of which has a crowbar embedded within.

While panting out of exhaustion, Alistair is clearly satisfied with his work, despite the adrenaline soaked asswhooping his reptilian brain is clearly calculating how to proceed next.

Count Orlok has been shocked so thoroughly he now knows what it feels like when an electrician finds out he needs new gloves the hard way. Surprised like he just went through a head-on car collision, and about in just as much pain. He is about six feet away from Alistair and had just atempted to charge him.
There's two tiny panels on the bottom, each one depicting the two vampires Alistair just killed in their last moments.

There's a little description box in a corner reading 'later'.)

SPX: WHAM!

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(Now let us gather behind the stage, whose curtain now has a large rip as Alistair and Orlok have torn open a hole big enough for both brawlers to pass through between earlier in the fight.

Right in front of Alistair, who's behind the curtain, is a solid oak coffin that's wide open as a freshly dug grave, some chains and a padlock right by the sides.

Alistair Garth is a proud alligator, glad his work is finally over and done with, but he's sporting more bruises now. The guy's true expertise at beating these kind of assholes up is really on display here as he lifts Orlok right over his head and is about to wrestling slam the asshole right into the open coffin. Bits of Orlok's outfit are stuck in Alistair's teeth.

Count Orlok is humiliated and defiant. Though half his face is swollen up with many bruises he is screeching loudly. He's really pissed off and trying one last time to escape the gator's grasp, Orlok's outfit, particularly the left shoulder, have faced the wrath of the alligator's jaws.)

Orlok (loud): Son of a sun!

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(Later, we see Alistair outside the doors of the opera house in broad daylight.

Alistair Garth is standing by the sidewalk, trying to hail a taxi quick. By his side is Orlok's coffin and a pair of bizarre, hobbled together containers he's using for the other vampires, they appear to have been made from a couple of supply crates you might expect from an opera house, one of them maybe being labeled 'sandbags'. Both of these are laying very still.
Orlok's coffin is laying right on the ground, shaking like a trash bag with a raccoon inside.
Alistair's magic duffel bag is on his right side, while the coffin and containers are on his right.

Alistair's thumbing for a taxi, pointing that appendage with weapons grade enthusiasm. He seems like an angry cat, secretly wishing he could kick some cabbie's ass.)

Alistair: Wait...
Alistair: Come on...
Alistair: …Stop already!
Alistair: Christ, am I invisible?!

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(Onward to the next scene.

We're near the very outskirts of Hetelville. Moving along a section of straight highway road. The camera view is overhead and from behind Winston's car. Mostly this is looking at Winston's car but due to my generous descriptions you'll get more than just an eyeful here.

Winston's car is a semi-rusted nineties model with a tan paintjob and an assortment of dents, but chugging along at a speedy pace. Not unlike its owner whilst en route to Alistar's abode.

On the right side of the highway there's a large sign reading "Welcome to Hetelville" with "The first city of the paranormal", both etched in a sunny font. There's a stray fast food burger wrapper carried on the wind blowing on down the highway. The sides of the road are mostly clear, but have multiple trees lined along on the side. We're in Florida, the land is flat but on the right hand side there's part of hill coming into the panel. The grass is green, not long but not kept up too well.

Winston's car isn't alone on this stretch of tarmac, just two other cars are seen at the moment. One's going to town itself, and it'd look normal if it wasn't for the Tolkien-esque dwarves inside it with horned Viking helmets. The other car however is going out of town, sporting infinitely odder passengers...and the seventh strangest car design ever made by someone not on LSD. It looks like some combination of aquarium and SUV, driven by a shell-bikini clad mermaid in a semi-conventional driver's seat, with a female gillwoman sitting next to her wearing a blue tube top, black jeans and triangular sunglasses, while there's a passenger in the back who happens to be a humanoid male trout wearing a set of glasses and a suit.

There's a description box at the bottom announcing this "10:00 AM, Hetelville outskirts.")

Winston: Well at last...my final shot at work.

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(Let's vamoose to the interior of Winston's car, and study this guy's profile.

Winston Pike is a twenty-nine year old Caucasian male human with brown hair and green eyes. He's kinda good looking though not extremely much, I mean he's not a model or something, more of an ordinary sort of good looking. He's wearing an open black leather jacket with some metal pads built into the shoulders and part of the front, with red cuffs and lining on the bottom, sides of the open front and neckline. There's a set of black goggles with red lenses around his neck, a green t-shirt with a tan ring seen by his open jacket, plus a pair of brown pants with black sneakers that have white spots. But the last two clothing articles are not visible at this point in time.

His head is currently turning back from looking at the passing aquarium-car. He's never personally seen any paranormals whatsoever until that moment, outside of television. His mind has been blown like a moonshiner making literally explosive hooch, truly amazed, though he's visibly worried at the subject of his impending job interview.

Small bits of the road around him are seen, like a car or two somewhere behind him. A small bit of the aquarium car is barely visible on the right side.)

Winston: Amazing...just amazing.
Winston: And I'm not even there yet.

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(Now Winston's mood is still here, his amazement is still present though while his sense of awe has been thoroughly fed he's got the pressing matter of making it to Alistair's on time hanging over his head like a precariously hanging piano, visibly nervous about making it there on time...and the subject of the job itself. While thinking, his head is beginning to turn to the right as he's about to notice a sight that is also new and amazing.)

Winston: I can only imagine what the city itself is like, never really seen any vampires, androids or-

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(This next sight is in a smaller panel, trekking down several yards to look at part of a gas station. The land is much clearer than the tree lined areas mentioned earlier in this very page. The road is passing by on a hill, at the bottom of which lies said gas station.

Mostly we're just looking over at the pumps, part of one of the roof supports are on the far left of our vantage point. There's two visible gas pumps, one of which is for unleaded and another one is for premium, they're both spaced apart a few feet, giving a clear view to the android mentioned below. The gas station itself is named Hepesto.
The main focal point of this panel is a humanoid android conveniently located right between the two pumps. The dude's wearing a white shirt and black pants, and for his build he's got an eighties-like design, a mostly plastic body with a metal outline, three pairs of arms, organic bat wings, bald head, black camera lenses for eyes and green skin/paint.
The robot has four gas cans littered by his feet, full of gasoline, one of which is dripping, all of them are striped red and blue and seem less like the backup fuel containers for your car and much, much more like fast food drink cups. It's clear the android is thirsty, sticking the unleaded pump right in his mouth and guzzling like a hummer.

Up above the pumps in the background, Winston Pike's car is passing by. We might not be getting a look at his face at the moment but somehow we just know his minds' been blown once again.)

Winston (thought balloon, from inside car): Fuck that, NOW I've seen an android.

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(With our look at the android finished, let us cut over to Winston inside the automobile.

Winston's sense of amazement hasn't affected his grip. The realization of just where he's moving is starting to sink into him. So grip be damned, his mind has still been blown a second time in a place as amazing as Oz itself.
In his right hand, he's raising up a cell phone.

Our perspective has adjusted so now we can see inside Winston's car. It's clearly been used, likely slept in too, a small blanket is noticed in the back. It's kept quite tidy however, and has a brown color scheme to the seats. We're not peaking at extremely much however, because our peepers are focusing mostly on Winston and part of the other visible car.

Seen through the rear left window, on the other side of the highway road our first early installment cameo appears. It's Rod Garth's large, green SUV as is passes by Winston's car, with a bit of Rod Garth himself seen as he moves on by. Rod's appearance will be needed more later, and I'll go over it below, even if we only see a couple things.
Rod Garth is a tall, handsome, muscular, male alligator in his late twenties, with a snout about the same length of Alistair's, green eyes, somewhat darker scales, and a black leather jacket. We can't see anything other than the jacket, his hand, and head.
Rod Garth is in the middle of driving, but from what little we see of him he's telling a joke to Chieko Masaki.)

Winston: Is that like putting a water fountain to your lips?...Do robots have saliva?

Winston: Nah, I should ponder electric sheep later; right now let's check this map.

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(Okay kiddos, keep those eyeballs wide open for the glorious view laying before them.

This son of a bitch is much larger, taking up the rest of the page. Winston's driving down this highway at the same pace he was earlier, encountering what're normal sights for anyone from this sprawling metropolis, the difficult to impress, or just people who're used to it...in other words, NOT Winston, and certainly not the guys reading this.

The lanes here are massive on both sides, two dozen assorted cars are moving too and from the city, coming in a variety of flavors from modern, to seventies, to just plain fucking weird. For those curious of what specific cars there are in his scene, read on dear reader.

On the left side of the highway, all of Rod Garth's SUV is seen, Rod is a bit better seen, and Chieko is also visible. The two best friends and spiritual-siblings are presently laughing at a joke Rod had been telling.
Chieko herself is a twenty year old, attractive Japanese human woman with black hair kept in a pony tail and blue eyes with a lithe build and a red shirt.

On the left side, right behind Rod and Chieko is a boxy car that looks as if it were made entirely out of ice, somehow refusing to melt, it's driven by a nykkjen in business clothes that're flowing like he's underwater despite the fact he's in solid ice, the man seems determined to make it to some out-of-town appointment.

On the right side, there's a handsome male human with brown hair driving a convertible into Hetelville, he's waving up to a very attractive faerie woman with blond hair and wide wings, she's wearing a wispy dress made of gossamer and leaves, she's aroused and waving to him.

Heading back to the left side of the metaphorical fence, we have a seemingly normal Hispanic human...who's walking a hulking creature in the vein of the Cloverfield Monster. It's over fifteen feet tall, has about eight legs, a long, skinny tail, grey-brown skin, with a large, toothy set of jaws. Despite looking all threatening it has the demeanor of a big, friendly dog. The man is simply standing around and waiting as his pet creature lifts up its left leg and urinates onto the side of the road.

About fifteen feet in front of Winston, on the right side of the road is an Abrams tank. A Hopkinsville Goblin with a WWII pilot helmet is sticking his head out of the top hatch.

Elsewhere on the right side of the road is a motorcycle and side car speeding down the highway through the morning air. Driven by a fat, human jugglo in an Insane Clown Posse t-shirt. This isn't Violent J of the aforementioned band but somebody akin to him. His passenger in the sidecar is the Scandanavian water spirit known as the Fossegrim, from the species of water spirit known as the Neck, he looks like a handsome, naked human male with a liquid appearance to his skin, he's merrily playing a violin without a care in the world. The sidecar is also full of water.

Now while I said the other cars are 'normal' that's just a state of mind really, I did say there were many different styles of car so you just keep that in mind when the others are viewed, whether there's a car running on steam or telling wheels to go fuck themselves by hovering and shit, so feel free to go fantasy and sci fi with some of them.
The drivers generally aren't visible, but one other driver of note is a female kitsune with long hair and nine tails, she is driving a sports car on the left side of the road.

Up, up and away in the clouds, an F-15 fighter jet and a flying saucer soar through the air like mighty metal barracudas in an awe inspiring duel.

Far off, but not TOO far we've got a view of the Hetelville skyline it's as chaotic as a hand grenade but as wondrous as the sort of dreams that leave you bewildered but spellbound. There's all the general architecture of a big city like skyscrapers, but with some Blade Runner and steampunk kind of buildings, among others.

On our final note, Winston is moving closer and closer to the Hetelville suburbs, they're about two miles off from a housing block. There's some details about the buildings there below, and a similar assortment of buildings as there were with the skyscrapers, though some of them have a gothic, Munster feel to them.)

Winston (from within cart): I'll need to get to Alistair Garth's house, and thankfully my phone knows where that is...I hope.

Winston (from within car): I hope the traffic isn't heavy.

Winston (from within car): Might as well enjoy the sigh- is that a tank?!

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(Meanwhile at Alistair's house, he's finally made it back and is handing off the three surviving vampires.

The house of the world's best monster hunter is no mansion by any means, it is however large. While the interior will be discussed in greater detail a little later, for now let us show what it looks like from outside.
It is three stories tall, the top floor being an attic. In envisioning this I was thinking it'd feel similar to the Sanctum Sanctorum, Doctor Strange's home, with a prominent Eye of Horus symbol above his door, and a stately yet mysterious vibe. That being said, it looks like it was made in the seventies based on how old it is and in design. Lengthwise it's a little wider than an average townhouse. This place has a pseudo-gothic aesthetic on the outside, with a tan paintjob. There's a rectangular, seven foot tall solid oak door with the doorknocker from Ebeneezer Scrooge's house on the ground floor. The house looks normal enough, even with a vaguely 'haunted house' like architecture, but seems vaguely fortress like.

Alistair Garth's bruises have mostly healed, with just some lightly black marks remaining, he's leaning up against the open door. He seems satisfied, but vigilant, though he just can't quite get comfortable. He's holding a check in his right hand.

In front of him, about a couple feet away from the open door, stands a government agent who is himself a vampire. This bloodsucker is a cousin of Count Orlok but despite the family resemblance and gray skin, he's obviously much more benevolent than the psychopath in the coffin. He wears the type of black suit you'd expect from a Dale Cooper sort. This agent has got a roll of mints in his left hand and is eating a couple, with a sunlight shield on his belt. This is a device about the size of a cell phone, like ovals in shape with smooth exteriors and a glowing white center. They're essentially shield generators for vampires, that can generate a sort of protective field which allows them to avoid the effects of being exposed to sunlight despite being right in it. A side effect of them however is that the shields tend to sparkle and shimmer as a result of processing the sunlight. In this case, it's shimmering over his left side.

Accompanying the vampire are a trio of agents in similar but lower quality getups, one a rhinoceros, one a satyr and the last a werewolf.
The rhino's a musclebound black rhinoceros with a bucketload of facial scars and a comically small set of sunglasses.
The Satyr has a pair of impala horns, digitigrade legs with goat hooves, an Alan Moore like beard and buzz cut.
The werewolf himself resembles the Lon Cheney Wolfman but with a larger chin and more prominent mutton chops, his fur is also blonde.
In general they seem less like government agents, and much more like movers carrying off someone's furniture to the moving van. The rhinoceros and werewolf are jointly carrying off Orlok's coffin, their absurdly strong thumbs trying to keep the shaking lid down, grunting and frustrated. The Satyr is using an oversized handtruck to carry off the other two coffins, sweating and struggling to keep the load from spilling. These fellows are moving over to the left of the panel.

The coffins are all wrapped in chains, doubly so in Orlok's case. There's no way anyone wants that grand vampire out of there, and he's still trying to wriggle his way out of a one way ticket to the slammer, shaking like a blender full of rocks.

The offpanel paddy wagon is to the left.)

Vampire: I vant to thank you again mister Garth, my cousin Orlok is a vucking menace.

Alistair: Hey that guy was a piece of cake, not that I'm complaining about a Queen sized check.

Alistair: Anyway, you won't have to worry about fangface here trying to spring Dracula…for now anyway.

Orlok (muffled, through coffin kinda faint but clearly yelling): Let me out of this you damn suitcase!

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(Cutting on over to Alistair's right, Alistair's about to head on in and take a load off his reptilian feet, when his plans on relaxation get cut short. His phone is going off in his jacket, vibrating slightly to further indicate its place in the right coat pocket. Our hero is nonchalant and slightly curious about just who's laying on the other end. His tail is idly flicking in the air.

Parked in the background by the street is the paddy wagon our four FBI agents took with them. In large (albeit half-depicted due to the angle) letters 'FBI' is etched onto the side, this particular black mariah has thick walls, in what little we see there's several crosses within it, though it looks pretty average aside from that.
The vampire agent is carefully overseeing the placement of the coffin, and seems like a workplace foreman telling his workers not to drop the delicate piece of art or furniture or whatever.
The werewolf and rhinoceros are carefully sliding Orlok's still fidgety coffin inside, now they somehow seem more like a cook placing a pizza in the oven so it can become a proper meal. The Satyr and the handtruck are partially seen, he's really trying to be patient about this but it's clear the guy's struggling to keep the coffins from falling off.

While the sidewalk is mostly empty, there's a small elm tree twelve feet down walkway. And about nine feet away, Rosalind Puddel is walking by. She's happy as a clam, grinning wider than a Cheshire Cat, her hands are rubbing together like they're trying to keep really, really warm, or just extremely gleeful. The lady doctor is a twenty-nine year female humanoid Poodle, she's a redhead with long hair kept in a bun, her fur color is a slightly lighter shade of her hair, with green eyes, DD cup sized breasts, a buxom figure and some curvy legs. She's wearing an orange sweater with a red cross, a green skirt, flat orange shoes and blood red pantyhose.)

Vampire: Alright men, be careful with Orlok, he gets out now, ve can kiss the Bahamas goodbye!

Ringtone SPX (through jacket): Whomp!

Alistair: Hmm…phone ambush.

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(We shall cut to another look of Alistair's doorway. Now from inside the house.

The interior isn't especially shown, the wall paper is the color of green with a pattern of little coiled blue cobras. There's a mesh shoe shelf by the door on the right side, and an empty coat rack too. The rack is closer to the entrance with the shoe shelf right by it. Both of them are empty.

Alistair's making handy use of his tail to close the doorway as he walks within the confines of the homestead. He's placed up his cell phone next to his head so he can answer the call. Our hero has his other hand in his pocket, he wishes it was his girlfriend who'd called, but despite the mild disappointment, he's not annoyed. His stride and posture is a casual one.
The cell phone is black and slightly longer than a normal phone due to his alligator snout.)

Alistair: Hello?

Marigold: Hello Alistair.

Alistair: Ahh…Marigold, absolutely not who I expected.

Marigold (through phone): Caller ID is lost on you.

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(Our perspective shifts to Alistair's front again, but just a little bit from the right. He doesn't need to be a genius to tell Marigold has a job for him and is wondering just who the poor schmuck about to face him is. Now Alistair is yawning but comfortable with heading on another hunt. He's seen just from the chest up here.)

Alistair: Maybe sometimes, what's up? What's on today's menu?
Marigold (through phone): What's up? You assumed I'm not just calling? Saying hello?
Marigold (through phone): Because you'd be right. This is business.

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(Now we're looking at the side of Alistair. He's striding through the room at a brisk pace, at hearing the name of his next adversary he's visibly irritated. It's like he just came home and found out some jerk threw a hatchet into his television, his very back arching like a pissed off feline, his tail is shaking like a rattlesnake's. Despite being angered, he's taking it well enough as he hasn't stopped in his tracks or changed his pace.

We have a better view of the room, wallpaper is still the same and Alistair is over on the left side, with part of an ornate picture frame on the far left side just by the side of Alistair. Present in the room is a staircase leading to the second floor on the upper right hand side, a calendar up on the wall for February 2014 that depicts a cowboy having a rodeo with the dragon from the famous painting of St. George and the dragon, the opening to a hallway by the right of the staircase, and a long Indian rug with a jungle motif coming from out of the hallway opening.)

Marigold (through phone): An intern, Joseph, saw Pierre Vomir skulking around the Chimera Avenue graveyard.

Marigold (through phone): For my money, he must have set up shop in the catacombs.

Alistair: That punching bag again?...What's he doing?

Marigold (through phone): Having a barbecue...no idea.
Marigold (through phone): Joseph checked though, demon energy's pulsing all over it.

Marigold (through phone): Bounty's slightly higher now.

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(We cut to behind Alistair, somewhat overhead in this entry hall. While still annoyed, Alistair is collecting himself, deep in thought as he plans his next steps. His alligator stride has sped up, he's quickly wrapping up the phone call so he can get ready.

Behind him, we can see some more of the stairs, the right wall and the hallway opening. There's a lightswitch resembling an eyeball on the right wall, with the actual switch where the iris lies. Alistair is moving through the doorway, so we can't really see beyond it.)

Marigold (through phone): Think you're up for it?

Alistair: That'd still be pretty small…but to hell with it, I'll be there yesterday.
Alistair: Gotta go, bye.

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(Winston is driving towards the city, we do not see the full view of these suburbs he's traversing through, just the left side but what a view it is. Behind him are a red dodge pickup truck and a gray hovercraft (as in a real world hovercraft, not some Blade Runner stuff) that's driven by a humanoid duck in a scotsman cap. On the lane leaving town there's a roofless brown Model-T keeping a fast pace, driven by a Jersey Devil in goggles and an anachronistic 1890s dandy suit.
Winston's car is driving by the 'Munster' house (see below).

Now for those real estate lovers here, there's just four houses depicted in this cozy suburb, two of them like average family homes and with two having very different styles.
The first one is at the top of the panel, a rectangular domicile that is three stories tall, with a garage, brick walls, a roof that vaguely resembles a castle's walls with the rows of merlons lining the roof edges and a stately aura, as if it were 'a cozy castle.'
At the lower left hand corner is another abode, it resembles a standard suburb house and is two stories tall, painted plain 'ol red, a lawn full of some toddlers toys and an open garage with a green car in the midst of leaving.
Placed beneath the 'cozy castle' is a futuristic two story house, unlike the others it's shaped like a dome. with a series of white shingles for walls plus several windows, with an oval shaped garage by its side. What sort of species inhabits it is illustrated on the front lawn, where a cute teenaged gillwoman with light green scales is sunbathing on the front lawn in a red bikini and matching heart shaped sunglasses. The show-off is aiming a tanning mirror at her face.
Now placed between the dome and the 'standard house' is a two story home similar to that of the Munsters, resembling a stereotypical haunted house if it wasn't dilapidated, but actually cleaned, and with its cobwebs outside are symmetrical decorations. On the front lawn are a ten year old girl zombie with blond pigtails and a tie-dye dress and a similarly aged brown furred werewolf boy who is several feet away from her. The boy is shapeshifting into wolf form as his playmate is about to throw a green frisbee towards him.

In a tiny side view at the upper right hand corner, we shall look at the left side of Winston's car from the front. In the background the zombie has hurled the Frisbee and the transformed werewolf has caught that sucker right in his teeth like Air Bud. Winston is watching the game with total awe.

That 'ol description box has returned, now it reads "10:17")

Winston (tailless): Well, it's not like coming down here was boring.
Winston (tailless): I mean I witnessed werewolf playtime.

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(We're now back on the highway, this segment being a bridge structure similar to the ones common to the infamous Los Angeles highways, and just like those roadways the traffic is more congested than a giant with a cold. The structure is seen throughout the whole panel, and is just as winding and complex, with the outlines of multiple cars seen the whole way through. We're looking at one right-curving section of highway close up.

Winston's car has halted in the onslaught of machines. The red dodge is right behind him and only seen by the hood. If Winston's beaten down car had feet, it'd be really tapping them. In front of the 'ol rust bucket is a roofless yellow jeep drove by a male sasquatch in sunglasses and a Pink Floyd t-shirt (that isn't well seen) with male, dark blue furred Cat Sith wearing 'Jedi robes' and riding shotgun. The latter is in the middle of telekinetically shuffling cards, the former is looking at the cards with some interest and a 'why not' expression. Ahead of them is a semi truck carrying "Crankshaft Cola" with a leaky engine block as part of the logo.

On the right side there's an added panel, larger than the additional view in Panel One. Looking behind Winston. He's anxious yet amused at what is going on in the jeep, nervously tapping the sides of the steering wheel.
Over in the jeep, the sasquatch is opening his hands to accept the cards, the Cat Sith is nonchalantly holding his own set of cards in a game of go fish, his telekinesis floating the cards between the two of them like a big plate of french fries.

There's an additional panel on the right side, larger than the extra view in the previous one. Our
The description box has returned to us, now reading "10:30".)

Winston (tailless): And then had forty minutes wasted by the businessman's bane and mortal enemy...the traffic jam.

Page 6 Panel 3

(Now if you thought anything back there was weird, you ain't seen nothing yet.

We've now came to a street corner in a (nominally) architecturally normal area of Hetelville, close by Alistair's house.
On the left side of the panel we have a brick walled corner bakery named the "Five Brothers bakery", it and the sidewalk are taking up most the panel on the left, with a tiny bit of alleyway seen at the farthest left. Across the street are a couple other retail shops, the one occupying the corner is a fashion boutique named "Green Vesper", to its right is a themed store named "Giddyup" with a distinct logo of a terrified, Cosmo Kramer esque cowboy riding a mad, bloodshot, non-humanoid bull in a union jack themed luchador mask. The pavement is mostly clean, aside from some little bit of rubbish and a stray front page of "The Daily AUUUGH!" newspaper reading "He stole our sewage!"

Winston's car is really the only one here, driving down into the street, sticking out amongst all these amazing sights, quickly swerving to avoid getting hit by the motorcycle chase below. Close behind him (For the artist, this one may or may not be making it in depending on how much on how hard it is to add in) is the aforementioned chase, at the front a fat, mohawked, frightened biker pig driving a chopper, chased by a pink haired, pissed off Japanese woman with hot pink hair and a yellow motorcyle while waving a blue electric guitar like a club, and she's being chased by annoyed monster hunter Tony Caproni on a black 1950s motorcycle, Tony himself being an Italian-american human greaser in his late twenties with a lit cigarette in his teeth.

Now outside of our high speed pursuit, the hustle and bustle of the city is truly on display. On the left side, heading to the right is a skinny werewolf bike courier with a small package strapped to his back. His head is turned almost totally around to ogle a female chupacabra, his path may lead him right into a streetlamp if he doesn't change.
A five and a half foot tall, humanoid, well endowed female chupacabra in yellow running shoes, tank top, shorts and ear buds has just jogged by the courier, having a nice day and oblivious to being ogled.
Out of the bakery is walking Peaky Blinders, the thieving rat, with a box of donuts and looking at Tony with an uneasy yet casual look. He's in his early thirties, has a thin snout, a scar on the right side of his face and poor teeth. He's wearing a gray overcoat, matching trousers and a Yankees baseball cap.
Fifteen year old kitsune Kira Fukui is walking up around the corner, wearing a pair of expensive canine headphones, holding a strawberry milkshake from a fast food restaurant in her left hand and the iPhone her headphones are connected to in her right. Clearly quite happy about something. She's five and a half feet tall and very cute, with golden-white fur plus long matching hair, nine lengthy, fluffy tails, wearing a white Japanese schoolgirl outfit with a black scarf, white shoes, purple belt and glasses with purple-green striped stockings. She's clearly a geeky girl, and on a more subtle note, she'll play a larger role in the next volume.

On the other side of the street lay another couple pedestrians, such as a female angel with long blond hair walking out of Green Vespers with a couple of dress boxes, and a basilisk walking along with a fedora and green hoodie.

As a note for the artist, if you have any suggestions, I'm all ears.)

Winston (thought balloon): But now- CHRIST!
Winston (thought balloon): ...Are they filming a fucking movie?
Winston (thought balloon): Good god, I mean are three-man motorcycle chases normal here?
Winston (thought balloon): ...Should I be scared?

Page 7 Panel 1

(We're back within the confines of the car, with Winston seen from the right. He's looking right over his shoulder relieved yet also quite worried, gripping his phone hard enough to potentially break it, in addition to some new anxiousness.
The phone itself looks like an iPhone, with a partially seen custom skin (which will be seen clearer later, hence this detail) depicting Julia Freud posing on the back right, in a cheesecake pose, sitting on the edge of a workbench with a light blue background.

Though his window we have a glimpse of the sidewalk across from the street, plus two pedestrians.
One being Morgana Nightflower walking to the right, drinking human blood from a smoothie cup. She's a beautiful female vampire with gray/pale skin and long black hair, wearing a blue/white sundress.
The other pedestrian is moving towards the left, he's an anthro tyrannosaurus rex with orange scales, he's twenty, seven feet tall, wearing a gray hoodie and sweat pants combination with a pair of Beats headphones, his hands in his pockets.

The building the two're passing by isn't really seen, but maybe part of a sign partially obscured by Morgana's bent left arm reads "Sale"

There's a small panel focusing around the back of Winston's car, with a chimera motorcycle cop storming by, all three of its heads wear helmets and glares.)

Winston (thought balloon): Christ, like I wasn't already. Still...
Winston (thought balloon): Getting this job would be amazing.
Winston (thought balloon): Even if it might kill me.
Winston (thought balloon): ...Really, really bad.

Page 7 Panel 2

(Time for a closeup, we've gone right in front of Winston's face, the poor guy is quite rattled as he vividly imagines some ways he could meet his end in this job, empathizing the sheer risk factor.

These visions surround him on the lower part of the panel, in a semi-circular arrangement from left to right, in an anime like style akin what's shown in Fullmetal Alchemist during one of Edward Elric's height based freakouts.
The first one depicts Winston bound, gagged, and marinating in a cauldron as a cackling, sadistic Ayesha, a tall white woman with a black dress and unearthly beauty, stirs the pot, holding a martini with a tiny sticky note upon the glass reading 'Winston tears', he's in his normal outfit. The panel has an orange backdrop.
The next one depicts Winston's fiery death via the fire breathing head of a glaring, long snouted, yellow scaled dragon with two curved horns. All that's seen of poor Winston is a fleeing skeleton. This has a red backdrop.
To the right of the dragon pic, Winston has been turned into stone, frightened as all hell and holding his arms up in a vain attempt to shield. The killer being a male gorgon with a fit build, yellow eyes, a bright blue set of scales and rattlesnakes for hair. The gorgon is about to slam a large sledgehammer onto poor Winston. This has a yellow backdrop.
The last one has Winston tied to the front of a semi with chains, screaming his head off in total fear. The driver is a drunken zombie wearing a ragged blue shirt, a Confederate flag baseball cap and a pair of fingerless gloves. This has a purple backdrop.)

Winston (thought balloon): Dear God.
Winston (thought balloon): Well...it's better than nothing.

Page 7 Panel 3

(Now let's go outside of Winston's car, with an overhead left side view as our hero passes by a bar.

The bar in question is named "Here 'Thar be Dragons...in bottles", kind of an unintended theme bar. In design influence it looks akin to a medieval tavern, I have visual references in my journal, but unlike a fantasy tavern it is actually made from conventional, modern building supplies, it's just built in a manner akin to one. Above the door is the bar's round sign, which depicts a 1950s style cartoon dragon with purple-green scales and tiny legs, standing on its hind legs, craning his neck back and chugging a massive keg of beer, with an orange outline of neon bars that resemble flames, with the name right above the dragon in purple neon words.

On the left side of the panel are two couples who just left to go 'chimney sweeping', two human tourist males and two local women. The guys are both twenty years old, one is Hispanic, cute and skinny, with a general geeky/bookish look and demeanor. The other is Caucasian, tall, handsome and physically fit, wearing a varsity jacket. Both of them are greatly anticipating 'chimney sweeping' though the bookish man is kinda nervous.
The ladies who're ready to 'show them the sights' are a gillwoman and a yeti. The gillwoman has an hourglass figure and a huge rack, with large fins on her back and top of her head, wearing a purple tube top and matching set of hot pants, no shoes, and hoop earrings. She's quite a tease to the geek. The yeti is similarly hot, but instead of looking like a discotheque resident she seems more academic and nerdy, wearing black and white sneakers, black glasses and miniskirt, and a white buttoned blouse with plenty of cleavage showing. She's gazing at the jock's huge feet with great interest.

On the right side are some more 'study buddies', a six foot tall, thirtysomething tanuki smoking a large joint of marijuana, built like a football player, wearing a gray Lynyrd Skynyrd t-shirt and matching cargo pants, very proud at his impending 'study group session'. He has two lovely human women in their late twenties under his arms. Under the right one is a very pretty Asian woman in tight black pants, black high heels and a silver low cut blouse, under his left is a similarly attractive African American woman wearing a black blazer and skirt, with matching heels. Both women have long hair.

The bar's door is open, with a lubber fiend (or abbey lubber, a demonic creature that looks like a large hairy man with a crooked demon tail possessing a pointy end) is leaving the bar with a five gallon bottle of whiskey. He's quite hungry and looking up at the bottle feverishly.)

Winston (within car): I mean-
Winston (within car): Huh…lucky bastards.
Winston (within car): Were those tourists?

Yeti chick: Ho-LY shit! Those feet are huge!

Gillwoman: Totally…I dunno though, think they'd last in the lagoon?

Yeti chick: Let's find out!

Page 8 Panel 1

(Our perspective has changed, we're now on the left side of the street at ground level.

The freezing fixated monster hunter Mako Kunze is nonchalantly walking down the street with a large slushie in his left hand and pushing a large handtruck with his right. Grinning playfully and happy, far less threatening than you'd expect a shark to be.

On the handtruck is local gangleader "The Apache", who was flash frozen in the middle of yelling at Mako with an accusatory finger pointed, extremely pissed off.
Mako is a humanoid great white shark, real tall and well built yet quite gentle and nerdy, wearing white sweat pants and hoodie but with crocs, like some mix of Eskimo and slacker, with a large freeze ray holstered on his back with a smaller one by his side. The Apache in contrast is a humanoid skunk of average height. A true career criminal and thug you could spot just with a glance, with dirty fur and a more 'gangsta' take on the look of the 'Apache' gangsters of early 1900s France.

A few feet away is a local businessman in a suit reminiscent of those worn by Tintin's Thompson and Thomson, with a set of Scrooge McDuck esque prince-nez glasses. He's also a right sided gyascutus, walking around with a curved ivory cane to compensate for his build. He's looking at Mako and Apache with a downright divine level of confusion.

Winston's car is driving right by this, to the left side of the panel, and somehow even the car's surprised about this.)

Winston: Whoa! A monster hunter?...He's gotta be.
Winston: Monster hunting capitol of the world this is, more hunters here than Marvel's New York has superheroes.
Winston: …Five times weirder too.

Page 8 Panel 2

(We're back inside Winston's car, focusing on him. The budding valet is lowering his phone, trying to compose himself and a little more confident now. Yet underneath this he hasn't quite exorcised this fear (or anxiety) from his depths. He's seen from the top of his head to the bottom of his shoulder blades.)

Winston: Weird or not, I'm in luck. I mean sweet Christ, it's just four blocks off now.
Winston: If I ace this interview, I'll have a job again. Both dangerous and relieving.
Winston: I mean it's been a while since I…I…

Page 8 Panel 3

(Let's close in some more on Winston's face. He's now just gone very sad, thinking about the gargantuan sized hoard of misfortune that has plagued him off and on for years. It's no over the top, stage worthy reaction, rather remembering some deep trauma and heartbreak. In addition, the anxiety he's feeling about this city's weirdness is coming up. He's staring right off into space.)

Page 8 Panel 4

(We're now at Winston's right, focused purely on the tormented man. He's snapped out of remembering past woes and present fears, he's gulping nervously as if he were about to lunge off a bridge and go bungee jumping for the first time, the surrealness of this new city isn't helping matters, but despite being clearly afraid there's determination and hope in his eyes, hoping to flee the clutches of his nemesis.)

Winston: Glorified garnish or not. I'm not turning back.
Winston: It's not like staying in Virginia's any safer. At least...that maniac, wouldn't dare follow me here.

Page 9 Panel 1

(Over in Alistair's house, we have a large panel with a tiny one to accompany it.

In the smaller panel, we have focus akin to something from the home shopping network (minus the prices, words on the screen or people trying to hock overpriced kitsch to old people) on a 'Demoncatcher' owned by Alistair Garth. It is made from a ring of wood with a web of fabric in the center and a couple small, dangling feathers like a dreamcatcher, the web itself looking like an inverted pentagram, with a silver denarious in between the web and a crucifix in the center. The demoncatcher is held on a little iron chain and as wide as a baseball.

The larger panel is in Alistair's basement, which we'll go on more about in chapter. We gaze upon him from outside his armory, which has a very large door that looks like it should be used in a bank, round in shape, six feet wide and humongous but its fortified so much that you'd think he was afraid of Godzilla stealing his weapons Possessing a comically small combination lock and a thick cable connecting the vault to an average sized computer terminal twelve feet away.
The hallway itself is about ten feet wide and eight feet tall with blank gray walls and some rectangular ceiling lamps. It's not very well decorated but there's no need for this area of the house to be so. However, dotted along the way to the vault are several small sensors that lay in direct opposition to each other and are clearly deactivated laser tripwires.

Alistair Garth is nonchalantly walking over to the terminal, he is in good spirits and confident, yet still vigilant, still wearing the same outfit from earlier. The demoncatcher is now held in his tail as it lowers it into the ajar bag like it was a third limb, his right hand is now free and by his side, his left hand is holding onto the magic duffel bag.)

Alistair Garth: And one demoncatcher, in case Hell literally breaks loose.

Alistair: Nothing more to take from the closet of death.
Alistair: ...So what'd I forget?

Page 9 Panel 2

(And now we're going to the left side of Winston's car. The semi-rusted jalopy finally making it to Alistair's house. Mirroring Winston's own tension towards this situation with some ambiguous shaking and rattling. He's in the middle of parking into an empty spot right in front of Alistair's house.

Winston is seen still in the drivers seat, nervous at his situation now, and a little impressed at Alistair's house.)

Winston: *phew* Oh man, I'm here at last. Right on schedule.
Winston: ...L-leaving of course, nothing left but th-the interview.

Page 9 Panel 3

(We return to Alistair Garth as he moves up the stairs. Staring at our reptilian monster hunter from his left side.

This area is a well lit corridor, about four and a half feet wide, with some sturdy wooden handrails on the side, the stairs aren't the best maintained in the sense they're aged but have no clear problems. The wall has two colors, evenly cut between at the center with an orange stripe, the bottom half being brown while the top half is gator-green. It is well lit, with a small, round ceiling lamp right above Alistair.

Alistair was walking up the staircase with duffel bag in hand with two rapidly shifting moods the first being deep contemplation about just what it is that's been slipping his mind, and a rapid, 'Shaggy esque' double-take of surprise at the sudden realization of what it is.)

Alistair: I got Anala's present, checked the armory last week, got Oglethwhip's reverse hockey tickets…
Alistair: I'll think about it on the way, better call a-

Alistair: Oh my God!

Page 9 Panel 4

(We cut back to Winston from his right side. He's standing at the door and ringing the doorbell of destiny.
Winston is a bit hopeful but still nervous and afraid, he's taking a deep breath as he pushes the button. There's a sall panel in the corner that depicts an epic close up of Winston's fingertip as he initiates the ringer to hail Alistair. Right above the button is a little engraved sign saying "Prank buzzers get whapped".)

Page 9 Panel 5

(Now we're heading within Alistair's house again.
He's left the basement, walking into his kitchen. The door is painted black, strong and sturdy to the point it could stop bullets, while open there's clearly a one way mirror on the side facing the stairs.
On its right are some wooden cupboards, white but with a decent amount of wear and tear on them, some high up but some on the ground level. One is ajar and part of a box of Frosted Flakes is seen. On the counter top, there's a wrapped up package of kaiser rolls alongside an open loaf of 'Gnome' brand bread. The floor is checkered, and between the two cupboards there's a picture on the wall of him and his siblings, seen from the shoulder blades up and smiling as they have their pictures taken at the grand canyon. Though not all the way seen, Jason Garth (who has a shorter snout than his brothers and a black pompadour), on the far left, Alistair to his right, Rod Garth to Al's right and Belinda Garth (the sole female Garth sibling, who has a black pixie cut, a noticably shorter snout and a black tank top) on the far right.)

Alistair: I forgot about the new guy, so busy chasing that iron breathed nosferatu…
Alistair: Ah forget it, Pike's supposed to be here in-

SPX (singing): Rrrrrring!

Alistair: …An hour?
Alistair: Oh yeah, promising alright...hmm, maybe…we'll see.

Page 10 Panel 1

(We now cut to a couple minutes later on Alistair's doorstep, where he has opened the door, hunter and potential valet meeting for the first time.

The Alligator has opened the portal to his abode, looking right at Winston, the monster hunter has an open stance and is extending a scaly hand to Winston, stretched out like a warm offer of sanctuary.

Winston is trying to hide his obvious nerves...but poor Winston isn't winning any Oscars today, shakily accepting Alistair's handshake.)

Alistair: Hello, you're Winston Pike?

Wintson: Y-y-eah that's right mister PI- I mean Garth.
Winston: I'd have came sooner but the traffic-

Alistair: No worries Winston. An hour early is good enough.

Page 10 Panel 2

(We turn now to right in front of Alistair Garth as he continues his firm gripped shake of the hand, despite Winston's fear the guy has quite a firm grip, it's not even really shaking.

Alistair is taking note of this, while the fear the guy has isn't inspiring the best of confidence he's still possessing some faith in this man regardless, based on the grip. His posture straight, a picture of stability and strength.)

Alistair: Hell, with no other applicants, you've got me happier than a centaur at a rodeo.

Page 10 Panel 3

(We're focusing more now on Winston and Alistair, our perspective is still mostly just looking at them.

The handshake is now over and their hands are in the midst of withdrawing, Winston's response to learning about this next bit has nothing to do with fear and much more with the simple fact of sheer surprise.

Alistair is nodding lightly and he looks frustrated by past failures. His inquisitive head tilting a little as he senses the man's immense confusion. His tail is moving back and forth like the ticking-tocking of a grandfather clock.)

Winston: Than- wait, what?

Winston: I'm the only one?

Alistair: Yeah, I was disappointed really, I thought they'd show up faster than gators when free ham hocks get offered.
Alistair: But damn it all, only three showed up, and NONE of 'em worked out.

Alistair: Now then…

Page 10 Panel 4

(Similar perspective, but it pans out slightly and raised up a couple degrees.

The monster hunter has his left hand behind his back, his right hand is raised up with his index finger pointing in the air, his posture remains sturdy but while he's still visibly scanning and analyzing Winston he's grinning apprehensively at the applicant.

Winston is still surprised, and his face portrays fear, pondering just what will happen with a possibly unsure future. His hands are shaking a little, and his left hand is scratching the top of his head.)

Alistair: Now, I got wrapped up in hunting a vampire terrorist earlier, I got carried away and forgot you were coming…sorry.

Winston: Oh.

Alistair: Yeah…and just before you came, I got a hot tip about this criminal necromancer, hiding nearby.

Winston: So, uh, is this postponed or…?

Page 10 Panel 5

(This shot is now an overhead shot in front of the two. Alistair has moved to the side so Winston may have a path straight to the inside of his lair. His snout is reassuring to the human, gesturing inward to welcome him within, though his eyes still are carefully looking at him to examine the potential employee, there's a sense of certainty to him though.

Winston has gotten over his shaking altogether, breathing a little deeply but that's subtle. He's giving a brief agreeing nod, his posture is still a little uneasy yet his own face, not totally seen but a bit from the right. He bares an inquisitive look, slightly less anxious.)

Alistair: Of course not, I'll just take you with…kinda dangerous, but I can keep you safe. Might be scary at parts…are you okay with this?

Winston: Kinda…okay, I'll come with.

Alistair: Cool…come inside, there's something we need.

Alistair: I understand you used to be a cook...

Page 11 Panel 1

(We have returned to Alistair's kitchen once more, him and Winston are getting down to business.

Alistair is sitting at a round wooden table with white legs large enough to fit about seven, he's on his phone once more, pulling a stylus out of his pocket. He's slightly drooling at the thought of Winston's sandwich, his nostrils inhaling that luscious scent. The table is a couple feet away from Winston, and Alistair is facing the applicant. His tail twitching around like a firecracker.

Winston stands over at another counter, for the first time today he's in his comfort zone, he's preparing a mere sandwich with the precision and skill of a master chef, a nostalgic smile is on his face, like he's met a friend he hasn't seen for a long time. He's right at home right now.

Winston has his back turned to Alistair, and the countertop he's working at has many things. First off there's a large cutting board usually used for meat with both bread and butter knives. Besides there he's got a roast ham from the fridge in a glass dish with a half-cut slice at the forefront, a box of turkey lunch meat, the earlier seen bag of kaiser rolls, some lettuce, onions, radishes, a jar of pickles, some sliced tomatoes, some blocks of Swiss and cheddar cheese, a small ziploc bag of bacon, ketchup, mustard, mayonnaise, balsamic vinegar and relish.
Winston is presently placing an olive and dill leaf adorned toothpick garnish into the bun, finshing this tall sandwich.

Our perspective is somewhat from Winston's right, and looking at both him and the gator. The counters look the same as the other ones seen a couple pages ago, part of a stove are seen on Winston's left with a little of a non-stick frying pan visible, the valet is occupying two sections of countertop. About a foot away from Alistair is a large refrigerator. The eating area is in a section of the room akin to an extended corner of the room, with tall rectangular windows on both sides of the corner, with curtains that possess swamp themed patterns.
There's a small panel in the corner focusing on Alistair's frustrated, annoyed face at Marigold's lewd interests.)

Alistair: Thanks Marigold, you're a peach.

Alistair: Oh ha, ha, you're a real comedienne. Anyway, Vomir's ass'll be in the hoosegow by sunset.

Alistair: Huh? What else-

Alistair (tiny panel, whispering): Marigold, he's never really met a paranormal, it's too damn soon for…that.

Alistair (tiny panel): Okay, see you.

Page 11 Panel 2

(We have a larger but tight view focused on Alistair and Winston from behind.

Winston is has walked over and is beginning to lower the plate. He is very proud of his work, savoring Alistair's visual approval of the meal, his back is straight and he's within arms length of the gator.

Alistair has just put the phone and stylus on the edge of the table. His snout wide open at his licks his chops with his alligator tongue (note, unlike a real life alligator his tongue isn't stuck to the bottom of his mouth), and his gaze is focused squarely on the sandwich.)

Winston: Order up!

Alistair: Congratulations, my nose is in Heaven.

Alistair: Now while I dine on a sandwich that smells like ambrosia, sign this before we start.

Winston: Uh, okay...what is it?

Alistair: Just a waiver.

Page 11 Panel 3

(The view is now overhead, focusing on the two.

Winston's cooking based confidence boost is clearly wearing off, now he appears much more concerned and he's a little afraid now, but nevertheless he has the phone in hand and is signing the digital waiver. Focused on the phone with an iron gaze, yet unsure about this.

Alistair's sharp teeth are beginning to tear into this sandwich, scarfing it down but savoring this meal immensely, gripping the sides of the kaiser roll firmly.)

Winston (thought balloon): Oh God...this is just like that rafting trip.
Winston:W-ith all due respect, a-are you sure I have to come with?

Alistair: Winston, relax. We're not invading North Korea, just beating down a sociopathic loser.
Alistair: I'm hiring a valet, not a housekeeper. No offense, but you have to get used to this.

Page 11 Panel 4

(It all cuts to the side now, just as tight.

Winston has finished the signing, his mind racing with the thoughts of whatever the hell might happen to him, his skin is becoming more and more bleached, despite clearly being worried he isn't sweating and his eyes an unconscious determination.

Alistair has mostly finished the sandwich, just a quarter left now. He's looking at Winston's eyes, understanding the human a little better, sympathizing with his actual fear of danger.)

Winston: D-d-don't remind m-me...I me-mean I like dying a-as...as...
Winston: Uh, nevermind. I'm coming.

Alistair: Hey now, relax Winston.

Alistair: There's risk sure, but nothing more than curses, dimensional-marooning, soul burglary...
Alistair: But usually that doesn't happen, I'll watch your back.

Page 12 Panel 1

(We're now cutting to Winston's car, with a split shot looking at the duo at different times, viewed from the front. Alistair Garth is riding shotgun and sitting down satisfactory despite his thick Alligator legs as Winston drives.

In the first half, Alistair is stretching his tail out in the back, quite calm and fully aware of what Winston is seeing despite not looking in that direction, he's semi-relaxed.
Winston is looking ahead curiously, his head leaning to the left as he begins to see something bizarre.

On the second half, Alistair hasn't changed at all, save for pointing his right hand right up dramatically.
Winston has dropped his jaw, gripping the steering wheel tightly as he gazes at something truly weird offpanel.)

Alistair: Now then, with your lack of contact with paranormals, I want to clarify.
Alistair: If you see a flaming, horned creature from space.

Alistair: There is absolutely no cause for alarm…

Page 12 Panel 2

(We cut to across the street, with Uh'yhuuu Groob'llt, a local UPS guy and freelance monster hunter, he's an oval shaped alien the size of a small boulder, a flaming, blobbish floating creature with twelve tentacles (two of which in front of him look like human arms), three pronged horns on the front of his body with three eyestalks (two short, one long), is middle aged...and wearing a UPS ballcap with a matching pair of shorts designed for his body. He's clearly irritable, frustrated and pissed, holding a large package.

He's passing by a car from the 1940s, and Winston's car is driving past, with Winston's stunned face visible from the window.)

Alistair (from within car): That's just a local UPS guy.

Page 12 Panel 3

(Back in the car, we look at the duo from within the vehicle, slightly overhead.

Winston's gripping the wheel slightly less tight than earlier, his eyes are wide like saucers and mildly disturbed at the oddball sight he has witnessed, almost unsure about what the guy actually is.

Alistair is shaking his head, mildly annoyed at this, but can clearly understand the confusion, semi-explanatory, switching to yelling as he sees the impending crash.)

Winston: ...Are you sure?

Alistair: Nooooo, he's actually the Unabomber!
Alistair: Honestly, you didn't need to worry.

Winston: Oh.

Alistair: It's okay. You're still new here.
Alistair: This isn't, y'know, too weird or anything.

Alistair: If you get the job, you'll want to get used to it.
Alistair: Neither one of us want to play streetlamp baseball with that grill.

Winston: Sorry, it's...it's like I'm looking into a dream.

Alistair: It''ll be a nightmare if-

Alistair (loudly): Watch it!

Page 12 Panel 4

(The view now cuts to a small panel with an overhead view. Winston's car has now crashed into a streetlamp on the right side of the road. The pole is still standing, and the hood is kinda dented as a result. The only person seen in the panel is a ten foot tall, blind cyclops who is shaking his head dismissively, tapping around with a cane in his left hand, screeching at the car crash like a howler monkey.)

Winston (within car): ...Whoops.

Alistair (within car): Oh good.
Alistair (within car): This interview's starting off well.

Cyclops: # % %#!

Page 13 Panel 1

(We'll cut right to in front of Alistair, cutting forward a little to depict part of the dented car hood, and slightly cracked windshield, they're on the street again. He's pulled out his phone to read off his findings from Winston's background check. The alligator is curious about the few things he does not know about Winston, won