Jackson

Jackson works as a teller at the local bank. He balances ledgers, says things like “Have a great day!” unironically, and considers wild excitement to be a two-for-one coupon at the grocery store. He is also an animal lover. So when the local shelter posts a photo of a sad little “female puppy” with oversized paws and soulful eyes, Jackson does the responsible adult thing and adopts her immediately. He names her Molly. Buys chew toys. A dog bed. Puppy treats. His life feels complete. For three whole days. On the fourth morning, Jackson wakes up to find a toddler werewolf sleeping in the dog bed. A toddler. With fuzzy ears, sharp little teeth, and zero concept of personal space. She immediately launches herself at his ankles like a fluffy missile, attempts to chew the coffee table, and howls because the cereal box won’t open fast enough. Jackson, a man who once apologized to a mailbox for bumping into it, is now chasing a feral child around his living room shouting, “MOLLY—NO—DROP THAT.” He still does not know werewolves exist. Things escalate when “Molly” bites three kids at daycare (in her defense, one of them took her crayons). Somewhere between the emergency phone calls and the very uncomfortable meeting with the director, Jackson follows a trail of increasingly strange hints straight into Red Valley. And just like that, he becomes the only human in a pack that runs on destiny bonds, scent-marking, and moon-based drama. Jackson stays. Because Molly—daughter, puppy, chaos incarnate—is his. And if surviving a werewolf pack is the price of fatherhood, well… at least the suburbs were boring.