Wine and Gun

Herstal turned to Albarino, who merely shrugged nonchalantly, but Herstal had read what he meant: if the Warden and Slade's If the relationship is "close enough", then the person in front of him also had a motive to kill him at that time. So what was the warden's purpose in moving him to a double cell? How did the news of him as a temporary volunteer suddenly spread? If the warden doesn't fall into Albarino's hands soon, what is he going to do next?

Looking back at everything before from the perspective of hindsight, there are many coincidences that seem extraordinarily peculiar.

The fourth was a woman, dressed as Jezebel, with flowers of various colors entwined between her limbs and hair like pearls; in one hand she held a golden cup full of blood, while the other was empty. One hand was fixed in a forward gesture; her feet were wrapped around some withered vines: the woman was half-kneeling among the purplish red, bruised grapes on the floor.

Herstal looked at the woman's face. At this moment, her face was full of tears, and her body was trembling as if she was sick. But such a scene wasn't enough to shake, and Herstal asked flatly, "This is it?"

"Some of the children in the Sequoia Manor are prostitutes," Albarino replied briskly, "this lady's job is to help Slade to abduct prostitutes from the streets and bring them to the manor—she Cleverly escaped capture, of course, perhaps not so cleverly."

Albarino passed over many details, and Herstal did not need to know how he found the lady, or how he captured her. The whole thing wasn't particularly pleasant, Albarino's plan at the time was to just need one person, but the lady clearly had more than one of Slade's minions by her side... anyway, he ended up having to throw it into the river Three corpses, those corpses may have now sunk deep into the river bottom, and won't come to the surface for a while.

Herstal nodded, and he didn't bother to ask so many details. In fact, he could imagine how many things could happen.

A fifth man is suspended from a wooden frame, the towering wooden frame also used to symbolize the mast of the sinking ship. Herstal could see the rough inscription "666" on the top of the wooden frame, so he knew that this was "the wicked Haman" - the representative of the Antichrist in the "Bible"; Haman was the prime minister of King Ahasuerus, Just because the Jew Mordecai refused to bow down to him, he planned to murder the Jews of the whole country and was eventually put on the gallows.

It is extremely ironic that although the church called the wicked Haman the "Antichrist" and even believed that he was the incarnation of Satan, the candidate used by Albarino to represent Haman was Father Anderson. The old priest, bound tightly, was looking at Albarino and Herstal in horror.

He stared blankly at Herstal's face, as if he didn't know who the man who suddenly appeared beside Albarino was. Then all of a sudden, he seemed to recognize Herstal's identity in an instant - could he still remember a child playing the piano for the choir in St. Anthony's Church? Or did he remember the faces of those children deeply when he indulged Slade and the other members of the church? ——But there was some kind of enlightenment flashing in his eyes, and there was something almost panicked on his face. Greater terror washed over the wrinkled face, but Herstal looked away coldly.

He didn't need to look any further, the fact that terrified Father Anderson wasn't that important to him anymore... at least not so important that it would make him lose control.

He just turned his head slightly indifferently, and looked at the last person on the wooden boat that was heading for destruction.

In the direction of the stern, the man who was used by Albarino to replace the oil painting's role in being pushed to the top by the survivors was unmistakably Lavasa McCard.

The long-lost FBI agent was suspended under the high dome of the church, and the strings held him in a very complicated position: his feet were almost completely off the ground, and the wire was digging deep into him. In the pale skin, blood was slowly dripping from those gaps.

One of McArd's hands was held high indiscriminately, and it stretched as hard as he could in the direction of Slade (at least it seemed so). The strings of the piano dangled from the heights, tying his arm firmly—but that hand was not the red strip of cloth in Géricault's oil painting. His arm was a broken arm, with nothing above the wrist, but an empty, chilling-looking, bloody cross-section, but now, branches of bright red roses bloomed from the broken arm. The arm spewed out, almost strangely blooming.

And under his feet, a rough-looking jar was overturned, and the white salt grains spilled out and fell under his feet like sand. The crystal was considered pure in the realm of ancient alchemy, but a symbol of deception in Leonardo da Vinci's The Last Supper.

Herstal doesn't even have to look at McArd himself to know what kind of picture Albarino will set up at the top of the ladder, and what imagery will be expressed at the end: he will choose Judas, no doubt, in the real world. Before reaching the demon hanging before the cross, he would first place there a betrayal of the Son of God. The only difference is that Judas in the story was tempted by money, while McCard in real life was tempted by something more upright, and the thing he betrayed was supposed to be more noble than the Son of God.

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