Prologue
WPD Open Serial Killer Case FilesThe file is presented as internal case files from the Westland Police Department with margins annotated by a woman’s handwriting.
Case File T144-0736 introduces the serial killer called “The Sunday Gardener,” active since at least 2006, who decorates victims’ bodies with flowers and displays them publicly on Sundays.
The Sunday Gardener does not torture victims during the killing but arranges corpses afterward, often with symbolism tied to the victim’s past.
His signature is not extremely distinct, leading to confusion with possible copycats.
October 8, 2006: Benjamin Maurrin is found dead in his car, initially mistaken for CO poisoning until oleander petals are discovered in his mouth and nose. He had restraint injuries and died of asphyxiation. This is considered the first confirmed murder. His corpse was not publicly displayed, suggesting the killer’s early inexperience.
September 23, 2007: A woman known as “Ophelia” is found in Fernando Park lake dressed in white with a garland of flowers, resembling the Hamlet character’s drowning. She is suspected to have been a prostitute but remains unidentified.
February 14, 2016: Mischa Tamir and Thomas Monroe, called “The Mogel Street Lovers,” are found embracing on frozen river ice, each holding the other’s heart, chests filled with roses and snow. Authorities suspected a copycat, but the notes argue this was still the Sunday Gardener’s work.
June 26, 2016: “The Bridal Boat” case is discovered outside Christ Child Church, with a human skeleton in a wedding dress, ribcage filled with roses dyed red by blood, and more white roses scattered. The skeleton was bleached and unidentifiable.
Investigators profile the Sunday Gardener as a white male, age 28–38, height 5’11”–6’1”, with strong anatomical knowledge suggesting surgical training.
His murders escalate in complexity over time, and some bodies are never recovered.
Theories suggest water imagery and Sunday timing may reflect commemorative trauma, possibly tied to a loved one drowning rather than personal experience.
The annotations critique WPD for focusing too narrowly on suspects with personal water trauma instead of family-related tragedies.
Case File T209-1948 introduces “The Westland Pianist,” active since 2010, who strangles victims with piano wire.
The Westland Pianist targets men with criminal histories, mostly tall blond men, and tortures them severely before killing them.
February 18, 2010: Tom Green, acquitted of murdering his ex-wife and her children, is found with his face skinned, body stabbed 107 times, and lying in a blood-painted target.
July 10, 2010: Edward Tasmeer, linked to deadly bank robberies, is found at a construction site, joints smashed, gold coins in his throat, and body suspended by piano string in a pose matching an angel relief.
April 29, 2016: Trappe Callahan, suspected rapist and murderer, is found in his home mutilated—limbs severed, organs removed while alive, body stuffed with his own severed parts.
The Pianist demonstrates a consistent and mature method, suggesting prior experience in other states before arriving in Westland.
He may have access to a large vehicle, strong physique, and combat training, possibly from an affluent background.
He taunts police by sending anonymous letters with crime locations, but the commentary suggests this is not arrogance but a cautious way to distinguish his work from unrecognized earlier crimes.
His victim selection suggests personal trauma involving violence by an older blond man.
The annotations argue he is extremely cautious and effective at disguising himself, possibly misleading police with false clues.
Some consider the Westland Pianist more dangerous than the Sunday Gardener, though the notes argue the Sunday Gardener is more enigmatic and unfathomable.
The annotator speculates about what would happen if both killers crossed paths, imagining one might become prey to the other, and calls the idea a spectacle worth witnessing.
Chapter 1
The Mark of Cain Part IAlbarino Bacchus, the chief forensic pathologist, is called to a late-night crime scene in Westland, a city overwhelmed by violence and serial killings.
Detective Bart Hardy is already at the scene and warns that this case is serious—it’s likely the work of the notorious serial killer known as the Westland Pianist.
The crime scene is an apple orchard where a scarecrow-like corpse has been displayed grotesquely: impaled on a stake, mouth stitched into a grin, buttons nailed into the eyes, dressed like a scarecrow.
Olga Moroz, a former FBI profiler now consulting for the WPD, arrives to profile the killer.
The victim is quickly suspected to be Richard Norman, a known gang leader.
Albarino examines the body at the scene and confirms the killer is left-handed, a known trait of the Pianist.
Victim was tortured while alive: face mutilated and sewn crudely, buttons nailed in eyes, impaled on a stake, strangled, arms manipulated using wires.
During autopsy, Albarino and Bates Schwandner discover the heart was removed and replaced with an apple.
In the abdominal cavity, they find wheat stuffed between the organs.
Albarino deduces the killer tortured Richard Norman alive, manipulated his limbs, then impaled him, mutilated his body, strangled him to death, and finally removed his heart and inserted symbolic items.
Olga notes the killer’s symbolic consistency: the use of strangulation in every killing.
Albarino theorizes the Pianist’s symbolic use of apples and wheat to reflect judgment or punishment of the victim's criminality.
They confirm the time of death to be around 11 PM to midnight the previous evening.
Detective Bart Hardy interviews potential witnesses, including gang members and Richard Norman’s younger brother, Thomas Norman.
Thomas Norman shows no remorse, claims he’s happy his brother is dead, but denies involvement.
Olga and Albarino agree Thomas is arrogant and self-centered but not the killer.
Attention shifts to Herstal Armalight, the Norman brothers’ mob lawyer.
Armalight is cold, calculating, and fits the mold of a stereotypical amoral defense attorney.
Albarino becomes captivated by Herstal Armalight’s face and personality, viewing him artistically as a potential future victim for his own homicidal urges.
Albarino is revealed to be the Sunday Gardener, another active serial killer in Westland, who plants flowers in his victims.
Albarino had been watching Richard Norman for three months, planning to kill him, but is furious that the Pianist got to him first—he considers it artistic theft.
Albarino now sees the Westland Pianist not only as a rival but someone who must be punished.
He mentally adds Herstal Armalight as a future victim, second on his hit list.
Albarino vows to go after the Pianist next—he has a plan in mind.
Chapter 2
The Mark of Cain Part IIHerstal Armalight, the Norman brothers’ lawyer, is interrogated by Detective Hardy about the brothers’ relationship and the murder of Richard Norman.
Herstal explains that Richard Norman and Thomas Norman had a long-standing, bitter rivalry due to Richard’s incompetence and jealousy toward the more capable Thomas Norman.
Herstal bluntly suggests that the murder method doesn't match Thomas Norman's personality and implies the Westland Pianist is responsible.
Hardy suspects Herstal is withholding information but can't push further due to lack of a warrant.
Richard Norman was last seen with Herstal, then with a lover, and disappeared until his body was found grotesquely displayed.
Herstal leaves the interrogation, clearly confident, only to be stopped by forensic pathologist Albarino Bacchus, who informs him he needs to sign documents as Thomas Norman’s representative.
They walk to the morgue together, passing a horde of media, and there Herstal views Richard Norman’s mutilated body without reaction and signs the documents.
Albarino becomes unusually intrusive and vividly describes how the Westland Pianist killed Richard Norman: drugged, sewn shut, impaled alive, disemboweled, and heart ripped out.
Albarino almost mimics the murder in demonstration, touching Herstal intimately while explaining. Herstal remains calm but wary.
Albarino appears obsessed with Herstal, subtly threatening him while hiding predatory tendencies.
The media fixates on the case due to the victim being a known criminal. Debate erupts on whether the Pianist is a vigilante.
Albarino receives a call from Detective Hardy about another suspected Pianist killing—Thomas Norman is dead.
Albarino visits the crime scene, a private estate with a stream, where Thomas Norman is found upside-down, nailed to a stake underwater.
Herstal had discovered the body after receiving a text from Thomas Norman asking to meet; Herstal claims his dashcam proves he didn’t kill him.
Albarino, clearly the actual killer of Thomas Norman, sent Herstal the text from the dead man’s phone as part of a twisted artistic expression.
Thomas Norman's corpse is staged: upside-down, nailed, flower-stuffed chest, sheep horns sewn to his head, and draped in symbolic flowers.
Forensics indicate the body was arranged post-mortem, with no signs of pain or vital reaction, unlike the Pianist’s usual style.
Albarino suspects that this murder was not the Pianist’s doing, but rather the work of the Sunday Gardener.
Olga Moroz excitedly deduces that the Sunday Gardener mimicked the Pianist’s previous motif to send a message of recognition and response.
The murder of Richard Norman was revealed to reference Cain: a jealous older brother.
The murder of Thomas Norman reflects Abel, complete with symbolism of sheep horns, blood, soil, and inverted staging to mirror Richard Norman.
Albarino realizes the Gardener understood the Pianist’s artistic message better than the police ever did and responded with his own artistic murder.
The forensic team confirms the symbolism: wheat and apple blossoms, soil in wounds, and mirrored compositions.
Dialogue quotes from Byron’s play “Cain” emphasize the biblical metaphor being enacted.
Olga states the two serial killers—Westland Pianist and Sunday Gardener—are now acknowledging each other through their kills.
The chapter ends with unsettling consensus: the city’s two most dangerous serial killers are no longer working in isolation, but communicating through murder.
Chapter 3
Confession to Persephone Part IHerstal Armalight is introduced as a composed, morally ambiguous mob lawyer working at Armalight & Holmes.
Reporters swarm the office following the latest murder by the Sunday Gardener.
Albarino Bacchus, chief forensic pathologist, unexpectedly visits Herstal at work under the pretense of lunch and concern from Detective Bart Hardy.
Albarino reveals the Sunday Gardener used the victim's phone to text Herstal, a major deviation from the killer’s usual behavior.
Herstal is disturbed that Albarino brings him lunch without prior notice and comments on his lack of interpersonal boundaries.
They eat together in Herstal’s pristine, impersonal office. Albarino’s food is surprisingly good, which Herstal admits.
Albarino hints he’s intrigued by Herstal for unknown, possibly sinister, reasons and continues to blur boundaries under the guise of "inspiration."
A gunman named Mark Jones storms into the law office and opens fire, targeting Davis, an employee who defended Jones’s daughter in court.
Jones blames Davis for his daughter’s three-year sentence. His daughter recently died in a prison riot, triggering the shooting.
Davis is critically injured. Albarino saves Herstal by tackling him to the ground just as Jones fires.
Herstal and Albarino assist the wounded before the police arrive. Herstal remains calm, unsettling Albarino.
Detective Bart Hardy identifies the shooter as Mark Jones. They discover Davis’s daughter has been kidnapped by Jones as well.
Herstal and Albarino give statements. Albarino observes Herstal may be left-handed, linking him to the Westland Pianist based on crime scene patterns.
Suspicion arises that Herstal may have known about a secret murder attempt by Richard Norman against his brother Thomas.
Albarino begins suspecting Herstal could be the Westland Pianist due to his age, profession, knowledge of crimes, and possible left-handedness.
Albarino invites Herstal for drinks with Olga Moroz. Surprisingly, Herstal agrees.
At the bar, Olga points out that the Sunday Gardener specifically choosing Herstal to discover the body is suspicious.
Albarino realizes he may have accidentally shown one of his murders (as the Sunday Gardener) to the Westland Pianist (possibly Herstal).
Olga asks Herstal if he knows anyone who could be the Sunday Gardener. Before answering, Herstal gets a call.
Detective Bart Hardy informs them that Mark Jones is demanding a ransom for Davis’s daughter and insists Herstal deliver it himself.
Herstal agrees to go, believing he has no choice. Albarino protests but eventually relents.
Olga privately asks Albarino if he has romantic or sexual interest in Herstal. Albarino deflects.
Albarino admits internally that he wants to confirm whether Herstal is the Pianist—he would prefer it to be true for artistic and personal reasons.
Herstal meets with Detective Bart Hardy, who gives him a tracker and a ransom bag, promising backup during the exchange.
Meanwhile, Albarino goes rogue and hunts down Richard Norman’s former subordinate in a dark alley.
Albarino tortures and interrogates the man, confirming that Richard Norman once tried to have Thomas Norman killed.
The subordinate confesses that only Richard Norman, Herstal Armalight, and himself knew about the assassination attempt.
To keep the secret buried, Albarino kills the subordinate, dismembers the body, and outlines how he will dispose of the remains using his usual gruesome methods.
He calls Detective Bart Hardy, pretending to be concerned and asks to join the police at the ransom location.
Albarino smiles coldly, fully aware he may have just uncovered the Pianist and that events are now spiraling into a deadly confrontation between two serial killers.
Chapter 4
Confession to Persephone Part IIHerstal Armalight follows Mark Jones’s instructions to a remote location for the ransom exchange, knowing Hardy’s team is tailing him.
Herstal drives into a narrow alley that traps the pursuing police cars, exits via sunroof, and proceeds into the darkness with the ransom money.
Albarino Bacchus arrives at the scene where police are stuck at the alley entrance; unknown to them, a murdered lieutenant's body is in his trunk.
Herstal enters an abandoned factory where Mark Jones is waiting with a gun and the kidnapped girl tied up nearby.
Mark Jones is agitated and irrational, believing his daughter is dead and demanding the ransom money.
Herstal tries to reason with Mark Jones, suggesting that escaping with the money without killing would reduce his charges.
Herstal kicks the backpack over; Mark Jones moves forward to inspect it, distracted.
Herstal lunges at Mark Jones in a panther-like attack; a gunshot goes off and grazes Herstal's leg.
The two struggle; Herstal disarms Mark Jones, subdues him, and nearly strangles him to death until police arrive.
Police rescue the girl and arrest Mark Jones; Herstal is injured but walks away with Albarino’s help.
Outside the factory, Albarino pushes Herstal against the wall and inspects his wound inappropriately, touching it with unnerving fascination.
Albarino asks if Herstal enjoyed the act of strangling Mark Jones; Herstal coldly denies it.
Albarino insinuates Herstal might have gotten aroused from imagining murder, which Herstal sternly rejects.
Albarino discovers Herstal’s hidden knife sheath strapped to his left leg.
In the following week, Herstal resumes life at the firm, constantly visited by Olga Moroz and Albarino Bacchus under the guise of protection.
Olga takes Herstal to an expensive restaurant; they discuss the psychological profiles of the Westland Pianist and the Sunday Gardener.
Olga theorizes the Sunday Gardener acts by choice rather than compulsion and could change his victim profile or methods at will.
Olga speculates the Sunday Gardener may shift from killer to torturer or artist, based on whims.
On Sunday, police cordon off Herstal's office; a skull adorned with flowers, gold leaf, and pomegranate seeds is found on his desk.
The skull is clean, bleached, partially decorated, and artfully filled with Persephone-themed symbols (wheat, narcissi, pomegranate).
The victim is revealed to be the body in Albarino’s trunk during the kidnapping case—killed the same night.
Albarino and Olga conclude the skull is a personalized message from the Sunday Gardener to Herstal.
The symbolism draws on Greek mythology: Herstal is likened to Persephone, abducted to the underworld by Hades.
Albarino provocatively suggests Herstal is being courted by the killer, albeit in a twisted, predatory way.
Olga clarifies it’s not love but a possessive, violent metaphor meant to claim Herstal as an object.
Bates Schwandner is disturbed; Olga flippantly describes it as a slap on the ass from the Sunday Gardener.
The chapter ends with the realization that the Sunday Gardener has focused on Herstal, possibly romantically, but more likely obsessively.
Chapter 5
Olga's Journal: September 25, 2016Olga received an email from Lavazza Mercader at the BAU rejecting her request to include two old cases in her upcoming book.
Lavazza Mercader also included a long sermon warning against publicizing the cases, citing societal panic and risk of copycats.
Lavazza Mercader expressed concern about Olga’s move to Westland and implied it was bad for her mental health.
Olga recalled how her relationship with Lavazza Mercader ended badly, including a physical altercation and deep ideological differences.
Lavazza Mercader believes in a strict moral binary between “good people” and “bad people,” which clashes with Olga’s analytical and nuanced view.
Olga reflected on why she writes about murderers—not to admire them but to study and understand them with objectivity.
Olga planned to get drunk with Albarino to forget Lavazza Mercader’s rejection but was interrupted by major news.
The Sunday Gardener struck again, this time placing a skull filled with fresh flowers on Herstal Armalight’s office desk.
Olga was excited by this development because it showed a new change in the Sunday Gardener's modus operandi.
Olga theorized that Herstal Armalight might have triggered the change and noted that the killer is still evolving.
Bart was distraught because the Sunday Gardener bypassed all surveillance systems, and the skull was cleaned to the point of seeming fake.
Bart informed Olga that Herstal Armalight had been at the WPD again to give another statement, continuing a recent pattern.
Olga learned from Bart that the skull belonged to Richard Norman’s lieutenant, known as Mr. Armalight.
Within two weeks, the Westland Pianist had killed once, and the Sunday Gardener had killed twice, all victims being connected to Herstal Armalight.
Bart was so worried he considered putting Herstal Armalight into the FBI’s witness protection program.
Olga made a comment regretting the loss of the lieutenant, as she wanted to ask him if Richard Norman had ever planned to kill his brother, tying into her theory about the "Cain" motif.
Bart regretted not following up on Olga’s theory earlier, but it had been low priority due to lack of evidence.
Herstal Armalight found Olga’s theory plausible but said he never heard Richard mention such a plan and doubted the lieutenant knew anything.
Olga speculated that the Sunday Gardener might be helping the Westland Pianist get rid of evidence, implying a connection between the two killers.
Herstal Armalight pushed back, arguing that even if the two killers knew each other, they’d probably want to kill each other, not help.
Olga countered that contradiction is a core human trait, citing the contradiction between love and death as embodied by the Sunday Gardener’s floral skull gift.
Herstal Armalight mocked her philosophical references and sarcastically called her “Miss Encyclopedia,” a nickname he likely learned from Albarino.
Olga reminded him of the dangers of underestimating evil, invoking Mephistopheles as a metaphor.
Herstal Armalight joked in return, implying classical music (and not demons) was the threat.
Olga warned him that unless the Sunday Gardener gets distracted, he would come back again.
Herstal Armalight only smiled in response, not indicating whether he took her seriously.
Chapter 6
The Mint MetaphorOlga greets Herstal Armalight at the bar, teasing him about being alive after the Sunday Gardener left flowers on his desk twelve days earlier.
Herstal is exhausted from a migraine-inducing case involving a client whose son dumped a prostitute’s body after an S&M incident.
Despite normally preferring silence at home, Herstal joins Olga and Albarino Bacchus at the bar, ordering a cocktail called “Glory Hole.”
Olga remarks that the Westland Pianist will inevitably retaliate against the Sunday Gardener, since their Bible-themed murder contest is all over the internet.
Olga leaves to take a call, and Herstal and Albarino continue the conversation about killers and “competition.”
Albarino suggests a “romantic” perspective on murder, quoting Nietzsche. Herstal challenges him but suddenly kisses him briefly.
Albarino exaggerates surprise, while Herstal claims it’s part of a “game.”
A woman in a red dress, Albarino’s lover Sarah, storms over and punches him in the face for kissing another man.
Olga returns to find Albarino bleeding and Herstal sipping his drink; Albarino calls his lovers “steady bed partners,” downplaying relationships.
The next morning, Detective Bart Hardy arrives at Albarino’s home with police officers, showing him a crime scene photo of Sarah brutally murdered in a red dress with mint leaves placed in her chest.
The murder weapon has Albarino’s fingerprint, and he mutters that he needs a lawyer.
Albarino calls Herstal from detention, demanding legal representation and invoking their “game.”
Police search Albarino’s house with Olga and Bates present; they find scorched fragments of burned bone in his shed.
In interrogation, Hardy lays out evidence: Sarah’s death, witnesses to their fight, Albarino’s fingerprint on the knife, and no alibi.
Herstal arrives as his lawyer, and when alone, Albarino accuses him of framing him with the fingerprint.
Flashback reveals Herstal had lifted Albarino’s print from a glass container and made a 3D-printed mold, later planting it on the murder weapon.
Albarino pins Herstal to the table, reenacting Sarah’s murder, nearly choking him before stopping and remarking that Herstal is aroused by asphyxiation.
They exchange taunts about Sarah’s killing; Herstal had tailed Sarah and witnessed her murder, then placed the fingerprint to frame Albarino.
Herstal outlines possible trial outcomes: second-degree murder charges, potential parole after fifteen years, unless evidence clears him.
Meanwhile, police find burned canine bones in Albarino’s shed—later confirmed to be coyote remains from his hunting.
A second victim in red is found dumped outside the police station, killed in a similar way to Sarah, undermining Albarino’s guilt.
In detention, Hardy, Olga, Bates, and Albarino profile the killer: a man in his 30s–40s, likely poor, with domestic violence history, fixated on women resembling an ex.
Investigation identifies Bob Langdon, recently bailed for domestic violence against his black-haired ex-wife who often wore red.
Hardy says officers are already after Langdon, but Albarino insists on calling Herstal again.
Over the phone, Albarino describes killing and dissecting a coyote, emphasizing blood and heat, unnerving Herstal.
Albarino warns that if Langdon dies before capture, Herstal’s frame will stick and he’ll remain the prime suspect.
Their conversation ends with Albarino laughing, leaving Herstal unsettled at a cocktail party as he plans his next move.
Chapter 7
The Pianist's Interlude: Serial Killer Bob LangdonBob Langdon was charged with domestic violence in April 2016 and, while out on bail, murdered four women who resembled his ex-wife.
His murders initially went unnoticed by the Westland Police Department because he stole from his victims, so the first two cases were classified as robbery-homicides.
During the same time, the Westland Pianist and the Sunday Gardener committed multiple high-profile murders, overshadowing Bob Langdon’s crimes.
One of the Sunday Gardener’s most infamous cases, the Bridal Boat murder, drew massive attention, further delaying investigation into Langdon’s victims.
On October 8, 2016, Sarah Aardman was found stabbed 41 times with a switchblade that had Albarino Bacchus’s fingerprint on it.
Albarino Bacchus, the WPD’s chief forensic pathologist, was arrested despite being a respected figure with an outstanding track record.
The night before Sarah Aardman’s murder, she had argued with Albarino Bacchus in front of Herstal Armalight and Olga Moroz.
Albarino Bacchus was arrested and oddly chose Herstal Armalight, a mob lawyer, to represent him.
Herstal Armalight barely defended Albarino Bacchus and did not argue strongly for bail, which was denied.
On October 9, a second woman’s corpse, similar in appearance and dressed like Sarah Aardman, was dumped in front of the police station while Albarino Bacchus was in jail.
The police reopened previous cases and linked the murders, finally focusing on Bob Langdon as a suspect.
Bob Langdon lived close to the crime scene and had a history of violence; his DNA was found on the van used to dump the second victim.
When police went to arrest Bob Langdon, he had vanished from his filthy apartment, indicating he had fled.
The WPD could not determine who killed Sarah Aardman, why the knife had Albarino Bacchus’s fingerprint, or what the bundle of mint on her body meant.
On October 17, the Westland Pianist sent a letter to Detective Bart Hardy that led police to Bob Langdon’s mutilated corpse.
Bob Langdon had been brutally killed by the Pianist, with piano strings suspending him, over 50 stab wounds, and his chest cut open with mint and lavender blossoms in place of his heart.
The mint ball echoed the mint bundle left on Sarah Aardman, suggesting the Pianist was mocking Langdon.
That same day, police found incriminating evidence in Langdon’s apartment: his murder diary and victims’ hair bundles, clearing Albarino Bacchus of all charges.
Albarino Bacchus was released just as Bob Langdon’s body was found, as if orchestrated by the Pianist to create poetic irony.
Questions remained about how Albarino Bacchus’s fingerprint got on the murder weapon and whether the Pianist framed him.
Speculation grew that the Westland Pianist’s real target had always been Albarino Bacchus and that Bob Langdon was just a pawn.
Albarino Bacchus had dissected the Pianist’s and Sunday Gardener’s victims in previous cases, possibly inciting the Pianist’s rage.
Psychologists speculated that the Pianist’s attack on Albarino Bacchus later that year was not about pleasure but symbolic revenge.
The Pianist tortured and sexually assaulted Albarino Bacchus but did not kill him, an anomaly meant to send a message to the authorities.
Olga Moroz explained that the Pianist used the assault as a metaphor, showing contempt for police who "destroy" his artistic crimes.
When Herstal Armalight was later arrested, blood found in his condo was confirmed to belong to Albarino Bacchus.
Albarino Bacchus’s body was never recovered, and in February, police officially declared him dead.
The mint-filled chest of Bob Langdon may have been a symbolic love letter from the Westland Pianist to the Sunday Gardener.
The chapter ends with the idea that Albarino Bacchus was the only victim of the Pianist who survived his attack—temporarily—and that all the events from 2016 to 2017 were possibly part of an elaborate personal vendetta or a twisted homage.
Chapter 8
Bounty Hunter Alan Todd's Work LogAlan Todd is woken by a late-night phone call from an unfamiliar number; the caller introduces himself as William Smith, a bail bondsman from Westland.
Smith asks Alan to capture Bob Langdon, who skipped bail before his trial for attempted second-degree murder.
Langdon’s bail is $150,000, and Smith offers Alan 15% ($22,500) if he brings him back.
Alan hates Westland for its crime and serial killers but accepts the job due to the payout.
He travels to Westland, staying in a moldy motel near Langdon’s old residence.
Smith explains that Langdon disappeared recently and can’t be contacted.
Alan investigates rental agencies and discovers Langdon used a fake name to rent a car cheaply, then vanished without returning it.
Alan suspects Langdon left Westland and starts searching routes out of the city.
Alan meets his injured old friend Hunter, who warns him about Westland gangs and offers secret exit routes from the city.
Hunter urges Alan to join him in chasing serial killers for bigger payouts, but Alan refuses.
Using Hunter’s advice, Alan searches smaller towns and gas stations off main roads.
At a gas station, Alan gets confirmation that Langdon was there recently, driving north.
In another town, a waitress recalls Langdon nervously watching TV while eating. She says he left quickly afterward.
Alan informs Smith of his progress; Smith seems dissatisfied but thanks him anyway.
Alan finally tracks Langdon to a rundown motel, where Langdon drunkenly attacks him with a knife, stabbing Alan in the shoulder.
Alan manages to knock Langdon unconscious with his gun and ties him up.
While waiting in the ER, Alan reads about the Westland Pianist, a serial killer who mutilates victims and has terrorized the city for years.
Alan delivers Langdon to a nearly empty apartment per Smith’s instructions, locks him inside, and leaves the key under the mat, never meeting Smith in person.
Soon after, Alan learns from the news that Langdon has been brutally murdered by the Westland Pianist, strung up with piano wire and disemboweled.
Realizing Smith must be the Pianist, Alan recalls Smith’s cold voice and suspicious instructions.
Horrified, Alan calls Smith’s number, expecting it to be disconnected, but Smith answers.
Smith coolly admits nothing directly, but warns Alan against reporting him, implying Alan should not antagonize forces beyond his control.
Alan realizes Smith used him to capture Langdon and deliver him straight to the Pianist’s hands.
Their conversation ends with Smith casually saying it is time for his breakfast, leaving Alan shaken, knowing they will likely never “meet” again.
Chapter 9
Golden RainHerstal Armalight returns home from a murder, blood still on his hands, when Albarino Bacchus unexpectedly arrives at his door, soaked in rain.
Albarino had recently been released from prison due to new evidence proving Bob Langdon was the true killer of Sarah Aardman; evidence includes Langdon’s trophy journal and victims’ hair.
Albarino shows Herstal a photo of Bob Langdon's mutilated corpse: hanged with a piano wire, chest opened, ribs exposed, and a mint flower sphere placed where the heart should be.
Albarino subtly accuses Herstal of being the killer, pointing out blood on his hands and mocking him about using gloves versus skin-to-skin contact.
The two engage in a disturbingly intimate confrontation where Albarino undoes Herstal’s bloody cufflink and examines old self-harm scars on Herstal’s wrist.
Albarino begins licking the blood off Herstal’s fingers while philosophizing about killing as artistic expression.
Herstal compares the experience to playing a theremin—touching flesh but controlling intangible music (soul).
The tension turns erotic as Albarino presses himself close, kisses Herstal’s knuckles, and licks his wounds.
Herstal puts a knife to Albarino’s throat as the mood oscillates between seduction and deadly threat.
They exchange literary and artistic metaphors (Titian's Danae, Klimt’s Danae) implying romanticized violence and obsession.
Albarino kneels in front of Herstal and disarms him by removing the knife strapped to Herstal's ankle, claiming he wants mutual honesty.
They engage in a power play where Herstal counters by discovering Albarino’s concealed gun and throwing it aside.
Albarino sexually provokes Herstal, undoing his belt while claiming Herstal is the one who can’t stop killing.
The encounter escalates into a graphic sexual act with Herstal eventually dropping his knife and forcing himself into Albarino’s mouth.
Albarino deepthroats him while reflecting on Herstal’s obsessive, compulsive tendencies and monstrous nature.
Herstal climaxes violently and then collapses to the floor, still tangled with Albarino.
They kiss, Herstal bites Albarino’s throat, and they both reflect on their deadly attraction.
The next morning, Herstal wakes up with a headache and regrets letting Albarino stay the night, even though nothing went further.
Albarino, now dry and in Herstal’s apron, has cooked breakfast, showing complete ease in Herstal’s condo.
Herstal receives a call from bounty hunter Alan Todd, who is terrified and unsure whether to report Herstal.
Herstal warns him off and then destroys the burner phone, dismissing Todd as too cowardly to pose a threat.
Over breakfast, Albarino casually discusses Herstal’s food habits and critiques his lifestyle, mocking his Southern accent.
They verbally spar about theatricality in murder, mocking each other’s artistic methods.
Albarino pries into Herstal’s past, noting his Southern roots and speculating about his childhood trauma based on his self-harm scars.
Albarino claims he had a normal childhood, reinforcing Olga Moroz’s theory that he is a born psychopath rather than made by trauma.
Herstal acknowledges the fundamental difference between them: Herstal may have been shaped by experience, but Albarino is inherently monstrous.
Albarino states openly he wants to kill Herstal, dismember him, devour him—but also savor him, understand him, and find the place he “suits” best.
The chapter ends with Albarino quoting Shakespeare, warning Herstal never to show weakness.
Chapter 10
Rain Rain Go Away Part IBart Hardy investigates a dumped corpse in the Westland wilderness, assuming it’s a gang-related case.
Albarino Bacchus, supposed to be on paid leave, unexpectedly arrives at the crime scene out of boredom.
The corpse is of a handsome blond man with his throat slit and signs of having been stuffed into a small space before being respectfully arranged postmortem.
Albarino deduces that the killer may have had emotional ties to the victim based on how the body was treated and the blood cleaned from the victim’s face.
Bart Hardy realizes the murder fits the M.O. of “Johnny the Killer,” a serial killer who targets handsome blond men, kidnaps, sexually assaults, and kills them after rainstorms.
Johnny’s victims are kept alive and cared for, then killed and dumped post-rain.
The FBI is contacted, and Lavazza Mercader from the BAU arrives.
Mercader and Olga Moroz have a hostile professional history involving disagreements about a prior case and a blocked book publication.
Albarino and Mercader meet, but tension lingers between Mercader and Olga.
Albarino is officially brought into the Johnny case due to his experience.
The victim from the current case is confirmed to have been restrained, sexually assaulted, and fed well before death—consistent with Johnny’s pattern.
Olga and Albarino profile Johnny as someone who believes he “loves” his victims, selecting them as ideal lovers, caring for them, and eventually killing them in a fit of rage or disappointment.
Herstal Armalight, a defense lawyer and acquaintance of Albarino, is stalked and later abducted after a staged tire incident.
Johnny the Killer, revealed to be a young man named Elliot, incapacitates and kidnaps Herstal.
Elliot shows obsessive affection toward Herstal, feeding him, tending to him, and expressing love, which Herstal quickly deduces is pathological.
Herstal pretends to reciprocate Elliot’s emotions to stay alive, using manipulation to gain Elliot’s trust.
Elliot masturbates on Herstal while proclaiming his love, reinforcing that his affection is rooted in control and dependency.
Herstal internally compares Elliot to a mentally ill man who equates captivity with love, realizing Elliot finds joy in complete dominance.
Albarino, Olga, and the team discover Herstal’s abandoned bloodied car, analyze the scene, and deduce there was a struggle.
Evidence suggests Herstal injured Elliot during the fight, and Elliot subdued Herstal with a stun gun.
Mercader provides Quantico’s case files to Albarino, hinting at deeper involvement.
Olga warns that Mercader’s extreme righteousness is dangerous, just like excessive wickedness.
Olga agrees to continue assisting the case despite her grudge.
Herstal, bound in Elliot’s hideout, pretends to be emotionally dependent to buy time and learn Elliot’s behavior.
Elliot feeds Herstal and acts like a devoted lover, but also sexually assaults him, reinforcing that his love is twisted and rooted in dominance.
Herstal deduces that Elliot loves victims only when they are utterly helpless and dependent on him.
Albarino had earlier quoted Plato’s Phaedrus about lovers preferring inferior partners, which Herstal now realizes foreshadowed Johnny’s obsession.
Elliot proclaims his love for Herstal, unaware of Herstal’s cold and calculating inner thoughts.
The chapter ends with Herstal brooding over Elliot’s twisted nature and the deeper implications of Albarino's cryptic warnings.
Chapter 11
Rain Rain Go Away Part IIHerstal Armalight dreams of a fatherly figure blessing him like Joseph, then wakes up bound and imprisoned by Elliot Evans, dehydrated and in pain.
Herstal reflects bitterly that his capture is Albarino Bacchus's revenge for an eight-day wrongful imprisonment during the Bob Langdon case.
Herstal is determined to escape and starts planning to use a broken ceramic shard to cut his restraints.
At WPD, Olga Moroz and Albarino Bacchus pull an all-nighter investigating Johnny the Killer with Detective Hardy and Lavazza Mercader.
DNA evidence confirms the blood at the crime scene isn’t Herstal Armalight’s, but Johnny the Killer’s DNA has no matches in the criminal database.
Olga believes the existing criminal profile is flawed and suspects the killer’s choice of when to kill is emotionally driven, not purely timed with rain.
Albarino analyzes the rainfall pattern between kidnappings and murders, concluding Johnny doesn’t kill after the first rainfall but when emotionally “bored.”
Olga proposes the killer responds differently to victim personality types—those who resist or show fear die sooner, those who feign compliance survive longer.
They profile Johnny as a socially awkward white male under 35, possibly short, not strong, doing temp work, and harboring deep control fantasies.
Victim interviews suggest survivors lasted longer due to submissive behavior rather than appearance; Olga and Albarino believe emotional reactions are key.
A new suspect list is created based on psychological and logistical profiling; Albarino recognizes Elliot Evans from a photo and reveals past interactions.
Elliot had a minor run-in with Albarino at a convenience store, which led to them eating together and forming a casual friendship.
Albarino and Mercader visit Elliot’s filthy apartment for questioning. Elliot appears anxious and bandaged. He claims he was home during the time of Herstal’s disappearance.
Albarino asks to use the bathroom and secretly searches the apartment, finding a locked basement door, which he picks open.
Herstal is discovered by Albarino, bound and gagged in the basement. He has been trying to escape using a ceramic shard.
Albarino mocks Herstal, kisses him forcibly, and steals the shard from his hand, thwarting Herstal’s escape attempt.
Albarino re-locks the door, returning to Elliot and Mercader without revealing what he found, planning to watch Herstal “burn.”
Herstal is left seething with fury, knowing Albarino will act innocent while he remains helpless.
Herstal vows inward revenge, murder in his eyes.