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The Pontifex considers the Painter an utterly depraved, non-conditioned, darkly smart man, as he is (or would like to be).

The Painter fully agrees with the description (he could add few extra touches of his own). But then he finds someone -- and something -- totally unexpected, and Gogo suddenly faces major trouble.

Are the troubles limited to the Painter's conversion, or do greater ones come to confront him?

Will the Pontifex bask...