The Sculptor

the quotes—”

“But you’d recognize both the poem and the quotes if you saw them?”

“Yes.”

Agent Markham switched off the recorder.

“Sullivan, call your tech-guy down at the crime scene. Make sure he has a laptop online and ready for us so Dr. Hildebrant can conduct a search on the Internet. And see if you can get someone to dig up a hardcopy of Michelangelo’s poetry, too.”

“Yes, sir.”

“I’m also going to need class rosters for Dr. Hildebrant and all her colleagues in the History of Art and Architecture Department going back over the last ten years. Hell, get me a roster for every class with art or history in the title. It’s Sunday, but get someone on the go ahead today—so we can be there when the offices open tomorrow.”

“Yes, sir,” said Sullivan, and began dialing her cell phone.

“Agent Markham,” Cathy said, the discussion about Michelangelo had grounded her, made her feel more like herself. “I realize that, because my name was on the base of that wicked thing, you think I might be somehow connected to this psychopath. But do you really think the person who sent me those notes could be the same person who murdered Tommy Campbell and that little boy? Couldn’t it have been just some nut job who read my book? I mean, do you really think that this person could have been one of my students?”

“I don’t know,” said Markham. “But Tommaso is Italian for Thomas. And I’ll tell you that, at the very least, I think it’s a bizarre coincidence that you were given a poem originally intended for a young man named Tommy, and that you now have a statue of a young man named Tommy dedicated to you as well.”

Cathy suddenly felt afraid; but more so she felt stupid—felt her cheeks go hot for not making the connection between the two names when she first mentioned Cavalieri.

But mostly Cathy felt stupid because Special Agent Sam Markham had.

Chapter 5

The carriage house loft was covered in soundproof foam that ran up the walls to the peak of the low-pitched ceiling. The windows had long ago been blocked out, and even when all the fluorescent lights were on, the black of the foam bathed the room in an overwhelming and seemingly infinite darkness. During his renovations, The Sculptor had purposely exposed the building’s trusses to give the space a little more height. These, too, were painted black, and at the far end of the loft, where the original carriage hoist had hung, The Sculptor outfitted the beams with an automatic winch system. This allowed the old mortician’s table to be raised and lowered through a trap a la Frankenstein; and sometimes, when he was feeling a bit silly, The Sculptor would allow himself a ride between floors.

On the other side of the room, where the door was located, in one corner lived The Sculptor’s technology: an L-shaped desk with two computers, three flat-screen monitors, and a printer; a flat-screen television with cable; digital and video cameras; and various other gadgets that The Sculptor needed from time to time to accomplish his work. In the other corner The Sculptor stored some of his medical equipment—equipment not at all like the type in his father’s bedroom, equipment for an entirely different purpose altogether.

The Sculptor turned on the monitor that displayed the video feed from his father’s bedroom. There was his father as he left him, sitting by the window, staring out at the birds. The Sculptor turned on the sound feed as well, and the loft was at once filled with the sweet sound of Scarlatti.

The Sculptor booted up his two computers and hit the remote for the television—Fox News, no sound, just as he left it. There was nothing yet about his first showing—what he knew was going to be a spectacular entrance into the public eye—but that was all right. Nothing to dampen his mood. No, The Sculptor was confident that news of his creation would dominate all the media outlets very soon. He smiled at the thought of it, wishing that the details would trickle out slowly as they often did in cases like this. That would pique the public’s curiosity; that would whet the public’s appetite for more.

Above all else, however, The Sculptor was excited for Dr. Hildy to see his work—for Dr. Hildy was really the only person who could truly understand his Bacchus. And once the news got out about the inscription, once the public learned of the connection to Dr. Hildy, well, that certainly would make them want to know more about her. Perhaps all those big-shot journalists might even want to interview her—now wouldn’t that be something! At the very least, the public would want to read her book on Michelangelo. Then they would all begin to understand; then they would all begin to finally wake up.

With both of his computers logged onto the Internet—Drudge Report and CNN—The Sculptor removed from the desk drawer the only book he allowed in the carriage house: his copy of Slumbering in the Stone. He flipped through it—the cover tattered, the pages dog-eared, underlined, with notes in the margins—until he reached the back jacket flap. There was the picture of Dr. Catherine Hildebrant. She wore her hair shorter six years ago. Looked a little heavier, The Sculptor thought. Perhaps it was the black and white of the photo; perhaps her glasses—yes, the black frames she wears now look much better on her than those old wire-rims. Objectively, The Sculptor thought Catherine Hildebrant to be attractive material, but in the long run such superficialities in women did not matter to him. No, The Sculptor knew that, like the material he used for his sculptures, Dr. Catherine Hildebrant’s real beauty lay within, slumbering in the stone.

Smiling, feeling a little silly, The Sculptor returned his book to the desk drawer and rode the mortician’s table down to the first floor. The gears were a bit noisier than usual. “Need a little oil,” The Sculptor said to himself as he sent the table back upstairs. He would get to that next, after he finished tidying up his studio.

The first floor was drastically different from the loft above it. Here, too, the windows had been blocked out, but the walls were the original exposed brick. On one wall was a tool rack, while on another was a sheet of corkboard on which the plans for The Sculptor’s Bacchus still hung. A large white van, which could be driven in and out through one of the two overhanging doors, took up nearly half the space; while the other half was reserved solely for The Sculptor’s studio. There was a narrow stand-up shower and slop sink, as well as a small floor drain which his father told him had been used in the 1800s to catch the blood from deer carcasses. On this side, too, was all the necessary equipment for The Sculptor’s work, including a drafting table and chair, an arc-welder and power supply, a small anvil, a vat of “special paint” and a pump sprayer, ultraviolet lamps, rolls of plastic sheeting, and, at the rear of the carriage house, a large stainless steel hospital tub. The tub was the most complex piece of The Sculptor’s equipment, for he had outfitted it not only with an airtight cover, but with a refrigeration unit and a vacuum pump as well. In a small lean-to behind the carriage house were stored the barrels of chemicals The Sculptor brought up from the cellar when he was ready to prepare his material.

The Sculptor clicked on the video monitor that sat atop the drafting table—his father by the window, the Baroque guitar now filling the entire carriage house—and proceeded to pull down his plans from the corkboard. He twisted them into a tight log—the sinews of his powerful forearms rippling through his skin. He would light a fire in the parlor this evening; would bring up a bottle of Brunello di Montalcino from the cellar and watch the plans burn. Why not? I’ve behaved myself. I can have a little reward for all my hard work. Yes, surely the news about his first showing will have broken by that time. If not, he could always tip off the media himself— after, of course, he was sure Dr. Hildy had seen his work; after he was sure she got his “thank you” note.

Perhaps she’s on her way down there right now, he thought, smiling.

And as The Sculptor began to straighten up his studio, he concluded that it was too risky to check for himself, to follow Dr. Hildy around like he had in the past. No, surely the FBI would be expecting something like that; surely it was smarter to find out through the media like everybody else.

“Besides,” The Sculptor said out loud, “I won’t have time to spy on Dr. Hildy. For tomorrow is Monday. And Monday is the day I begin my next project.”

Chapter 6