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Authors: Gregory Funaro
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being naked—looked forward to remaining that way well into the evening, when he would sit in the dim light of the parlor watching his Bacchus plans burn in the fireplace as he sipped his Brunello.
But first The Sculptor needed to check his technology, needed to see if his premiere exhibit had made the news yet. He had been patient, had resisted looking at his monitors until he was finished tidying up his workspace. And so the man once called Christian rode the mortician’s table up to the second floor—the gears of the winch system much quieter now that he had oiled them. He turned off the audio feed from his father’s bedroom—the A-side of Scarlatti now on its fourth time through—and sat naked at his desk, flicking on the sound of the flat-screen TV just as the Fox News Channel was turning over the broadcast to its local affiliate.
The Sculptor did not recognize the pretty young woman with the red hair and emerald green eyes—for The Sculptor never watched the local news, almost never watched TV at all—and thus did not consider it anything special when the Fox News anchor mentioned that WNRI’s Meghan O’Neill had been the first to break the story. And of course, like the rest of Channel 9’s loyal viewers, there was no way he could have known about the reporter’s anonymous source inside the Westerly Police Department. If he had, he might have decided to wait; might have decided to let O’Neill’s man tell her what she needed to know. But just as The Sculptor was in the dark with regard to that, so was Meghan O’Neill. Her five hundred dollars had landed her only half a story—a rookie, like herself, who was on the periphery of the investigation; one who got his information secondhand back at headquarters, and who was kept out of the loop about the specific details regarding Campbell’s remains.
And so The Sculptor felt somewhat disappointed to learn from the breaking news report that—unless they were doing a good job of hiding it—all the media seemed to know thus far was that the bodies of Tommy Campbell and an unidentified person had been discovered down at Watch Hill, and that both of them had been moved from the site to an “undisclosed location.” And from the way the pretty redhead and the Fox News anchor were trading theories as to Campbell’s connection with Dodd—a connection that The Sculptor knew went only as far as the millionaire’s lovely topiary garden—The Sculptor also knew that the media had not captured any footage of his exhibit—not even a picture! That was unfortunate; that was not part of his plan; for that meant it might be days, perhaps even a whole week before the details of his Bacchus were made public. And although The Sculptor was a very, very patient man, the idea that the media might miss something suddenly did not sit well with him.
However, it was not impatience that influenced his decision to telephone the pretty young reporter’s home station, but the sight of a familiar face behind her—more of a grainy shadow, really—in the front seat of what he knew to be an unmarked FBI vehicle. The glimpse of her lasted only a millisecond—would probably have gone unnoticed even by the art history professor’s ex-husband—but could not escape The Sculptor’s keen eye. No, as Meghan O’Neill directed her cameras across the street to Dodd’s front gate, just as it was opening three Chevy Trailblazers emerged from behind the high wall of hedges. And for the briefest of moments The Sculptor was sure he had spied the figure of Cathy Hildebrant through the windshield of the lead car. And despite his excitement, despite his joy that Dr. Hildy had finally seen his work, The Sculptor was at the same time struck with an idea.
He would make the telephone call from his cell phone, with a Wal-Mart calling card that still had plenty of minutes left on it. His number would be blocked anyway, but this was just a little more insurance. And of course, there was no need to
But first The Sculptor needed to check his technology, needed to see if his premiere exhibit had made the news yet. He had been patient, had resisted looking at his monitors until he was finished tidying up his workspace. And so the man once called Christian rode the mortician’s table up to the second floor—the gears of the winch system much quieter now that he had oiled them. He turned off the audio feed from his father’s bedroom—the A-side of Scarlatti now on its fourth time through—and sat naked at his desk, flicking on the sound of the flat-screen TV just as the Fox News Channel was turning over the broadcast to its local affiliate.
The Sculptor did not recognize the pretty young woman with the red hair and emerald green eyes—for The Sculptor never watched the local news, almost never watched TV at all—and thus did not consider it anything special when the Fox News anchor mentioned that WNRI’s Meghan O’Neill had been the first to break the story. And of course, like the rest of Channel 9’s loyal viewers, there was no way he could have known about the reporter’s anonymous source inside the Westerly Police Department. If he had, he might have decided to wait; might have decided to let O’Neill’s man tell her what she needed to know. But just as The Sculptor was in the dark with regard to that, so was Meghan O’Neill. Her five hundred dollars had landed her only half a story—a rookie, like herself, who was on the periphery of the investigation; one who got his information secondhand back at headquarters, and who was kept out of the loop about the specific details regarding Campbell’s remains.
And so The Sculptor felt somewhat disappointed to learn from the breaking news report that—unless they were doing a good job of hiding it—all the media seemed to know thus far was that the bodies of Tommy Campbell and an unidentified person had been discovered down at Watch Hill, and that both of them had been moved from the site to an “undisclosed location.” And from the way the pretty redhead and the Fox News anchor were trading theories as to Campbell’s connection with Dodd—a connection that The Sculptor knew went only as far as the millionaire’s lovely topiary garden—The Sculptor also knew that the media had not captured any footage of his exhibit—not even a picture! That was unfortunate; that was not part of his plan; for that meant it might be days, perhaps even a whole week before the details of his Bacchus were made public. And although The Sculptor was a very, very patient man, the idea that the media might miss something suddenly did not sit well with him.
However, it was not impatience that influenced his decision to telephone the pretty young reporter’s home station, but the sight of a familiar face behind her—more of a grainy shadow, really—in the front seat of what he knew to be an unmarked FBI vehicle. The glimpse of her lasted only a millisecond—would probably have gone unnoticed even by the art history professor’s ex-husband—but could not escape The Sculptor’s keen eye. No, as Meghan O’Neill directed her cameras across the street to Dodd’s front gate, just as it was opening three Chevy Trailblazers emerged from behind the high wall of hedges. And for the briefest of moments The Sculptor was sure he had spied the figure of Cathy Hildebrant through the windshield of the lead car. And despite his excitement, despite his joy that Dr. Hildy had finally seen his work, The Sculptor was at the same time struck with an idea.
He would make the telephone call from his cell phone, with a Wal-Mart calling card that still had plenty of minutes left on it. His number would be blocked anyway, but this was just a little more insurance. And of course, there was no need to
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