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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