Gregory Funaro - The Sculptor

“Are you trying to warn me of something, Mom?” Cathy asked. Her eyes fell back to the page, to the text below the detail of Night.

Hence, the evidence strongly suggests that Michelangelo used for his model a woman-dead or alive-with advanced breast cancer, and thus accurately reproduced the physical anomalies in marble.

“A woman, dead or alive,” Cathy said to herself. Again, she read and reread the text which followed, so sure that she was missing something, so sure that there was a hidden connection between her dream and the statue of Night , between the circumstances surrounding the evolution of the chapter and the words on the page to which she had turned-words that held a clue into the mind of The Michelangelo Killer.

A message within a message, Cathy thought. See it before it slips away.

Mother, coincidence in Florence, breast cancer, Night.

Dream of Mother, compulsion to look at Night, breasts, The Michelangelo Killer.

“What’s the connection?”

Yet, despite the detail of the diseased breast itself, curiously, once again we see both breasts awkwardly joined with a masculine frame-as if Michelangelo’s understanding of the female could go no further than a narrow and objective appraisal of the “parts” which differentiate the two sexes, but could never quite grasp how those parts worked together within the whole.

“Parts within the whole,” Cathy whispered, scanning frantically the words she had written over seven years ago. “Parts, parts, parts…”

Then again, there is the theory that Michelangelo might have intentionally sculpted his female figures as such-masculine with female parts-simply because, as we discussed earlier, he viewed the male body as aesthetically superior.

Masculine with female parts, Cathy said to herself. The male body as aesthetically superior.

A statement, intentional, a message to the viewer? A message from Michelangelo, from The Michelangelo Killer? A dream, a message from Mom?

What the fuck?

Mom. A woman. Dead or alive? Night. A woman. Dead or alive?

No.

Mom. Mom’s cancer. Disease. Breast cancer. Breasts? Breasts? The Michelangelo Killer and breasts?

Am I going crazy?

Perhaps, replied Sam Markham in her mind.

Cathy closed the book and returned it to the nightstand-her thoughts now a jumbled mess; the connection between her dream and her search for The Michelangelo Killer-a connection of which she had been so sure upon turning to Slumbering in the Stone -quickly fading into a gnawing sense of foolishness.

You’re a psychic now, too? asked a mocking voice in her head-a voice that sounded a lot like Steve Rogers.

Cathy dismissed it and turned off the light. She lay there a long time, unable to sleep-her mind racing with the jigsaw puzzle that had become her life.

“We’re missing something,” she whispered in the dark. “Aren’t we, Mom? Sam and I, the FBI- all of us . There’s something right there in front of us-just below the surface like the lump in Night ’s breast. We see it but we don’t understand. We see it but we look right past it. Is that what you’re trying to tell me, Kyon Kim? Please, Mom, help me understand.”

As if chiseled from the lips of its marble namesake, the brutal silence of night was Cathy’s only reply. She had the urge to call Sam Markham, but because of the hour resolved to wait. Yes, best to talk to him after he gets back today-after she had time to sort things out. And so, with thoughts of Samuel P. Markham-the “P.” standing for “Professor Hildy Has a Crush On”-Cathy Hildebrant fell asleep.

As Cathy finally drifted off to sleep, Sam Markham-at home in his study with his feet on his desk-felt not the slightest bit sleepy when the clock in the bookcase ticked past 3:00 A.M. He would be flying back to Rhode Island in a few hours, and would have plenty of time to once again look over the material from Thursday’s briefing in the FBI plane that would transport him from Quantico to Providence. But something was bothering him; something wasn’t right; something needed to be addressed now.

In his lap was the report on the Plastination process from Dr. Morris-much of which had been taken from the Body Worlds/Institute for Plastination Web sites. And after carefully reviewing the entire printout, Markham had to agree with Gunther von Hagens, the inventor of Plastination, who said in his introduction that, like most successful inventions, Plastination is simple in theory.

Simple.

That was the word that kept bothering Markham.

Simple.

Yes, with the right equipment, it seemed to Markham that-at least on the surface-the Plastination process would be “simple” enough for anyone to execute. After decomposition was halted by pumping formalin into the veins and arteries, the key, as von Hagens said, was having the means to pull the liquid polymer into each cell by a process he called “forced vacuum impregnation,” wherein, after the initial fluid exchange step-the step in which water and fatty tissues are removed by submerging the body in an acetone bath-the specimen is placed in a vacuum chamber and the pressure reduced to the point where the acetone boils. The acetone is then suctioned out of the tissue the moment it vaporizes, and the resulting vacuum in the specimen causes the polymer solution to permeate the tissue. This exchange process is allowed to continue until all of the tissue has been completely saturated-a few days for thin slices; weeks for whole bodies.

Weeks.

And simple in theory, yes. But even if The Michelangelo Killer did have the money and intelligence to set up his own Plastination lab, unless he had a bunch of body parts lying around-

Yes. It was that little detail that was bothering Sam Markham the most. The printout from the Body Worlds Web site made it abundantly clear where the Institute for Plastination (IFP) in Heidelberg, Germany, “acquired” its specimens-the majority of which came from its “donation program,” wherein IFP donors legally signed over their bodies to be Plastinated by von Hagens and his crew after their deaths.

“But who are these people?” Markham asked out loud. “What are their names?”

Markham sifted through the printout again, unable to find the names of donors anywhere. Yes . It was the feel of the information he was reading; the feel of the whole von Hagens/Body Worlds/Institute for Plastination mind-set. A mind-set that, despite a brief and somewhat hollow overture of thanks to its donors both dead and alive, spoke of their bodies simply as a commodity, as material for the wide-ranging industry of anatomical study-an industry that was sorely in need of plastinated supplies.

Having been around many dead bodies himself, Sam Markham understood the need for objectivity in the world of medicine and anatomical study as much as he did the need for it in his line of work-understood all too well the need for detachment when looking at a murder victim in order to get his job done. So, yes, Markham could on one hand see the practicality of the industry-the need to treat the donated bodies simply as material. However, it was also clear to Markham that, with regard to the Body World exhibits themselves-exhibits in which its skinless subjects were posed sipping coffee, throwing karate kicks, even riding horses-the creators were subconsciously sending a message to the public that they should see the figures not only as “frozen in life,” but at the same time were asking them to look at just the body itself, completely divorced from the real life that had once activated it.

No, we should never ask who these people really were.

Markham thought of The Michelangelo Killer-of the kind of mind, the kind of spirit it would take to create the horror that was his Bacchus . Over his thirteen-year career with the FBI, Markham had learned there was always a certain amount of objectification that went on in the mind of a serial killer with regard to the perception of his victims. But with The Michelangelo Killer, things seemed quite different.