The Sculptor

And so it came as an unfathomable shock to the Wenicks-to the entire community, to the entire state-when on a cool September afternoon sometime between 4:30 and 6:00 little Michael Wenick vanished without a trace from the woods around Blackamore Pond. The Wenicks and the people of Lexington Avenue could never have dreamed of such a thing happening in their neighborhood-in the very woods where their children played; in the very woods where they themselves had played when they were children, too. No, the Wenicks, the police, the people of Cranston had no idea that a stranger had entered their midst; had no idea that The Sculptor had been watching little Michael Wenick for weeks-ever since he randomly spotted him walking home from the Cranston Pool one day with two of his companions. Yes, The Sculptor knew immediately that the boy’s slight, somewhat small-for-his-age torso would be perfect for the upper half of his satyr. And whereas Laurie and John Wenick would never have been able to comprehend the possibility that fate would soon snatch their little Michael from their lives, The Sculptor had understood upon the sight of him that he and his satyr had been destined to come together that day.

And so The Sculptor studied his satyr’s movements-followed him home, always at a distance, at first from the pool during the summer, and then from Eden Park Elementary School in the fall; watched him from across the water as he fished with an older man with forearms like Popeye; spied on him with binoculars while he played with his two friends by the big drainpipe in the woods at the northern edge of Blackamore Pond. The satyr was the smallest of the three boys, but he more than made up for his size in daring. Someone, perhaps an older kid, had attached a rope to one of the larger branches, and on many occasions The Sculptor watched the two bigger boys look on in awe as his satyr swung like Tarzan farther and farther out over Blackamore Pond. One afternoon, the tallest of the three boys brought some firecrackers, and The Sculptor could not help but laugh out loud when he saw his satyr drop one into an empty beer bottle and then dive behind a tree.

Yes, The Sculptor had thought. My satyr certainly is a mischievous one.

And perhaps it was ultimately Michael Wenick’s mischievousness that brought him and The Sculptor together on that cool September afternoon. The Sculptor had discovered that often his satyr would remain behind in the woods after his companions had gone home for dinner, whereupon he would throw various objects out into the water-usually just large stones, but sometimes bottles and cans, and once even a rubber tire. But always his satyr stayed close to the big drainpipe, or to the tiny, open shoreline beneath the high cement retaining wall of one of the backyards that directly overlooked the pond. And so The Sculptor decided that the safer of the two areas would be by the big drainpipe, for in order to capture his satyr he could not allow himself to be seen; yes, in order to acquire the first figure for his Bacchus he would have to be very, very careful.

The Sculptor had studied the satellite imagery of Blackamore Pond many times on Yahoo! Maps, but the first time he actually set foot in the surrounding woods was at night-after the older kids who smoked cigarettes and drank beer by the retaining wall had all gone home. He parked his blue Toyota Camry-one of two cars he owned in addition to his big white van-on a street nearby and used his night vision goggles to negotiate his way through the dense terrain.

The mouth of the drainpipe was large enough even for him to crouch into, and with his night vision The Sculptor had no trouble seeing down almost half the length of the shaft. He slipped a plastic bag over each of his sneakers, a plastic glove over each of his hands, and entered the pipe. The smell was not too bad-musty and swampy-but the air felt uncomfortably thick and damp in The Sculptor’s lungs. Fortunately, The Sculptor had to go only about forty yards before he found what he was looking for: the manhole cover and the runoff opening to the adjoining street. Here, in the storm drain at the end of the pipe, The Sculptor could stand up straight; could see his tires through the narrow slit in the curb-right where he parked his car not even fifteen minutes earlier. And with a heavy push, The Sculptor lifted the manhole cover and peeked out.

The location was perfect.