the floor, and the carpet a great writhing oval of cabbage roses. And she, this stalk of a girl staring at me and smiling her simple sweet smile, as if the crime of the night would be nothing to her.
She came down on her knees next to me, perilously close, and again she touched my hair with delicate hand. Her soft unfettered breasts touched my arm. I read her thoughts as if I read her palm, pushing back through layer after layer of her conscious, seeing the dark winding road again whipping and turning through the Jordan Valley, and the parents driving too fast for the pitch dark and the hairpin curves and the Arab drivers who came on plunging at even greater speed so that each meeting of headlamps became a grueling contest.
"To eat the fish from the Sea of Galilee," she said, her eyes drifting away from me. "I wanted it. It was my idea we go there. We had one more day in the Holy Land, and they said it's a long drive from Jerusalem to Nazareth, and I said, 'But He walked on the water.' It was to me always the strangest tale. You know it?"
"I do," I said.
"That He was walking right on the water, as if He'd forgotten the Apostles were there or that anyone might see Him, and they from the boat, said, 'Lord!' and He was startled. Such a strange miracle, as if it was all ... accidental. I was the one who wanted to go. I was the one who wanted to eat the fresh fish right out of the sea, the same water that Peter and the others had fished. It was my doing. Oh, I don't say it was my fault that they died. It was my doing. And we were all headed home for my big night at Carnegie Hall, and the record company was set up to record it, live. I'd made a recording before, you know. It had done much better than anyone ever expected. But that night . . . this night that never happened, that is, I was going to play the Appassionata.
It was all that mattered to me. The other sonatas I love, the Moonlight, the Pathetique, but really for me ... it was the Appassionata. My Father and Mother were so proud. But my brother, he was the one who always fought, always got me the time, the space, the good piano, the teachers I needed. He was the one who made them see, but then of course, he didn't have any life at all, and all of us saw what was coming. We'd talk about it round the table at night, that he had to get a life of his own, it was no good his working for me, but then he'd say that I would need him for years to come, I couldn't even imagine. He'd manage the recordings and the performances and the repertoire, and the fees we asked. The agents couldn't be trusted. I had no idea, he said, of how high I'd rise."
She paused, cocking her head to one side, her face earnest yet still simple.
"It wasn't a decision I made, you understand," she said. "I just wouldn't do anything else. They were dead. I just wouldn't go out. I just wouldn't answer the phone. I just wouldn't play anything else. I just wouldn't listen to what he said. I just wouldn't plan. I just wouldn't eat. I just wouldn't change my clothes. I just played the Appassionata."
"I understand," I said softly.
"He brought Benji back with us to take care of me. I always wondered how. I think Benji was bought, you know, bought with cold cash?"
"I know."
"I think that's what happened. He couldn't leave me alone, he said, not even at the King David, that was the hotel-."
"Yes."
"-because he said I'd stand in the window without my clothes, or I wouldn't let the maid come in, and I'd play the piano in the middle of the night and he couldn't sleep. So he got Benji. I love Benji."
"I know."
"I'd always do what Benji said. He never dared to hit Benji. Only towards the end he started to really hurt me. Before that it was slaps, you know, and kicks. Or he'd pull my hair. He'd grab me by the hair, all my hair in one hand, and he'd throw me down on the floor. He did that often. But he didn't dare to hit Benji. He