The next several articles were dated 1957, from upstate newspapers in Port Oriskany, Buffalo, Rochester and Albany. (The Rochester and Albany papers belonged to the Gallagher chain, coincidentally.) In June 1957 another girl was reported missing, this time from Gowanda, a small city thirty miles south and east of Port Oriskany; in October, yet another girl was reported missing from Cableport, a village on the Erie Barge Canal near Albany, hundreds of miles east. The girl from Gowanda was Dorianne Klinski, aged twenty; the girl from Cableport was Gloria Loving, aged nineteen. Dorianne was married, Gloria engaged. Dorianne had “vanished into thin air” walking home from her salesclerk job in Gowanda. Gloria had similarly vanished walking home from Cableport on the Erie Canal towpath, a distance of no more than a mile.

How like Hazel Jones of New Falls these girls looked! Dark-haired, not-pretty.

In the several articles about Dorianne and Gloria there were no references to Hazel Jones of New Falls. But in articles about Gloria Loving, there were references to Dorianne Klinski. Only in later articles, about girls missing in 1959, 1962, and 1963, were there references to the “original” missing girl Hazel Jones. It had taken law enforcement officers, spread across numerous rural counties and townships through New York State, a long time to connect the abductions.

Hazel was reading with mounting difficulty. Her eyes flooded with tears of hurt, rage.

“The bastard! So that’s what he wanted with me: to murder me.”

It was a supreme joke. It was the most fantastical revelation of her life. “Hazel Jones”: all along, from the first, a dead girl. A murdered girl. A naive trusting girl who, when Byron Hendricks had approached Rebecca Schwart on the towpath outside Chautauqua Falls, had been dead for three years. Dead, decomposed! One of the female skeletons to be one day unearthed on Byron Hendricks’s property.

Hazel forced herself to continue reading. She must know the full story even if she would not wish to recall it. The final articles focused on Byron Hendricks, for now in September 1964 the man had been exposed. The most lavish article was a full-page feature from the Port Oriskany Journal in which “Dr. Hendricks’s” benignly smiling face was positioned in an oval surrounded by oval likenesses of his six “known” victims.

At least, Hendricks was dead. The bastard wasn’t locked away somewhere in a mental hospital. There was that satisfaction, at least.

Hendricks had been fifty-two at the time of his death. He had lived alone for years in a “spacious” brick home in New Falls. His medical degree was from the University of Buffalo Medical School but he had never practiced medicine, as his deceased father had done for nearly fifty years; he identified himself as a “medical researcher.” New Falls neighbors spoke of Hendricks as “friendly-seeming but kept to himself”-“always a kind word, cheerful”-“a gentleman”-“always well dressed.”

Hendricks’s only previous contact with any of his victims, so far as police could determine, had been with eighteen-year-old Hazel Jones who’d done “occasional housecleaning” for him.

Hendricks had been found dead in an upstairs room of his home, his body badly decomposed after ten or more days. Initially it was believed that he’d died of natural causes, but an autopsy had turned up evidence of a morphine overdose. Police discovered scrapbooks of news clippings pertaining to the missing girls as well as “incriminating memorabilia.” A search of the house and overgrown two-acre lot led to the eventual discovery of an “estimated” six female skeletons.

Six. He’d led away six Hazel Joneses.

How eagerly, with what naive hope had they gone with him, you could only imagine.

Hazel had not been seated at the table, which was a long, narrow worktable to which she often retreated (here, on the airy third floor of the house Gallagher had bought for her, Hazel felt most comfortable: she was taking night school courses at nearby Canisius College, and spread out her work on the table), but leaning over it, resting her weight on the palms of her hands. By degrees she’d become dizzy, light-headed. Pulses beat in her brain close to bursting. She would not faint! She would not succumb to fear, panic. Instead, she heard herself laughing. It was not Hazel Jones’s delicate feminine laughter but a harsh mirthless hacking laughter.

“A joke! ”Hazel Jones’ is a joke.“

There came a rebuking wave of nausea. A taste of something black and cold at the back of her mouth. Then the worktable’s nearest corner flew up at her. Struck her forehead against something sharp as the edge of an ax blade, abruptly she was on the floor and when she managed to rouse herself from her faint some minutes later, might’ve been five minutes, might’ve been twenty, there she was dripping blood not knowing where the hell she was or what had happened, she was still laughing at the joke she couldn’t exactly remember, or trying to laugh.

That night, beside Gallagher. Thinking I will wake him. I will tell him who I am. I will tell him my life has been a lie, a bad joke. There is no Hazel Jones. Where I am, there is no one. But Gallagher slept as always Gallagher did, a man oblivious in sleep, hot-skinned, prone to snoring, twitching and kicking at bedclothes and if he woke partially he would moan like a forlorn child and reach out for Hazel Jones in the night to touch, to nudge, to caress, to hold, he adored Hazel Jones and so finally she did not wake him and eventually, toward dawn, Hazel Jones slept, too.

III. BEYOND

1

Through the summer and fall of 1974 the house rang with Beethoven’s “Appassionata.” That music!

As in a dream she who was the mother of the young pianist moved open-eyed and unseeing. Lovesick she found herself standing outside the closed door of the music room, entranced.

“He will. He will play it. This is his time.”

She who lacked an ear for the subtleties of piano interpretation could not have said if the sonata she heard bore a profound or a merely superficial relationship to the recording by Artur Schnabel she’d heard twenty-five years before in the parlor of the old stone cottage in the cemetery.

Inside the music room her exacting son was forever starting, and stopping. Starting, and stopping. Now the left hand alone, now the right. Now both hands together and back to the beginning and ceasing abruptly and returning again to the beginning in the way of a small anxious child beginning to walk upright, stumbling and flailing for balance. If he had wished, Zack could play the sonata unimpeded: he could play it straight through, striking every note. He had that ability, the mechanical facility of the piano prodigy. But a deeper resonance was required. A deeper desperation.

The desperation beneath, Hazel supposed to be inside the music itself. It was that of the composer, Beethoven. It was the man’s soul into which the young pianist must descend. She listened, wondering if the choice of the sonata had been a mistake. Her son was so young: this was not music for youth. She became excited, almost feverish in listening. Stumbling away exhausted not wanting Zack to know she’d been listening outside the door of the music room for it would annoy and exasperate him, who knew his mother so intimately.

Bad enough I’m trying not to go crazy myself, Mother I don’t intend to be responsible for you going crazy too.

He was restless! At the age of fifteen he’d placed second in the 1972 Montreal Young Pianists Competition, and at the age of sixteen he’d placed first in the 1973 Philadelphia Young Pianists Competition, and now nearing his eighteenth birthday he was preparing for the 1974 San Francisco International Piano Competition.