The Widower's Two-Step (Tres Navarre #2)(29)

The rest of the band came in and started grinding through an instrumental version of

"San Antonio Rose." . The fiddle player sawed out the melody in a watery but fairly competent fashion.

The crowd clapped, but not very enthusiastically. Many of them kept glancing toward the back of the room.

Nobody onstage looked like they were having an exceptionally good time except for Willis Daniels, who tapped his good foot and plucked his bass and smiled at the audience like he was totally deaf and this was the best damn thing he'd ever heard.

The band lurched through a few more numbers—an anaemic polka, a version of

"Faded Love" during which Cam Compton had a flashback and went into a Led Zep

pelin solo, then Brent Daniels' vocal of "Waltz Across Texas." Brent's voice wasn't bad, I decided after the second verse. None of the band members were bad, really. The drums were steady. The bass solid. Cam would've made a better rock 'n' roller but he obviously knew his scales. Even the substitute fiddler didn't miss a note. The players just didn't go together very well. They weren't much of a group. They definitely weren't worth a fivedollar cover.

The audience started to fidget. I wondered if there'd been a mistake. Maybe they'd all thought Jerry Jeff or Jimmie Dale was playing tonight. That might explain it.

Then somebody at the bar gave a good "yeehaw" as Miranda Daniels came out from the back room wearing all black denim and carrying a tiny Martin guitar. The applause and whistling increased as Miranda squeezed her way through the audience.

She looked like she did in the press release photos— petite, pale, curly black hair. She wasn't knockout beautiful by any means, but in person she had a kind of awkward, sleepy cuteness that the photos didn't convey.

The band put an abrupt stop to their waltz across Texas when Miranda got onstage.

She smiled tentatively into the lights—just a hint of her dad's crinkles around her eyes—then straightened her black shirt and plugged in her Martin.

She was definitely cute. The men in the audience would be looking at her and thinking it might not be a terrible thing to be cuddled up with Miranda Daniels under a warm quilt. That was my impartial guess, anyway.

Daddy Santa started an uptempo bass line going, tapping his foot like crazy, and the audience started clapping. Brent's rhythm guitar came in, more sure than before, then the drums. Miranda was still smiling, looking down at the floor but swaying a little to the music. She tapped her foot like her father did. Then she brushed her hair behind her ear with one hand, took the microphone, and sang: "You'd better look out, honey—"

The voice was amazing. It was clear and sexy and overpowering, not a hint of reservation. But it wasn't just the voice that nailed me to the wall for the next thirty minutes. Miranda Daniels became a different person— nothing tentative, nothing awkward. She forgot she was in front of an audience and sang every emotion in the world into the microphone. She broke her heart and fell in love and snared a man and then told him he was a fool in one song after another, hardly ever opening her eyes, and the lyrics were typical country and western cornball but coming from her it didn't matter.

Toward the end of the set the band dropped away and Miranda did some acoustical solos, just her and her Martin. The first was a ballad called "Billy's Senorita," about the Kid from his Mexican lover's perspective. She told us what it was like to love a violent man and she made us believe she'd been there. The next song was even sadder—"The Widower's TwoStep," about a man's last dance with his wife, with references to a little boy. It was unclear in the lyrics how the woman died, or whether the boy died too, but the impact was the same no matter how you interpreted it.

Nobody in the cafe moved. The other band members could've packed up and left for the night and nobody would've noticed at that point. Most of the band looked like they knew it, too.

I glanced over at Cam Compton, who had come to sit next to Garrett in a chair some woman had gladly given up for him. As Cam listened to Miranda his expression slipped from amused disdain into something worse— something between resentment and physical need. He looked at Miranda the way a hungry vegetarian might look at a Tbone. If it was possible to like him less, I liked him less.

At the break the musicians dissipated into the audience. Miranda escaped into the back room. I was trying to figure out the best way to get in to talk to her when Cam Compton made up my mind for me. He downed what must have been the fourth beer someone had bought for him, got up unsteadily, and told Garrett, "Time I had a talk with that girl."

"Wait a minute," I said.

Cam pushed me into the curtains. I didn't have room or time to do anything about it.

When I got to my feet again Garrett said, "Uhuh, little bro. Cool it, now." Then he saw my eyes and said, "Shit."

Cam was moving toward the back room like a man with a purpose. A woman got in Cam's way to tell him how great he was and he pushed her into somebody at the bar.

I followed Cam like I was a man with a purpose too. I was going to beat the living crap out of him.

15

The back room of the Cactus Cafe was not exactly the place to go to escape claustrophobia. Crates of organically correct snacks and kegs of beer were stacked to the ceiling along either side, and the back was an explosion of paperwork that had completely overrun the manager's desk and was now crawling up the wall by way of thumb tacks and overflowing onto the floor. Whatever free space might've been left in the corners was now piled with the band's instrument cases.