Another call to Kayleigh.

Straight to voicemail.

KATHRYN DANCE HAD to laugh.

The owners of the Cowboy Saloon had a sense of humor. The dark, woody place, giddily cool, had not a single cowboy artifact. But life in the saddle was well represented—by the women who rode the range, roped, branded and punched cattle … and did some fancy six-gun work, if you could believe the poster showing an Old West version of Rosie the Riveter shooting bottles off a fence rail.

According to the movie art, blown-up book jackets, lunch boxes, toys, paintings and photos, the era must have been saturated with flip-haired, excessively busty gals in five-gallon hats, cute neckerchiefs, suede skirts and embroidered blouses, as well as some of the finest boots ever made. Kathryn Dance loved footwear and owned two pairs of elaborately tooled Noconas. But neither came close to the ones worn by Dale Evans, Roy Rogers’s partner, from the 1950s TV show, on impressive display in a faded poster.

At the bar she ordered an iced tea, drank it down fast and got another, then sat at one of the round tables, overvarnished and nicked, looking at the clientele. Two elderly couples; a trio of tired, jumpsuited utility workers, who’d probably been on the job at dawn; a slim young man in jeans and plaid shirt, studying the old-fashioned jukebox; several businessmen in white shirts and dark ties, minus jackets.

She was looking forward to seeing Kayleigh, to recording the songs of the Workers; looking forward to lunch too. She was starving.

And concerned.

It was now one-twenty. Where was her friend?

Music from the jukebox filled the place. Dance gave a faint laugh. It was a Kayleigh Towne song—a particularly good choice too, considering this venue: “Me, I’m Not a Cowgirl.”

The song was about a suburban soccer mom, who seems to live a life very different from that of a cowgirl but in the end realizes that maybe she’s one in spirit. Typical of Kayleigh’s songs, it was lighthearted and yet spoke meaningfully to people.

It was then that the front door opened and a slab of powerful sunlight fell onto the scuffed linoleum floor, on which danced geometric shapes, the shadows of the people entering.

Dance rose. “Kayleigh!”

Surrounded by four others, the young singer stepped into the restaurant, smiling but also looking around quickly. She was troubled, Dance noted immediately. No, more than that, Kayleigh Towne was scared.

But whatever she’d been concerned about finding here was absent and she relaxed, then stepped forward, hugging Dance firmly. “Kathryn, hey. This is so great!”

“I couldn’t wait to get here.”

The singer was in jeans and, oddly, a thick denim jacket, despite the heat. Her lovely hair flowed free, nearly as long as she was tall.

Dance added, “I called a couple of times.”

“There was … well, there was a little problem at the concert hall. It’s all right. Hey, everybody, this’s my bud, Kathryn Dance.”

Dance greeted Bobby Prescott, whom she’d met a few years ago: thirtyish, an actor’s looks belied by a shy smile, curly brown hair. There was also pudgy and terminally shy Tye Slocum, with long reddish hair in need of a trim. He was the band’s guitar technician and repairman. Unsmiling, athletic Alicia Sessions, who looked to Dance like she belonged in a downtown Manhattan punk-rock club, was Kayleigh’s personal assistant.