“What do you mean?”
“I’m not sure.” His eyes darted from side to side. “Baker’s been having lots of closed-door meetings, some with Hollister, some with the new guy, and no one looks happy when they come out.” He spotted Gloria coming down the hall. “Can’t say any more,” he said. “She’ll never stop asking questions. I’ll call you.”
Gloria leaned in, kissed the air near William and Louisa. “Are you guys going to see the talent?” she said. “He’s backstage. There’s a door over there by the stairs. I’ll take you.”
Backstage was a tiny room not much larger than a closet. The walls were a pale yellow; the floor was old tile, no longer clean; the black leather couch was the only piece of furniture, unless you counted the folding tables with a tray of carrots and celery and an ice bucket filled with beer. Emma was standing in the corner; Stevie was next to her, talking with a young female reporter who was holding a digital recorder under his mouth. “I moved here because my company said so,” Stevie said. “It was a marriage of art and commerce.” He was wearing an olive sweater, tight at the cuffs, and loose black pants. William wondered if he had his blue bike shorts on underneath.
“Art and commerce got married?” Gloria Fitch said in a loud whisper. “I know a perfect present for them: it’s a painting of a coin.”
“I just wanted to do justice to music that I loved as a child,” Stevie said. “I hope I make people remember it better rather than forget it.”
The reporter moved the recorder back under her own mouth. “Well, it seems like it’s all worked out,” she said. She pressed a button. The device beeped.
Louisa stepped in to hug Stevie. Emma was showing now, well beyond the concealing power of any outfit, and that meant that she received a different kind of hug, hands on shoulders, faces briefly brushing. William didn’t even try; he just wished them both good luck, and Stevie gave back a salute and Emma curtsied cutely, as she had at Southern Christmas.
It was time to go, but Louisa had struck up a conversation with Stevie. She was telling him how she liked what he was saying about the tree and the branches. “No one ever thinks the tree can fall,” Stevie said, and Louisa nodded, and Emma, standing behind them, met William’s gaze and slowly rolled her eyes. It was a comic gesture but also somehow seductive and Emma, sensing that, retreated behind Louisa. William watched them standing there next to each other. It gave him a sense of power, but also a sense of doubt. They were opposed: the power and the doubt, but also the two women, the taller brown-haired one he’d seen year in, year out, from nearly every angle, and the shorter, paler blonde who slipped out of focus even when he stared directly at her. Neither of them was really saying what she meant. Who was withholding the most? William was.
A young man came in to call five minutes. Stevie put his face down into the ice bucket and came up breathing hard. “See you out there,” he said.
The neighborhood lined the apron of the stage. A woman in a pantsuit came to the microphone first. She explained how Arrow Automotive had used the same theme music since 1947. “It served us well,” she said. “But last year we all agreed it was time for a change. That’s when we first heard this marvelous song. It only made things sweeter to learn that it was written by one of our regional marketing managers. Please give him a warm welcome.” Ominous electronic music swelled and dry-ice vapor floated across the stage from right to left. Then, on the screen at the rear of the stage, the image of a firework bursting open, along with a sampled thunderclap. “Flamma fumo est proxima,” Tom said. Stevie sprang up the shallow steps. He had changed into a black Arrow T-shirt. He looked like he’d been lifting weights. His guitar strap was patterned Navajo. “Rock star,” Graham Kenner yelled.
“Hardly,” Gloria Fitch yelled, just as loud.
Stevie basked in the glow of his specialized popularity. He picked out a note or two, then stilled the strings with the flat of his hand. “How are you all doing tonight?” he said. “I didn’t write this song with cars in mind, but maybe the cars had me in mind.” He strummed a chord. “This song is the new theme of Arrow Automotive, a leader in quality American automobiles since 1931. I hope you like it.”
The first thirty seconds were purely instrumental, and William almost found himself humming along. Then Stevie lifted his head and started to sing:
When times are dark, it fuels our pride
A light that’s shining nationwide
It keeps us walking on the straight and narrow
We don’t need a second chance
To make the most of circumstance
The truth comes straight ahead just like an arrow
When Stevie reached the end of the verse, he paused. A floodlight doused the room in blue, revealing a drummer behind him, previously unseen, and Stevie grabbed the microphone with his right hand for the chorus: “Every time I stand, it’s for America,” he sang. “It stands for every single thing I love.” A man with a gray goatee held a plastic cup aloft, his index finger extended. A woman, her face lit by her cell phone, took video. There was a second verse that had an even higher incidence of patriotism than the first, and then a second chorus. Afterward, Stevie played an instrumental version of the original Arrow theme.
“I read that it was composed to mimic the sound of a car coming across a bridge,” a woman next to them said. “It was Pittsburgh and they have hundreds of bridges.” She had freckles on both cheeks and plenty more to say but William didn’t catch any of it; it was as if someone was cutting a lawn of words and those were the clippings that were flying out of the top. Tom leaned in and said something, and the freckled girl wandered off.
“What did you say?”
“I told her to go by the bar and I’ll meet her there,” he said. “Now I’m going to get a drink.”
“And I’m going to get rid of one,” William said. He passed Graham Kenner, who was too close to Helen Hull in the corner of a booth. William couldn’t hear what he was saying, but it was putting a dreamy smile on her face. He went farther down the hall, turned at the end, and there stood Emma, in the dogleg by the bathrooms. She was as round as a raindrop. William stiffened from shoulder to shoulder. He considered running. But when she turned, he was still there, and he waved with a hand that felt suddenly tiny. “Hi,” he said.
“Did you enjoy the show?” she said. Her face had grown fuller with her body.
“Did you?” he said.
She considered him for a minute, pursing plump lips, and disappeared into the nearest door. William glanced around the halclass="underline" its red paint was peeling to show other colors underneath. A corkboard advertised upcoming shows, as well as items being sold by musicians. Would he pay three hundred dollars for a “used amp almost new”? The wall was giving him a headache.
Emma emerged, too soon for almost anything. She had a piece of paper in her hand, and she thrust it toward William. “What is this?” William said.
“A note,” she said. But it was a paper towel with a childlike drawing on it that he slowly came to recognize as an octopus. “I want you to read it.” A button popped high on her sweater and one heavy breast swung toward him. She seemed drunk but that was impossible. “Listen,” she said. “I have a story for you.”
“Okay,” William said.
“It’s going to take a minute.”
“A minute’s not going to kill me,” he said, hoping he was right.