good old boys on their right were in their sixties. One had a trimmed white beard and a healthy belly. The other was tall, with no body fat at all and thinning, greasy black hair. The men on the left were younger, both The Widower's Two it Step 45
in their forties, one with longish blond hair and a thick build and an Op Tshirt, the other with dark curly hair and a black cattleman's coat and black hat and a scowl that was probably supposed to be James Deanesque but didn't quite make it. The cattleman looked quite a bit like Miranda Daniels, but twenty years older.
On the wall behind the picture was a pale square halo that told me the band's photo had superseded somebody else's whose picture had been slightly larger.
Milo followed my eyes to the photo on the wall.
"They're not important," he assured me. "The old fart with the white beard is Miranda's dad, Willis. The guy in the Wyatt Earp outfit is her big brother, Brent. You know—knew—Julie. The thin greasy one is Ben French. The burly surfer reject is Cam Compton."
"Miranda's brother and her dad are in the band?"
Milo spread his hands. "Welcome to Hillbilly World. Funny thing is, until about two years ago Miranda was considered the w«talented one in the family. Then Tilden Sheckly, the lovely human being you just met, took an interest in her."
"Sheckly is part of your problem."
Milo reached for his candy bowl. "Butterscotch or peppermint?"
"Definitely butterscotch."
He threw me a roll of midget Life Savers, then took two for himself. "Sheck owns that big honkytonk on the way to Medina Lake, the Indian Paintbrush. You know the place?"
I nodded. Anybody who'd ever driven toward Medina Lake knew the Indian Paintbrush. Plopped next to the highway in the middle of several hundred acres of rock and dirt, the dance hall looked like the world's largest portable john—a white corrugated metal box big enough to accommodate a shopping mall.
"Paintbrush Enterprises," I speculated. "The company who's been sending Julie Kearnes biweekly deposits."
Milo stared at me. "Do I want to know how you got access to her bank account?"
"No."
He cracked a smile. "Sheck is known for promoting pet acts. Usually pretty younger women. He lets them open for his headliners on weekends, sometimes gets them into his house band. Sooner or later, he gets them into bed. He manages their careers for fifty percent of the profit, milks them as long as he can. Once upon a time that was Julie Kearnes. Julie acted like a good girl, so even when she stopped bringing in crowds Sheckly kept her on the payroll—doing his spreadsheets, designing promotionals, occasionally opening for somebody. Miranda Daniels was going to be Sheckly's next project. Then Les signed her out from under Sheck's nose."
"And Sheckly still thinks he owns her."
Milo nodded.
"And you and Les disagree."
Milo unwrapped his Life Savers and dumped them in his mouth. He brushed his hands, slid out the side drawer of his desk, and produced a legalsized document.
"You heard Sheckly mention a contract just now?"
I nodded.
Milo slid the paper across to me. "Before we signed Miranda Daniels, Sheck had all kinds of plans for her. He was going to put her first album out on this little regional label he owns—Split Rail Records. He was going to tour her around small clubs in the States and Europe, be her sugar daddy. He probably stood to make about a quarter of a mil off her. Miranda stood to make shit—minimal sales and no national exposure.
That was Sheck's plan, only he never put anything in writing. Probably he couldn't imagine Miranda'd be crazy enough to cross him.
"Then Les signed her away from him. Sheck screamed and hollered but there wasn't much he could do. The band was mostly Sheck's old protégés—Julie, Cam Compton, Ben French—but there wasn't much they could do either. They went along with the new arrangement. It wasn't until Les got Century Records interested in hearing Miranda's solo demo tape that Sheckly