Rewired_ The Post-Cyberpunk Anthology - James Patrick Kelly [64]
Wherever they were coming from, they were a nuisance and they showed no sign of fading away, no matter how hard I ignored them. I’d just have to try editing them out on my next time through, I thought.
I found the biker chick again, sitting with half a dozen biker guys at the table I had passed out under before. I didn’t think she’d notice me — this was split-screen, after all, so I wasn’t entirely there—but she did. And as soon as she saw me, the split-screen effect was gone and I was in the bar only. The Cleopatra eyes started to widen in an expression of recognition, which was, of course, impossible — no character in a memory sequence remembers any more than a person’s photograph would remember who looked at it. Then it was like she dropped a stitch; the expression that had started out as recognition ended as puzzlement and I could all but hear her mind in operation. She’d thought I was someone she knew, but she was wrong. Or was she? Now she was suspicious and a suspicious biker is a scary bit of business, even if she isn’t real. I really hoped that we didn’t have a memory of a situation. It’s only a very select portion of the clientele that has any appreciation for being beaten up in a bar fight.
Fortunately, the biker guys with her didn’t find me especially threatening or even interesting. For all I knew, they couldn’t even see me. It didn’t take them long to distract her. When she looked away from me at last, I found myself backstage with the band and things were approaching critical mass, phase one. The Loopy Louies were looped (tolerated synonym for shitfaced, but only when used by someone outside the subgroup), the Latinaires were perfectly in synch, and the Latinettes were warmed up to the point where they could barely contain themselves. Larry, of course, was an island of calm, the Zen Master of rock ’n’ roll. The most active thing he did was snap his fingers in time to the Latinaires’ movements as he walked around the dressing room, surveying his troops.
Abruptly, he pointed at the Loopy Louies and they were on their feet, slamming each other on the back and then propelling themselves through the door and onto the raised platform that was the stage.
I thought the split-screen effect would disappear again and I would find myself watching the Louies from the audience. But no — the split-screen remained and I thought I’d go cross-eyed or faint from vertigo, with the two perspectives facing off against each other. From the stage, I saw people surge forward, eager to get the party going. In the audience, I felt like I was body-surfing an incoming tide that set me right down in front of the band. The Louies launched into some three-chord classic and some guy I couldn’t see said, “Ladies and gentlemen, for one night only, all the way from Philly, just for your entertainment here at the Ritzy Roadhouse, the return of — Little Latin Larry!”
The Loopy Louies were playing “Little Latin Loopy Lou” (of course) as Larry swung onto the stage, still completely calm, utterly cool, shoulders moving gracefully, one hand in his pocket, the other snapping in time to the music as he glided over to the microphone at center stage and sang the opening number.
The split-screen drove me crazy. It needed an option menu so users could choose to be onstage or in the audience. Switching back and forth wouldn’t be too bad, but having to endure both at once was too much. I tried to pause the action so I could insert the option and its menu, and that was when I got the first hint that I was in a not-so-usual type of situation: now that it was all in sequence, it wouldn’t pause. Not only wouldn’t it pause, it wouldn’t stop.
Well, we couldn’t have that. The customers would be screaming. Hell, if they wanted the type of experience they couldn’t pause, stop, or rewind, they’d just stay out in their lives. I tried everything short of neutralizing—reinserting the menus, reprogramming the menus and reinserting them,