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I admit it: at that point, I panicked and drained the whole experience.

OK, it hit my secret fear—that I could possibly catch someone’s delusion or psychosis. Don’t say it’s not possible, because it’s happened. It’s on record, it’s documented. I don’t knowingly go near anyone with a psychosis, I don’t care how good the hallucinations are. If I want to hallucinate, I take drugs, the way Nature intended.

Anyway, I would have poured the whole batch down the drain except I couldn’t, legally, since it wasn’t my property. And since Ola and her sidekick knew the batch existed, I didn’t want to force them into the position of having to choose between testifying that I had disposed of the Larry people’s property or committing perjury and saying that it hadn’t come together. So I gritted my teeth and requested a private meeting with Carola.

She came down to my editing room and things got ugly right away. How dare I accuse her of being crazy and I told her that I wasn’t, just that her ancestor was prone to delusions and the memory had come through extra strong.

Well, that couldn’t possibly be true, she insisted, raising her voice some more, because all the rest of the band was there, including a member of the audience, and how did I explain that?

Tainted samples, I said, forcing myself not to cringe (I really was afraid she was going to start throwing things at me). Her memory factors infected theirs, much like a virus —

Those were the last words she wanted to hear from me. I’m not sure what she said because it’s hard to understand anyone at that volume. There were lots of threats, accusations of jealousy and theft and incompetence on my part, not to mention my blood being tainted by my ancestors’ mating with mutant something-or-others during the period following the Collapse.

I know better than to argue, or even to try to reason with someone in that state. I stepped back and told her she was welcome to her property, I didn’t want it. She gathered it all up in what I think they used to call “high dudgeon.” I’m not quite sure of the term, but I am sure of this: she knew. She knew and she had known probably all along. The anger was to cover the fear of the news getting out, that there was no such band, no such people, no such memory, no such night, ever. Not even theoretically; not even hidden from us by the scarcity of hard information about the world as it was before the Collapse. People get massively harsh about fraudulent pasts and faked memories; the court might let you off with merely a ruinously gargantuan fine and a slap on the wrist, but you’re finished professionally. You can try to go into fiction, but you’ll just get turned away—no one will trust you any more than they would if you had committed plagiarism.

I suppose at that point, I should have felt like I was facing a capital ethical dilemma. After talking it over with Ola and the sidekick, we all decided we didn’t have to face anything at all. We’d all just keep our mouths shut. I wasn’t a doctor, I couldn’t diagnose a medical condition. All I’d done was make a judgment call and canceled the contract with them. They were free to go and I hadn’t even gotten paid for what work I had done. I figured after that, she’d either find an editor who didn’t mind massaging her data, or someone else would tell her she had a naked emperor, so to speak, in her blood.

But, of course, everyone else she approached must have told her the truth about Little Latin Larry—or rather, that they knew the truth. I don’t know how many other people she approached. Maybe only one. Or maybe none; maybe she really became afraid of someone finding out after I did.

I don’t know who did the actual final cut. I suspect it was Carola herself. With so much experience in remakes, she must have picked up enough skills to get by, especially when the work was actually already done for her. Because I know, from what I’ve seen and heard, that The Return of Little Latin Larry is my own rough edit, with some resolution cleaned up. I’ve heard the soundtrack,