The Wonderful Future

She builds her own satellite

From an old rusted chair

She leaves this old world behind

And the things that she cares

Maybe she's gone

But it won't be for long

What do I know?

Maybe she's found

What we all dream about

What do I know? Oh

She's beautiful and wild

Well I can't compare

And wild

But it's just not there, fair

She builds a strong alibi

From the future that's here

She needs to know I'm alive

But I'm flesh and I tear

Maybe she's wrong

But I wouldn't mind my own

What do I know?

I'm best to let go

With a touch of her soul

What do I know? Oh

She's beautiful and wild

And I can't compare

And wild

And it's just not fair

And wild

And I can't compare

And wild

Oh it's just not fair

And wild, oh no,

And wild, oh it's wild

And it's just not fair

Ray: Anyway, you do look amazing

Molly: You say that every time we meet

Ray: I mean you look twenty again,

Only more beautiful than at the start of the book

Molly: I know that's how you'd want me

Ray: Okay, you were an attractive young woman

When I first met you and you still project yourself

As a beautiful young woman at least when I'm with you

Molly: Thanks

Ray: Are you saying that you're a machine now?

Molly: A machine? That's really not for me to say

It's like asking me if I'm brilliant or inspiring

Ray: I guess the word machine in 2099 doesn't

Have quite the same connotations that it

Has here in 1999

Molly: It's hard for me to recall now

Molly: I'm really just dabbling but creating music

Is a great way for me to stay close with Jeremy and Emily

Ray: Creating music sounds like a good thing to do

With your kids even if they are almost 90 years old.

So could I hear it?

Molly: Well I'm afraid you wouldn't understand it

Ray: So it requires enhancement to understand?

Molly: Yes most art does. For starters, the symphonies

And frequencies that a mosh can't hear and it has

Much too fast a tempo and it uses musical structures

That a mosh could never follow

Ray: Can't you create art for non-augmented humans?

I mean there's still a lot of depth possible.

Consider Beethoven, he wrote almost two centuries ago

And we still find his music exhilarating

Molly: Yes there is a genre of music, all the arts actually,

Where we create music and art that

A mosh is capable of understanding

Ray: And then you play mosh music for moshes?

Molly: Hmm, now that's an interesting idea! I suppose

We could try that, although moshes are not that easy

To find anymore. It's really not necessary though,

We can certainly understand what a mosh is capable

Of understanding. The point though is to use the mosh

Limitations as an added constraint

Ray: Sort of like composing new music for all instruments?

Molly: Yeah. New music for old minds

Ray: Maybe we should kiss goodbye

Molly: Just a kiss?

Ray: We'll leave it at that for this book.

I'll reconsider the ending for the movie

Molly: Here's my kiss. Now remember

I'm ready to do anything,

Or be anything, you want or need

Ray: I'll keep that in mind

Molly: That's where you'll find me

Ray: Too bad I have to wait a century to meet you

Molly: Or to be me

Ray: Yes that too.

Ray: Actually Molly, there are a few other questions

That have occurred to me.

What were those limitations that you referred to?

What did you say you were anxious about?

What are you afraid of?

Do you feel pain?

What about babies and children?

Molly?