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 wonderful
Well I can't compare

It's not that 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 want my, my own
What do I know?

Breasts of silicone
With a touch of her soul, oh

She's beautiful and
Wonderful
And I can't compare

It's not that fair
Oh they're, oh they're malicious lies, they're

[Dialogue]
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 are in 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. 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?