“It’s very strange,” Richard said. “When I’m in the bottle, it’s like I’m in a sensory deprivation tank, except not particularly warm. I float, with no sense of who or where I am, but meanwhile another part of me is getting flashes of awareness of the world. But I can’t control them. I might be hyperaware of one ant carrying a single crumb up a stem of grass, for an eternity, or I might just have a vague sense of clouds over the ocean, or some old woman’s aches and pains. It’s like hyper-lucid dreaming, sort of.”
“Shush,” said Marisol. “This is the good part—Jo is about to lay some Brooklyn wisdom on these spoiled rich girls.”
The episode ended, and another episode started right away. You take the good, you take the bad. Richard groaned loudly. “So what’s your plan, if I may ask? You’re just going to sit here and watch television for another few years?” He snorted.
“I have no reason to hurry,” Marisol said. “I can spend a decade coming up with the perfect wishes. I have tons of frozen dinners.”
At last, she took pity on Richard and found a stash of PBS American Playhouse episodes on the media server, plus other random theatre stuff. Richard really liked Caryl Churchill, but didn’t care for Alan Ayckbourn. He hated Wendy Wasserstein. Eventually, she put him back in his bottle again.
Marisol started writing down possible draft wishes in one of the three blank journals that she’d found in a drawer. (Burton had probably expected to record his thoughts, if any, for posterity.) And then she started writing a brand-new play, instead. The first time she’d even tried, in a few years.
Her play was about a man—her protagonists were always men—who moves to the big city to become a librarian, and winds up working for a strange old lady, tending her collection of dried-out leaves from every kind of tree in the world. Pedro is so shy, he can’t even speak to more than two people, but so beautiful that everybody wants him to be a fashion model. He pays an optometrist to put drops in his eyes, so he won’t see the people photographing and lighting him when he models. She had no clue how this play was going to end, but she felt a responsibility to finish it. That’s what Mrs. Garrett would expect.
She was still stung by the idea that her prize-winning play was dumb, or worse yet kind of misogynistic. She wished she had an actual copy of that play, so she could show it to Richard and he would realize her true genius. But she didn’t wish that out loud, of course. And maybe this was the kick in the ass she needed to write a better play. A play that made sense of some of this mess.
“I’ve figured it out,” she told Richard the next time she opened his bottle. “I’ve figured out what happened those other times. Someone finds your bottle after the apocalypse, and they get three wishes. So the first wish is to bring the world back and reverse the destruction. The second wish is to make sure it doesn’t happen again. But then they still have one wish left. And that’s the one where they do something stupid and selfish, like wishing for irresistible sex appeal.”
“Or perfect hair,” said Richard Wolf, doing his patented eye-roll and air-swat.
“Or unlimited wealth. Or fame.”
“Or everlasting youth and beauty. Or the perfect lasagna recipe.”
“They probably figured they deserved it,” Marisol stared at the pages of scribbles in her hands. One set of diagrams mapping out her new, as-yet-unnamed play. A second set of diagrams trying to plan out the wish-making process, act by act. Her own scent clung to every surface in the panic room, the recirculated and purified air smelled like the inside of her own mouth. “I mean, they saved the world, right? So they’ve earned fame or sex or parties. Except I bet that’s where it all goes wrong.”
“That’s an interesting theory,” said Wolf, arms folded and head tilted to one side, like he was physically restraining himself from expressing an opinion.
Marisol threw out almost every part of her new play, except the part about her main character needing to be temporarily vision-impaired so he can model. That part seemed to speak to her, once she cleared away the clutter about the old woman and the leaves and stuff. Pedro stands, nearly nude, in a room full of people doing makeup and lighting and photography and catering and they’re all blurs to him. And he falls in love with one woman, but he only knows her voice, not her face. And he’s afraid to ruin it by learning her name, or seeing what she looks like.
By now, Marisol had confused the two processes in her mind. She kept thinking she would know what to wish for, as soon as she finished writing her play. She labored over the first scene for a week before she had the nerve to show it to Richard, and he kept narrowing his eyes and breathing loudly through his nose as he read it. But then he said it was actually a promising start, actually not terrible at all.
The mystery woman phones Pedro up, and he recognizes her voice instantly. So now he has her phone number, and he agonizes about calling her. What’s he afraid of, anyway? He decides his biggest fear is that he’ll go out on a date with the woman, and people will stare at the two of them. If the woman is as beautiful as Pedro, they’ll stare because it’s two beautiful people together. If she’s plain-looking, they’ll stare because they’ll wonder what he sees in her. When Pedro eats out alone, he has a way of shrinking in on himself, so nobody notices him. But he can’t do that on a date.
At last, Pedro calls her and they talk for hours. On stage, she is partially hidden from the audience, so they, too, can’t see what the woman looks like.
“It’s a theme in your work, hmmm?” Richard Wolf sniffed. “The hidden person, the flirting through a veil. The self-loathing narcissistic love affair.”
“I guess so,” Marisol said. “I’m interested in people who are seen, and people who see, and the female gaze, and whatever.”
She finished the play, and then it occurred to her that if she made a wish that none of this stuff had happened, her new play could be un-written as a result. When the time came to make her wishes, she rolled up the notebook and tucked it into her waistband of her sweatpants, hoping against hope that anything on her immediate person would be preserved when the world was rewritten.
In the end Pedro agrees to meet the woman, Susanna, for a drink. But he gets some of the eye-dilating drops from his optometrist friend. He can’t decide whether to put the drops in his eyes before the date—he’s in the men’s room at the bar where they’re meeting, with the bottle in his hand, dithering—and then someone disturbs him and he accidentally drops the bottle in the toilet. And Susanna turns out to be pretty, not like a model but more distinctive. She has a memorable face, full of life. She laughs a lot, Pedro stops feeling shy around her. And Pedro discovers that if he looks into Susanna’s eyes when he’s doing his semi-nude modeling, he no longer needs the eye drops to shut out the rest of the world.
“It’s a corny ending,” Marisol admitted. “But I like it.”
Richard Wolf shrugged. “Anything is better than unearned ambivalence.” Marisol decided that was a good review, coming from him.
Here’s what Marisol wished:
1) I wish this apocalypse and all previous apocalypses had never happened, and that all previous wishes relating to the apocalypse had never been wished.
2) I wish that there was a slight alteration in the laws of probability as relating to apocalyptic scenarios, so that if, for example, an event threatening the survival of the human race has a ten percent chance of happening, that ten percent chance just never comes up, and yet this does not change anything else in the material world.
3) I wish that I, and my designated heirs, will keep possession of this bottle, and will receive ample warning before any apocalyptic scenario comes up, so that we will have a chance to make the final wish.