Miranda scanned her balance sheet at the end of one month and discovered that her leading source of income was no longer Silk Road or Taming of the Shrew — it was that storybook about Princess Nell. In a way that was surprising, because kid stuff usually didn't pay well, but in another way it wasn't— because she had been spending an incredible amount of time in that ractive lately.

It had started small: a story, just a few minutes long, involving a dark castle, a wicked stepmother, and a gate with twelve locks. It would have been forgettable, except for two things: It paid much better than most kid work, because they were specifically looking for highly rated actresses, and it was rather dark and weird by the standards of contemporary children's literature. Not many people were into that whole Grimm Brothers scene anymore.

She collected a few ucus for her trouble and forgot about it. But the next day, the same contract number came up on her mediatron again. She accepted the job and found herself reading the same story, except that it was longer and more involved, and it kept backtracking and focusing in on tiny little bits of itself, which then expanded into stories in their own right.

Because of the way that the ractive was hooked up, she didn't get direct feedback from her counterpart on the other end. She assumed it was a little girl. But she couldn't hear the girl's voice. Miranda was presented with screens of text to be read, and she read them. But she could tell that this process of probing and focusing was being directed by the girl. She had seen this during her governess days. She knew that on the other end of this connection was a little girl insatiably asking why. So she put a little gush of enthusiasm into her voice at the beginning of each line, as if she were delighted that the question had been asked.

When the session was over, the usual screen came up telling her how much she'd made, the contract number, and so on. Before she signed off on it, she checked the little box labelled MARK HERE IF YOU WOULD LIKE A CONTINUING RELATIONSHIP WITH THIS CONTRACT. The relationship box, they called it, and it only came up with higher quality ractives, where continuity was important. The disping process worked so well that any ractor, male or female, bass or soprano, would sound the same to the end user. But discriminating customers could of course tell ractors apart anyway because of subtle differences in style, and once they had a relationship with one performer, they liked to keep it. Once Miranda checked the box and signed off, she'd get first crack at any more Princess Nell jobs.

Within a week she was teaching this girl how to read. They'd work on letters for a while and then wander off into more stories about Princess Nell, stop in the middle for a quick practical demonstration of basic math, return to the story, and then get sidetracked with an endless chain of "why this?" and "why that?" Miranda had spent a lot of time with kiddie ractives, both as a child and as a governess, and the superiority of this thing was palpable— like hefting an antique silver fork when you'd been eating with plastic utensils for twenty years, or slithering into a tailor-made evening gown when you were used to jeans.

These and other associations came into Miranda's mind on any of the rare moments when she came into contact with something of Quality, and if she didn't make a conscious effort to stop the process, she would end up remembering just about everything that had happened to her during the first years of her life— the Mercedes taking her to private school, the crystal chandelier that would ring like fairy bells when she climbed up on the huge mahogany dinner table to tickle it, her paneled bedroom with the four-poster bed with the silk-and-goosedown duvet. For reasons still unspecified, Mother had moved them far away from all of that, into what passed for poverty these days. Miranda only remembered that, when she had been physically close to Father, Mother had watched them with more vigilance than seemed warranted.

A month or two into the relationship, Miranda groggily signed off from a long Princess Nell session and was astounded to notice that she'd been going for eight hours without a break. Her throat was raw, and she hadn't been to the loo in hours. She had made a lot of money. And the time in New York was something like six in the morning, which made it seem unlikely that the little girl lived there.

She must be in a time zone not many hours different from Miranda's, and she must sit there playing with that ractive storybook all day long instead of going to school like a little rich girl should. It was slim evidence to go on, but Miranda never needed much evidence to confirm her belief that rich parents were just as capable of fucking with their children's minds as anyone.