"Nope. It's impossible. Or maybe"-Carl thought about it for a while-"maybe "astronomically improbable' is a better way of putting it." Then he looked mildly alarmed as he watched Miranda's expression change. "You can't just trace the connection backward. That's not how media works."

"How does media work, then?"

"Look out the window. Not toward the Bund-check out Yan'an Road."

Miranda swiveled her head around to look out the big window, which was partly painted over with colorful c.o.ke ads and descriptions of blue plate specials. Yan'an Road, like all of the major thoroughfares in Shanghai, was filled, from the shop windows on one side to the shop windows on the other, with people on bicycles and powerskates. In many places the traffic was so dense that greater speed could be attained on foot. A few half-lane vehicles sat motionless, polished boulders in a sluggish brown stream.

It was so familiar that Miranda didn't really see anything. "What am I looking for?"

"Notice how no one's empty-handed? They're all carrying something."

Carl was right. At a minimum, everyone had a small plastic bag with something in it. Many people, such as the bicyclists, carried heavier loads.

"Now just hold that image in your head for a moment, and think about how to set up a global telecommunications network."

Miranda laughed. "I don't have any basis for thinking about something like that."

"Sure you do. Until now, you've been thinking in terms of the telephone system in the old pa.s.sives. In that system, each transaction had two partic.i.p.ants-the two people having the conversation. And they were connected by a wire that ran through a central switchboard. So what are the key features of this system?"

"I don't know-I'm asking you," said Miranda.

"Number one, only two people, or ent.i.ties, can interact. Number two, it uses a dedicated connection that is made and then broken for the purposes of that one conversation. Number three, it is inherently centralized-it can't work unless there is a central switchboard."

"Okay, I think I'm following you so far."

"Our media system today-the one that you and I make our livings from-is a descendant of the phone system only insofar as we use it for essentially the same purposes, plus many, many more. But the key point to remember is that it is totally different from the old phone system. it is totally different from the old phone system. The old phone system-and its technological cousin, the cable TV system-tanked. It crashed and burned decades ago, and we started virtually from scratch." The old phone system-and its technological cousin, the cable TV system-tanked. It crashed and burned decades ago, and we started virtually from scratch."

"Why? It worked, didn't it?"

"First of all, we needed to enable interactions between more than one ent.i.ty. What do I mean by ent.i.ty? Well, think about the ractives. Think about First Cla.s.s to Geneva. First Cla.s.s to Geneva. You're on this train-so are a couple of dozen other people. Some of those people are being racted, so in that case the ent.i.ties happen to be human beings. But others-like the waiters and porters-are just software robots. Furthermore, the train is full of props: jewelry, money, guns, bottles of wine. Each one of those is also a separate piece of software-a separate ent.i.ty. In the lingo, we call them objects. The train itself is another object, and so is the countryside through which it travels. You're on this train-so are a couple of dozen other people. Some of those people are being racted, so in that case the ent.i.ties happen to be human beings. But others-like the waiters and porters-are just software robots. Furthermore, the train is full of props: jewelry, money, guns, bottles of wine. Each one of those is also a separate piece of software-a separate ent.i.ty. In the lingo, we call them objects. The train itself is another object, and so is the countryside through which it travels.

"The countryside is a good example. It happens to be a digital map of France. Where did this map come from? Did the makers of First Cla.s.s to Geneva First Cla.s.s to Geneva send out their own team of surveyors to make a new map of France? No, of course they didn't. They used existing data-a digital map of the world that is available to any maker of ractives who needs it, for a price of course. That digital map is a separate object. It resides in the memory of a computer somewhere. Where exactly? I don't know. Neither does the ractive itself. It doesn't matter. The data might be in California, it might be in Paris, it might be down at the corner-or it might be distributed among all of those places and many more. send out their own team of surveyors to make a new map of France? No, of course they didn't. They used existing data-a digital map of the world that is available to any maker of ractives who needs it, for a price of course. That digital map is a separate object. It resides in the memory of a computer somewhere. Where exactly? I don't know. Neither does the ractive itself. It doesn't matter. The data might be in California, it might be in Paris, it might be down at the corner-or it might be distributed among all of those places and many more. It doesn't matter. It doesn't matter. Because our media system no longer works like the old system-dedicated wires pa.s.sing through a central switchboard. It works like Because our media system no longer works like the old system-dedicated wires pa.s.sing through a central switchboard. It works like that. that." Carl pointed to the traffic on the street again.

"So each person on the street is like an object?"

"Possibly. But a better a.n.a.logy is that the objects are people like us, sitting in various buildings that front on the street. Suppose that we want to send a message to someone over in Pudong. We write the message down on a piece of paper, and we go to the door and hand it to the first person who goes by and say, "Take this to Mr. Gu in Pudong.' And he skates down the street for a while and runs into someone on a bicycle who looks like he might be headed for Pudong, and says, "Take this to Mr. Gu.' A minute later, that person gets stuck in traffic and hands it off to a pedestrian who can negotiate the snarl a little better, and so on and so on, until eventually it reaches Mr. Gu. When Mr. Gu wants to respond, he sends us a message in the same way."

"So there's no way to trace the path taken by a message."

"Right. And the real situation is even more complicated. The media net was designed from the ground up to provide privacy and security, so that people could use it to transfer money. That's one reason the nation-states collapsed-as soon as the media grid was up and running, financial transactions could no longer be monitored by governments, and the tax collection systems got fubared. So if the old IRS, for example, wasn't able to trace these messages, then there's no way that you'll be able to track down Princess Nell."

"Okay, I guess that answers my question," Miranda said.

"Good!" Carl said brightly. He was obviously pleased that he'd been able to help Miranda, and so she didn't tell him how his words had really made her feel. She treated it as an acting challenge: Could she fool Carl Hollywood, who was sharper about acting than just about anyone, into thinking that she was fine?

Apparently she did. He escorted her back to her flat, in a hundred-story high-rise just across the river in Pudong, and she held it together long enough to bid him good-bye, get out of her clothes, and run a bath. Then she climbed into the hot water and dissolved in awful, wretched, blubbery, self-pitying tears.

Eventually she got it under control. She had to keep this in perspective. She could still interact with Nell and still did, every day. And if she paid attention, sooner or later she would find some way to penetrate the curtain. Barring that, she was beginning to understand that Nell, whoever she was, had been marked out in some way, and that in time she would become a very important person. Within a few years, Miranda expected to be reading about her in the newspaper. Feeling better, she got out of the bath and climbed into bed, getting a good night's sleep so she'd be ready for her next day of taking care of Nell.

General description of life with the Constable; his avocations and other peculiarities; a disturbing sight; Nell learns about his past; a conversation over dinner.

The garden house had two rooms, one for sleeping and one for playing. The playing room had a set of double doors, made of many small windows, that opened onto Constable Moore's garden. Nell had been told to be careful with the little windows, because they were made of real gla.s.s. The gla.s.s was bubbly and uneven, like the surface of a pot of water just before it breaks into a boil, and Nell liked to look at things through it because, even though she knew it was not as strong as a common window, it made her feel safer, as though she were hiding behind something.

The garden itself was forever trying to draw the little house into it; many vast-growing vines of ivy, wisteria, and briar rose were deeply engaged in the important project of climbing the walls, using the turtle-sh.e.l.l-colored copper drainpipes, and the rough surfaces of the brick and mortar, as fingerholds. The slate roof of the cottage was phosph.o.r.escent with moss. From time to time, Constable Moore would charge into the breach with a pair of trimmers and cut away some of the vines that so prettily framed the view through Nell's gla.s.s doors, lest they imprison her.

During Nell's second year living in the cottage, she asked the Constable if she might have a bit of garden s.p.a.ce of her own, and after an early phase of profound shock and misgivings, the Constable eventually pulled up a few flagstones, exposing a small plot, and caused one of the Dovetail artisans to manufacture some copper window boxes and attach them to the cottage walls. In the plot, Nell planted some carrots, thinking about her friend Peter who had vanished so long ago, and in the window boxes she planted some geraniums. The Primer taught her how to do it and also reminded her to dig up a carrot sprout every few days and examine it so that she could learn how they grew. Nell learned that if she held the Primer above the carrot and stared at a certain page, it would turn into a magic ill.u.s.tration that would grow larger and larger until she could see the tiny little fibers that grew out of the roots, and the one-celled organisms clinging to the fibers, and the mitochondria inside them. The same trick worked on anything, and she spent many days examining flies' eyes, bread mold, and blood cells that she got out of her own body by p.r.i.c.king her finger. She could also go up on hilltops during cold clear nights and use the Primer to see the rings of Saturn and the moons of Jupiter.

Constable Moore continued to work his daily s.h.i.+ft at the gatehouse. When he came home in the evening, he and Nell would often dine together inside his house. At first they got food straight from the M.C., or else the Constable would fry up something simple, like sausage and eggs. During this period, Princess Nell and the other characters in the Primer found themselves eating a lot of sausage and eggs too, until Duck lodged a protest and taught the Princess how to cook healthier food. Nell then got in the habit of cooking a healthy meal with salad and vegetables, several afternoons a week after she got home from school. There was some grumbling from the Constable, but he always cleaned up his plate and sometimes washed the dishes.

The Constable spent a lot of time reading books. Nell was welcome to be in his house when he was doing this, as long as she was quiet. Frequently he would shoo her out, and then he would get in touch with some old friend of his over the big mediatron on the wall of his library. Usually Nell would just go back to her little cottage during these times, but sometimes, especially if the moon was full, she would wander around in the garden. This seemed larger than it really was by virtue of being divided into many small compartments. On late full-moon nights, her favorite place was a grove of tall green bamboo with some pretty rocks strewn around. She would sit with her back against a rock, read her Primer, and occasionally hear sound emanating from the inside of Constable Moore's house as he talked on the mediatron: mostly deep bellowing laughter and explosions of good-natured profanity. For quite some time she a.s.sumed that it was not the Constable who was making these sounds, but rather whomever he was talking to; because in her presence the Constable was always very polite and reserved, albeit somewhat eccentric. But one night she heard loud moaning noises coming from his house, and crept down out of the bamboo grove to see what was happening.

From her vantage point through the gla.s.s doors, she couldn't see the mediatron, which was facing away from her. Its light illuminated the whole room, painting the normally warm and cozy s.p.a.ce with lurid flas.h.i.+ng colors, and throwing long jagged shadows. Constable Moore had shoved all the furniture and other obstructions to the walls and rolled up the Chinese carpet to expose the floor, which Nell had always a.s.sumed was made of oak, like the floor in her cottage; but the floor was, in fact, a large mediatron itself, glowing rather dimly compared to the one on the wall, and displaying a lot of rather high-resolution material: text doc.u.ments and detailed graphics with the occasional cine feed. The Constable was down on his hands and knees amidst this, bawling like a child, the tears collecting in the shallow saucers of his half-gla.s.ses and spattering onto the mediatron, which illuminated them weirdly from below.

Nell wanted badly to go in and comfort him, but she was too scared. She stood and watched, frozen in indecision, and realized as she did so that the flashes of light coming from the mediatrons reminded her of explosions-or rather pictures of explosions. She backed away and went back into her little house.

Half an hour later, she heard the unearthly noise of Constable Moore's bagpipes emanating from the bamboo grove. In the past he had occasionally picked them up and made a few squealing noises, but this was the first time she'd heard a formal recital. She was not an expert on the pipes, but she thought he sounded not bad. He was playing a slow number, a coronach, and it was so sad that it almost tore Nell's heart asunder; the sight of the Constable weeping helplessly on his hands and knees was not half so sad as the music he was playing now.

In time he moved on to a faster and happier pibroch. Nell emerged from her cottage into the garden. The Constable was just a silhouette slashed into a hundred ribbons by the vertical shafts of the bamboo, but when she moved back and forth, some trick of her eye rea.s.sembled the image. He was standing in a pool of moonlight. He had changed clothes: now he was wearing his kilt, and a s.h.i.+rt and beret that seemed to belong to some sort of a uniform. When his lungs were empty, he would draw in a great breath, his chest would heave, and an array of silvery pins and insignia would glimmer in the moonlight.

He had left the doors open. She walked into the house, not bothering to be stealthy because she knew that she could not possibly be heard over the sound of the bagpipe.

The wall and the floor were both giant mediatrons, and both had been covered with a profusion of media windows, hundreds and hundreds of separate panes, like a wall on a busy city street where posters and bills have been pasted up in such abundance that they have completely covered the substrate. Some of the panes were only as big as the palm of Nell's hand, and some of them were the size of wall posters. Most of the ones on the floor were windows into written doc.u.ments, grids of numbers, schematic diagrams (lots of organizational trees), or wonderful maps, drawn with breathtaking precision and clarity, with rivers, mountains, and villages labeled in Chinese characters. As Nell surveyed this panorama, she flinched once or twice from the impression that something small was creeping along the floor; but there were no bugs in the room, it was just an illusion created by small fluctuations in the maps and in the rows and columns of numbers. These things were ractive, just like the words in the Primer; but unlike the Primer, they were responding not to what Nell did but, she supposed, to events far away.

When she finally raised her gaze from the floor to view the mediatrons lining the walls, she saw that most of the panes there were much larger, and most of them carried cine feeds, and most of these had been frozen. The images were very sharp and clear. Some of them were landscapes: a stretch of rural road, a bridge across a dried-up river, a dusty village with flames bubbling from some of the houses. Some of them were pictures of people: talking-head shots of Chinese men wearing dirty uniforms with dark mountains, clouds of dust, or drab green vehicles as backdrops.

In one of the cine feeds, a man was lying on the ground, his dusty uniform almost the same color as the dirt. Suddenly this image moved; the feed had not been frozen like the others. Someone was walking past the camera: a Chinese man in indigo pajamas, decorated with scarlet ribbons tied round his head and his waist, though these had gone brown with grime. When he had pa.s.sed out of the frame, Nell focused on the other man, the one who was lying in the dust, and she realized for the first time that he did not have a head.

Constable Moore must have heard Nell's screaming over the sound of his bagpipes, for he was in the room within a few moments, shouting commands to the mediatrons, which all went black and became mere walls and a floor. The only image remaining in the room now was the big painting of Guan Di, the G.o.d of war, who glowered down upon them as always. Constable Moore was extremely ill at ease whenever Nell showed any kind of emotion, but he seemed more comfortable with hysteria than he was with, say, an invitation to play house or an attack of the giggles. He picked Nell up, carried her across the room at arm's length, and set her down in a deep leather chair. He left the room for a moment and came back with a large gla.s.s of water, then carefully molded her hands around it. "You must breathe deeply and drink water," he was saying, almost sotto voce; he seemed to have been saying it for a long time.

She was a little surprised to find that she did not cry forever, though a few aftershocks came along and had to be managed in the same way. She kept trying to say, "I can't stop crying," stabbing the syllables one at a time.

The tenth or eleventh time she said this, Constable Moore said, "You can't stop crying because you're all f.u.c.ked up psychologically." He said it in a kind of bored professional tone that might have sounded cruel; but to Nell it was, for some reason, most rea.s.suring.

"What do you mean?" she said finally, when she could speak without her throat going all funny.

"I mean you're a veteran, girl, just like me, and you've got scars"-he suddenly ripped his s.h.i.+rt open, b.u.t.tons flying and bouncing all over the room, to reveal his particolored torso-"like I do. The difference is, I know I'm a veteran. You persist in thinking you're just a little girl, like those b.l.o.o.d.y Vickys you go to school with."

From time to time, perhaps once a year, he would turn down the offer of dinner, put that uniform on, climb onto a horse, and ride off in the direction of the New Atlantis Clave. The horse would bring him back in the wee hours of the morning, so drunk he could barely remain in the saddle. Sometimes Nell would help get him into bed, and after he had lapsed into unconsciousness, she could examine his pins and medals and ribbons by candlelight. The ribbons in particular used a fairly elaborate color-coding system. But the Primer had some pages in the back that were called the Encyclopaedia, and by consulting these, Nell was able to establish that Constable Moore was, or at least had used to be, a brigadier general in the Second Brigade of the Third Division of the First Protocol Enforcement Expeditionary Force. One ribbon implied that he had spent some time as an exchange officer in a Nipponese division, but his home division was apparently the Third. According to the Encyclopaedia, the Third was often known as the Junkyard Dogs or, simply, the Mongrels, because it tended to draw its members from the White Diaspora: Uitlanders, Ulster Loyalists, whites from Hong Kong, and rootless sorts from all of the Anglo-American parts of the world.

One of the pins on the Constable's uniform said that he had graduate-level training in nanotechnological engineering. This was consistent with his belonging to the Second Brigade, which specialized in nanotech warfare. The Encyclopaedia said that it had been formed some thirty years ago to tackle some nasty fighting in Eastern Europe where primitive nanotech weapons were being employed.

A couple of years later, the division had been sent off to South China in a panic. Trouble had been brewing there since Zhang Han Hua had gone on his Long Ride and forced the merchants to kowtow. Zhang had personally liberated several lao gai camps, where slave laborers were hard at work making trinkets for export to the West, smas.h.i.+ng computer display screens with the ma.s.sive dragon's-head grip of his cane, beating the overseers into b.l.o.o.d.y heaps on the ground. Zhang's "investigations" of various thriving businesses, mostly in the south, had thrown millions of people out of work. They had gone into the streets and raised h.e.l.l and been joined by sympathetic units of the People's Liberation Army. The rebellion was eventually put down by PLA units from the north, but the leaders had vanished into the "concrete countryside" of the Pearl Delta, and so Zhang had been forced to set up a permanent garrison state in the south. The northern troops had kept order crudely but effectively for a few years, until, one night, an entire division of them, some 15,000 men, was wiped out by an infestation of nanosites.

The leaders of the rebellion emerged from their hiding places, proclaimed the Coastal Republic, and called for Protocol Enforcement troops to come in and protect them. Colonel Arthur Hornsby Moore, a veteran of the fighting in Eastern Europe, was brought in to command. He had been born in Hong Kong, left as a small child when the Chinese took it over, spent much of his youth wandering around Asia with his parents, and eventually settled in the British Isles. He was picked for the job because he was fluent in Cantonese and not half bad in mandarin. Looking at the old cine clips in the Encyclopaedia, Nell could see a younger Constable Moore, the same man with more hair and fewer doubts.

The Chinese Civil War began in earnest three years later, when the Northerns, who didn't have access to nanotech, started lobbing nukes. Not long afterward, the Muslim nations had finally gotten their act together and overrun much of Xinjiang Province, killing some of the Han Chinese population and driving the rest eastward into the maw of the civil war. Colonel Moore suffered an extremely dire infestation of primitive nanosites and was removed from the action and put on extended convalescent leave. By that time, the truce line between the Celestial Kingdom and the Coastal Republic had been established.

Since then, as Nell knew from her studies at the Academy, Lau Ge had succeeded Zhang as the northern leader-the leader of the Celestial Kingdom. After a decent interval had pa.s.sed, he had thoroughly purged all remaining traces of Communist ideology, denouncing it as a Western imperialist plot, and proclaimed himself Chamberlain to the Throneless King. The Throneless King was Confucius, and Lau Ge was now the highest-ranking of all the mandarins.

The Encyclopaedia did not say much more about Colonel Arthur Hornsby Moore, except that he'd resurfaced as an adviser a few years later during some outbreaks of nanotech terrorism in Germany, and later retired and became a security consultant. In this latter capacity he had helped to promulgate the concept of defense in depth, around which all modern cities, including Atlantis/Shanghai, were built.

Nell cooked the Constable an especially nice dinner one Sat.u.r.day, and when they were finished with dessert, she began to tell him about Harv and Tequila, and Harv's tales of the incomparable Bud, their dear departed father. Suddenly it was about three hours later, and Nell was still telling the Constable stories about Mom's boyfriends, and the Constable was continuing to listen, reaching up occasionally to fiddle with his white beard but otherwise displaying an extremely grave and thoughtful countenance. Finally she got to the part about Burt, and how Nell had tried to kill him with the screwdriver, and how he had chased them down the stairs and apparently met his demise at the hands of the mysterious round-headed Chinese gentleman. The Constable found this extremely interesting and asked many questions, first about the detailed tactical development of the screwdriver a.s.sault and then about the style of dancing used by the Chinese gentleman, and what he was wearing.

"I have been angry at my Primer ever since that night," Nell said.

"Why?" said the Constable, looking surprised, though he was hardly more surprised than Nell herself. Nell had said said a remarkable number of things this evening without having ever, to her memory, a remarkable number of things this evening without having ever, to her memory, thought thought them first; or at least she didn't them first; or at least she didn't believe believe she had ever thought them before. she had ever thought them before.

"I cannot help but feel that it misled me. It made me suppose that killing Burt would be a simple matter, and that it would improve my life; but when I tried to put these ideas into practice ..." She could not think of what to say next.

"... the rest of your life happened," the Constable said. "Girl, you must admit that your life with Burt dead has been an improvement on your life with Burt alive."

"Yes."

"So the Primer was correct on that point. Now, as to the fact that killing people is a more complicated business in practice than in theory, I will certainly concede your point. But I think it is not likely to be the only instance in which real life turns out to be more complicated than what you have seen in the book. This is the Lesson of the Screwdriver, and you would do well to remember it. All it amounts to is that you must be ready to learn from sources other than your magic book."

"But of what use is the book then?"

"I suspect it is very useful. You want only the knack of translating its lessons into the real world. For example," the Constable said, plucking his napkin from his lap and crus.h.i.+ng it into the tabletop, "let us take something very concrete, such as beating the bejesus out of people." He stood up and tromped out into the garden. Nell ran after him. "I have seen you doing your martial-arts exercises," he said, switching to a peremptory outdoor voice, an addressing-the-troops voice. "Martial arts means beating the bejesus out of people. Now, let us see you try your luck with me."

Negotiations ensued as Nell endeavored to establish whether the Constable was serious. This being accomplished, she sat down on the flagstones and began getting her shoes off. The Constable watched her with raised eyebrows.

"Oh, that's very formidable," he said. "All evildoers had best be on the lookout for little Nell-unless she happens to be wearing her b.l.o.o.d.y shoes."

Nell did a couple of stretching exercises, ignoring more derisive commentary from the Constable. She bowed to him, and he waved his hand at her dismissively. She got set into the stance that Dojo had taught her. In response, the Constable moved his feet about an inch farther apart than they had been, and pooched his belly out, which was apparently the chosen stance of some mysterious Scottish fighting technique.

Nothing happened for a long time except for a lot of dancing around. Nell danced, that is, and the Constable blundered around desultorily. "What's this?" he said. "All you know is defense?"

"Mostly, sir," Nell said. "I do not suppose it was the Primer's intention to teach me how to a.s.sault people."

"Oh, what good is that?" the Constable sneered, and suddenly he reached out and grabbed Nell by the hair-not hard enough to hurt. He held her for a few moments, and then let her go. "Thus endeth the first lesson," he said.

"You think that I should cut my hair off?"

The Constable looked terribly disappointed. "Oh, no," he said, "never, ever, ever cut your hair off. If I grabbed you by your wrist"-and he did-"would you cut your arm off?"

"No, sir."

"Did the Primer teach you that people would pull your hair?"

"No, sir."

"Did it teach you that your mother's boyfriends would beat you up, and your mother not protect you?"

"No, sir, except insofar as it told me stories about people who did evil."

"People doing evil is a good lesson. What you saw in there a few weeks ago"-and by this Nell knew he was referring to the headless soldier on the mediatron-"is one application of that lesson, but it's too obvious to be of any good. Ah, but your mother not protecting you from boyfriends-that has some subtlety, doesn't it?

"Nell," the Constable continued, indicating through his tone of voice that the lesson was concluding, "the difference between ignorant and educated people is that the latter know more facts. But that has nothing to do with whether they are stupid or intelligent. The difference between stupid and intelligent people-and this is true whether or not they are well-educated-is that intelligent people can handle subtlety. They are not baffled by ambiguous or even contradictory situations-in fact, they expect them and are apt to become suspicious when things seem overly straightforward.

"In your Primer you have a resource that will make you highly educated, but it will never make you intelligent. That comes from life. Your life up to this point has given you all of the experience you need to be intelligent, but you have to think about those experiences. If you don't think about them, you'll be psychologically unwell. If you do think about them, you will become not merely educated but intelligent, and then, a few years down the road, you will probably give me cause to wish I were several decades younger."

The Constable turned and walked back into his house, leaving Nell alone in the garden, pondering the meaning of that last statement. She supposed it was the sort of thing she might understand later, when she had become intelligent.

Carl Hollywood returns from abroad; he and Miranda discuss the status and future of her racting career.

Carl Hollywood came back from a month-long trip to London, where he'd been visiting old friends, catching some live theatre, and making face-to-face contacts with some of the big ractive developers, hoping to swing some contracts in their direction. When he got back, the whole company threw a party for him in the theatre's little bar. Miranda thought she handled it pretty well.

But the next day he cornered her backstage. "What's up?" he said. "And I don't mean that in the usual offhanded way. I want to know what's going on with you. Why have you switched to the evening s.h.i.+ft during my absence? And why were you acting so weird at the party?"

"Well, Nell and I have had an interesting few months."

Carl looked startled, stepped back half a pace, then sighed and rolled his eyes.

"Of course, her altercation with Burt was traumatic, but she seems to have dealt with it well."

"Who's Burt?"

"I have no idea. Someone who was physically abusing her. Apparently she managed to find some kind of new living situation in short order, probably with the a.s.sistance of her brother Harv, who has, however, not stayed with her-he's stuck in the same old bad situation, while Nell has moved on to something better."

"She has? That's good news," said Carl, only half sarcastically.

Miranda smiled at him. "See? That's exactly the kind of feedback I need. I don't talk about this stuff to anyone because I'm afraid they'll think I'm mad. Thank you. Keep it up."

"What is Nell's new situation?" Carl Hollywood asked contritely.

"I think she's in school somewhere. She appears to be learning new material that isn't explicitly covered in the Primer, and she's developing more sophisticated forms of social interaction, suggesting that she's spending more time around a higher cla.s.s of people."

"Excellent."

"She's not as concerned with immediate issues of physical self-defense, so I gather that she's in a safe living situation. However, her new guardian must be an emotionally distant sort, because she frequently seeks solace under the wings of Duck."

Carl looked funny. "Duck?"

"One of four personages who accompanies and advises Princess Nell. Duck embodies domestic, maternal virtues. Actually, Peter and Dinosaur are now gone-both male figures who embodied survival skills."

"Who's the fourth one?"

"Purple. I think she'll become a lot more relevant to Nell's life around p.u.b.erty."

"p.u.b.erty? You said Nell was between five and seven."

"So?"

"You think you'll still be doing this-" Carl's voice wound down to a stop as he worked out the implications.