She is very embarrassed. She only wishes he hadn't removed everything, she has never felt so naked, not even in shop class in the tenth grade when the lathe tore off her shirt and everyone saw she still had a training bra. This is worse. Saul, still on his knees but now in a corner wincing, burns bright red and attempts to mumble an apology without looking at her nakedness. Her bones clatter as she summons what decorum she can muster (it is hard to tell how dignified a skull is trying to be, THE 'MESSAGE' OF COMPUTER TECHNOLOGY IS COMPREHENSIVE AND DOMINEERING. THE COMPUTER ARGUES, TO PUT IT BALDLY, THAT THE MOST SERIOUS PROBLEMS CONFRONTING US AT BOTH PERSONAL AND PUBLIC LEVELS REQUIRE TECHNICAL SOLUTIONS THROUGH FAST ACCESS TO INFORMATION OTHERWISE UNAVAILABLE. they often look extremely happy) takes her skin, muscles and excess flesh and -- covering herself as best she can -- flees to the bathroom down the hall. Saul cowers for a few moments and realizes she is gone. He slowly stands and wipes some excess blood from his belly, turns this way and that, and mumbles to himself. All at once all through the neighborhood, each of the levitating TV sets comes on, as if someone had thrown a single switch. At first their screens light up crazily in random, jangling swirls. The glow from the screens plays across the lawns, gardens, and housefronts. But Moulthrop and I come out in the same place in the end, see below. It touches insensibly the faces of astonished householders turned out in disbelief. And now the agitating chaos on the many screens slows and settles. A pattern begins to emerge, clearer every second. It is a color wheel: red within blue, blue within green, green within white, white within red. Gracefully and deliberately, the wheel begins to spin.