The noise and intensity of the argument in the Ordo parking lot spike upwards. Randy looks at the video window, which unfortunately has no sound track. The transactions between frames come as isolated blocks of new pixels slapped up one at a time over the old, like a large billboard being posted sections. High-definition TV it ain’t. But Randy definitely recognizes Avi, standing there tall, pale, and calm, flanked by one guy who’s probably Dave the Ordo president, and another guy who’s obviously a lawyer. They are literally standing in the doorway of the building and facing off against two cops and none other than Andrew Loeb, who is in rapid motion and hence poses an insurmountable bandwidth problem. The Internet video gear is smart enough not to mess with parts of an image that aren’t changing very much, and so the planted cops get refreshed maybe a couple of times a minute, and then just in a few rectangular image-shards. But Andrew Loeb is waving his arms around, hopping up and down, lunging towards Avi from time to time, pulling back and taking calls on his cellphone, and waving documents in the air. The computers have identified him as a bunch of pixels that require a great deal of attention and bandwidth, and so somewhere some poor algorithm is churning through the high-pressure slurry of compressed pixels that is the image of Andrew Loeb, and doing its level best to freeze the most rapidly-moving parts into discrete frames and chop them up into checkerboard-squares that can be broadcast as packets over the Net. These packets arrive in Randy’s computer as the radio network passes them along, i.e., sporadically and in the wrong order. So Andrew Loeb appears as a cubist digital-video artifact, a rectilinear amoeba of mostly trench-coat-beige pixels. From time to time his eyes or his mouth will suddenly appear, disembodied, in the center of an image-block, and remain frozen there for a few seconds, crystallized in a moment of howling rage.