In the right-top panel, a premature creature with a gussied up computer skims off gains; no product or service provided.

Accumulations give options for personal gratification. Women in his pool give him no heed (left top). He goes to the girl catalogue without success. The swimmers don’t respond to gifts in the form of likenesses on adjacent jigsaw pieces (red). All possibilities exhausted, he goes to purgatory. Escape is possible. His gold fetish dulls perception as he cranks out gold bricks from rubbish shoveled into the smelter. Escape buttons allow escape when he abandons his gold fetish. The Miro ladder, wheel at the end, tempts him. Using the ladder, he is tipped back into the smelter for the reward of a daily cup of water. If he escapes, he could experience the love shown in the green lower left panel where the lovers are entwined around each other. In the lower mid section, the raveling up of time shows in the captioned, “O MIRO, AGED HANDS TENACIOUSLY GRIP LIFE’S LINE BEFORE THE ABYSS”. Finally, confirmed by images taken from the lower left panel, love is possible. Miro’s use of symbols (snakes, etc.) decorate the piece. His ladder reminds us of Jacob’s frustrated hope to take Rachel as wife, but Leah comes first by age. His dreams are of escape to his preferred hope.