A lone spotlight opposite the window shines on a single male performer wearing a white shirt, suspenders and brown pants. Several audience members appear in silhouette.
The performer, on bended knee, executes a series of juggling maneuvers with his beanie he is wearing on his head. A variety of objects are tied to the beanie and he is rotating his head to make them swing wildly about.
Various musical background noises begin partway through this scene. The movie transitions to…
Three female audience members look up a performer wearing purple pants with black triangle appliqués juggling bowling pins. Only the midsection of the performer is revealed in this tight close up.
Sharron Sedwick is our narrator, and begins, "I'd say the window is integral to…" as the movie transitions to…
The female in the background pulls a wig from a bag and places it on a window ledge. The female in the foreground (dressed in a low cut black dress) picks up an object outside of the camera view and shows it to the camera. It is a book titled, "Shag the Dog". She emphasizes the word "Shag" by pointing it out with her finger.
The narrator continues the remarks from above by adding, [the window is integral to] how we manage to…" The movie transitions to….
The cast member is wearing an orange-red dress that appears to have a life-size blond doll attached to it. The cast member walks in front of the window while a spot light from inside the theater shines. Once the cast member walks out of the (unseen) audience's view, the spotlight turns off.
In the final moments of the scene, the cast member moves out of the way of a pedestrian (who is not connected with the show) walking in the opposite direction (toward the camera).
The narrator continues the remarks from above by adding, [the window is integral to how we manage to] catch people's eye, how our audience feels …" The movie transitions to…
Two female and one male performer walk toward the camera. The male is wearing a yellow shirt and standing erect, while the two females crouch; hold up signs covering half of their faces and laugh with each other.
As the trio reaches the middle of the window, the two women face the (unseen) audience, while the man turns toward the audience. The woman shifts back and forth, while the man gestures behind them (including the rotating his index fingers in a circular fashion, indicating the women are lunatics).
The women turn the signs over (we cannot see what they say) and place them flat against the window while the man leans to the left and waves at the audience. The spotlight fades as the women pull the signs away.
The narrator continues the remarks from above by adding, [the window is integral to how we manage to catch people's eye, how our audience feels] it kinda makes them feel like they're in on the joke of losing that third wall and seeing how people respond out there. So there …" And the movie transitions to…
The two cast members perform for a brief moment and the spotlight fades off. As the light fades off, the cast members exit the stage to the right.
The narrator continues the remarks from above by adding, [the window is integral to how we manage to catch people's eye, and how our audience feels it kinda makes them feel like they're in on the joke of losing that third wall and seeing how people respond out there. So there] kinda brings a kid's sort of feeling …" And the movie transitions to…
The female cast member is dressed as Hilary Clinton and holds a copy of her autobiography, "Living History". As she walks toward the camera, other cast members enter the view. Hillary Clinton signs some autographs and hands her book to one bystander who jumps away with excitement. In the background, another cast member dressed as Bill Clinton walks in front of the window.
The narrator continues the remarks from above by adding, [the window is integral to how we manage to catch people's eye, and how our audience feels it kinda makes them feel like they're in on the joke of losing that third wall and seeing how people respond out there. So there kinda brings a kid's sort of feeling], a voyeur, you know, just kind of like we're all in this playhouse together kind of feeling. Plus it's, it's, ah…" And the movie transitions to…
The female has a black dress on and a black cap. She is also wearing a large set of fake buttocks on her backside. She blows kisses to the audience and then hops, rotating around to show the audience her fake buttocks. She offers them a quick glimpse and then runs away from the camera and outside of the window's view and begins to change costumes for the next scene.
The narrator continues the remarks from above by adding, [the window is integral to how we manage to catch people's eye, and how our audience feels it kinda makes them feel like they're in on the joke of losing that third wall and seeing how people respond out there. So there kinda brings a kid's sort of feeling, a voyeur, you know, just kind of like we're all in this playhouse together kind of feeling. Plus it's, it's, ah,] very unusual, so you don't see it too much and I think, I think that …" And the movie transitions to…
She is on screen very briefly, she is holding some sort of prop and she runs toward the camera. She is out of sight for a moment, and then she hops back into the scene, in front of the window and smiles at the audience.
The narrator continues the remarks from above by adding, [the window is integral to how we manage to catch people's eye, and how our audience feels it kinda makes them feel like they're in on the joke of losing that third wall and seeing how people respond out there. So there kinda brings a kid's sort of feeling, a voyeur, you know, just kind of like we're all in this playhouse together kind of feeling. Plus it's, it's, ah,] very unusual, so you don't see it too much and I think, I think that disarms people and makes them ready to enjoy the humor."
And the movie ends. Fin.