A crowd of spectators gathers in front of the main gate of a state-owned theater venue in downtown Cairo. They are prohibited from entering. The corruption of the system has allowed other spectators in from the back door, privileged spectators. Hence creating borders between the inside and the outside. Those who are outside are marginalised, deprived, dehumanised and robbed of their dignity. One woman (Independent theater artist) is among that crowd. She endures a horrible sexual violation during the frantic attempt of the crowd to push through the gate. The theater employees refuse to help her or to let her in while she goes through a horrifying panic attack and goes almost breathless. She survives and later goes into a police interrogation where she is denied of her right to justice. The scenes go back and forth interweaving the events of the crime and the interrogation. The playwright fuses the fictional spectators and the real spectators who would be watching, creating a twist where the spectators would interact and create an end via a re-enactment of the crime and the possibility to change the events retrospectively, the potential performance space would counterpart the corrupt fictional state-owned theater.