Throughout the musical number the lighting in the scene progressively goes from high key to low key as the music and the action intensifies to match the overall mood. Jones opens the scene with offering Wander a place on his team. He does this by telling wander to join his “good time gang”, when Wander says that he’s trying too hard, he is offended and starts attacking with lasers from his accordion, marking the start of the lighting shift. Changing from the high-key lighting from the opening to low key lighting throughout the laser fight with the accordion and banjo.

In the scene, Dr. Screwball Jones, is the dominant character in the scene, he is in the frame for most of the scene and when he shares the frame he is obviously the one in control by taking up most of the frame. Giving him power in the scene.

The eye lines in the scene always have Screwball on higher ground. Making him constantly look down on Wander. This also adds to his dominance in the scene. It makes Wander look weaker, and insignificant in comparison. Even when Silvia is shown, albeit briefly, she is also in the lower portion of the frame as she struggles against Screwball’s feathers from his tickle machine. A machine that Screwball made to force everyone to be happy.

Magenta is the colour of the inside of the ship they’re fighting making it a dominant colour in the scene. It is also the colour of Jones's accordion laser. When Wander fights back with his own laser it’s teal. Magenta is a warm colour and teal is a cool colour, it’s a contrast of colour, just as the characters that they’re associated with in the scene are in contrast in principle, Wander presenting happiness as an option and is willing to help, while Screwball forcing them to laugh as his way of “helping” them be happy.

The characters and the colours of those characters are bright and colourful. Throughout the scene the contrast gradually decreasing as the lighting shifted from high-key to low-key. But a specific point where the contrast was lowered was where their laser fight had reached a climax and Wander’s banjo string breaks, the whole frame loses contrast and it shows a turning point in the scene where Wander is now at a disadvantage. Wander’s colours stay desaturated as Screwball gets closer to delivering the final blow.

In the scene, the framing is mostly tight so in the few shots where there are two characters in fame Wander is usually in the lower left portion of the frame, because Screwball is the dominant subject in the scene he takes up majority of the frame and is often placed in the upper right of the frame. Creating a visual representation of Wander and Screwball’s power dynamic, the former being weaker than the latter.

The framing of the scene is fairly consistent, the focus being the characters, jumping around from close up to close up give the scene a chaotic feeling. The audience doesn’t see much of the ship’s interior because the tight framing follows the action. This keeps the audience involved in the fighting amongst the characters.

The patterns in proximity between the characters follows the rise and fall of action. When the scene begins Wander and Screwball are kept in separate shots and the interaction, by way of projectiles and extended limbs, is at a distance. But as the action escalates, they are drawn closer and closer together. As they fight, they start to share the frame more and more, as the fight reaches a climax there is an extended two shot, breaking away from the trend of the jump cut from close up to close up. Giving the shot significance.