Yank's fails to impose himself on the Bourgeois he encounters on the street. He cannot attract attention to himself even by forcefully bumping into people, accosting a lady or screaming out, "Bums! Pigs! Tarts! Bitches!" The person that finally takes notice of Yank is a Gentleman that Yank causes to loose his bus. The Gentleman only calls the police because Yank interfered with his bus schedule. The Proletariat's helplessness is only equaled by the Bourgeois' egocentrism. The men and women of 5th Avenue are, indeed, like Mildred. They are described as "a procession of gaudy marionettes, yet with something of the relentless horror of Frankenstein in their detached, mechanical unawareness." The people on Fifth Avenue are detached from all things natural and have become artificial, solely concerned with themselves. O'Neil has suggested that human faces might even be obscured in this scene with masks, saying that "From the opening of the fourth scene, where Yank begins to think he enters into a masked world, even the familiar faces of his mates in the forecastle have become strange and alien. They should be masked, and the faces of everyone he encounters thereafter, including the symbolic gorilla's."
Yank is awakened to the sameness and great generality of members belonging to a like social class. In Scene Four, Yank begins to recognize the sameness of his own mates on the Ocean Liner and in Scene Five he sees the likeness all upper class to Mildred. Yank's new understanding of class intensifies his struggle to break free from his class boundaries while simultaneously making his attempt seem all the more futile.