God, and her two boyfriends

Each, of the three, would be a dance-gesture in front of the window. 

     Each, of the three would be the window's "dance-gesture".

The dance-gesture, which is the refrain, is an ambition to identify. 

      The exactness, being attempted to locate, is the supernatural routine. 

Its vagueness isn't philosophically sufficient, but is scientifically so, and, despite the now divulged identity - God, and her two boyfriends, being the three's identity - being science's veracity, the said vagueness of the said supernatural routine still isn't philosophically sufficient, despite the science volume's poetic inference. 

The gothic, of music - such as Come Back, by Keith Sweat; it hardly measures up, rises up, and hardly meets up with the romantic, poetic and philosophical intensity of the window's dance-gesture, used by God and her two boyfriends (the UCM and the MOE).

The deterrent, against the three, notwithstanding the three's scientific innocence (this is just about philosophy, which despite its previous call to deficiency, can now still work in reverse), is the new ambition.

      The real meaning, of charisma.

The user, of the original ambition, i.e. the world, of the original ambition (the world just to the original ambition), would fall in love, with linking Keith Sweat's Come Back to God, to the UCM and the MOE. They wouldn't imitate, the supernatural routine (a theme which, now in passing, can be put to use by the new ambition). As adjacent, currently as they are, to the three (a misfortune, whose origin it turns out is through the fault of nobody), the user in question's mystique of belief (not a meaning, of belief's possession of mystique - a doppelganger system, of belief's possession of mystique) regarding the window's dance-gesture was awesome, to put it mildly.

The scientific deconstruction, afforded by house-knowledge, by house-exposure (getting to see and know the house, lived in, by God and her two boyfriends), applied to the man who was the private worshipper and private knowledge of the three, isn't the cause of the adjacency, recently ascribed, to the user man. 

                                     The cause: the visual science.

Were one to say, "the visual science, separating the three from the user man", the outcome disposition, is a hollow type of philosophy, whose lack of science veracity (not an ironic invocation, of irony, along the current philosophy reference's physics apparatus; the past philosophy reference didn't want the science realm in the first place) doesn't matter to the outcome's veracity.

                                           The better, more accurate language?

Visuals. Images. Outlines. Borderlines.

      Suffice to say, pertaining to one, or even perhaps two, any extravagancy of alignments about the listed is doable. 

                                        Of course however, three is but a deadly triangle.

In the end, there's the new ambition. 

       The speech units, that exist, in the 2003 Iraq war universe, and in the British football hooligan universe.

UCM = Ultimate Cerebral Master

MOE = Master of Evil