P:O.V. No.3

Eating Out

Written and directed by Pål Sletaune

Post production shooting script reconstructed by Richard Raskin

Shot 1
A raw hamburger is plopped down and sizzles on a grill caked with grease and littered with the charred remains of other bits of meat.
Shot 2
A short-order COOK is working the grill. His stringy, greasy hair hangs down out of his hat and he is wearing a net undershirt.
Shot 3
A slice of cheese is placed beside the raw burger, which the COOK now turns over.
Shot 4
COOK now turns, reaching his hand (out of frame) outward toward our right.
Shot 5
COOK drops a knife and fork on a counter surface caked with grease and food debris. The customer picks up the knife and fork and arranges them properly on the counter.
Shot 6
A plastic bottle squirts a pink sauce onto the burger, which is flanked by burnt french fries and some kind of green vegetable. The sound of the squirting sauce is accompanied by thunder. COOK's hand lifts the plate.
Shot 7
COOK turns away; his undershirt is filthy. We now face the customer, whose parka hood is up. Behind him is a window, caked with filth. "PARKA" picks up the knife and fork and pushes the fries away from his burger.
Shot 8
COOK adjusts the tuner on his ghetto blaster, from which opera music will soon issue.
Shot 9
PARKA continues making room around his burger sandwich, before beginning to cut it.
Shot 10
PARKA cuts his sandwich with knife and fork. He raises his fork with a piece of the burger to his mouth, chews it, rises slightly in his chair, then sinks again, wiping his mouth with a paper napkin.

Shot 11
COOK continues adjusting the tuner of his ghetto blaster. We now hear opera music. The camera pans right as he turns to work at the grill, shakes the fries basket, and moves out of frame toward our right, as ROY and JULIE enter the diner.
(ROY pulls a pistol out from inside his jacket. He aims it at the COOK. There is a piece of cloth or paper draped over the gun.
ROY: Give me the money!
PARKA continues chewing. Nothing happens. Loud music continues playing.
ROY (hysterically): Give me the money!Still nothing happens. The camera pans left to follow ROY, who rushes over to the ghetto blaster, fiddling with the tuner and knocking the radio down on its side. For the third time he calls out:
ROY (hysterically): Give me the money!
Shot 12
COOK turns his head to face ROY, then turns back to look at the grill he is scraping as he addresses ROY.
COOK: Can't you see I'm busy?
Shot 13
COOK (as he scrapes and wipes the grill): You'll have to wait until I'm finished.
ROY turns to look at JULIE, who is off camera.
Shot 14
JULIE holds her bare arms to keep warm. Her eyes turn from ROY toward PARKA. The camera pans right to follow her over toward him as she peeks down into his plate. He is still chewing.
Shot 15
ROY moves toward our right and COOK, with his back toward us, enters the frame, moving toward our left.
Shot 16
A huge stain of ketchup and grease on COOK's undershirt resembles a bloody wound. He sizes up the situation, then removes a stack of dirty dishes from the counter.
Shot 17
PARKA continues chewing and cutting his food, as JULIE moves over to his other side.
Shot 18
COOK removes change from his cash register, while ROY has his pistol aimed at him.
JULIE (to PARKA, both off camera): Does it taste good?
Shot 19
PARKA nods yes in answer to her question.
JULIE (turning toward ROY): Roy, I want one of those.
ROY (off camera): Huh?
JULIE: I want one. I'm hungry.
Shot 20
ROY: You can't eat now!
JULIE: I haven't eaten anything all day.
ROY: You'll get something to eat afterwards.
Shot 21
JULIE: I'm hungry now. (A few moments pass.)
PARKA (speaking quietly, without looking at JULIE): This one is the best. No. 37. No. 36 is also good...
Shot 22
Reaction shot of COOK looking up intensely at PARKA.
Shot 23
PARKA (off camera, continuing): ...but Number 37 has a...
Shot 24
PARKA: ...nice filling and consistency. That's what I would recommend.
JULIE (shivering, to ROY): You heard what he said. I want one of those.
Shot 25
ROY (to COOK): Give her one. Quick!
COOK: I can't do two things at the same time....
Shot 26
COOK: ...Do you want the money first and then the burger, or the burger first and then the money?
Shot 27
ROY's eyes turn fleetingly toward JULIE once or twice. He doesn't know what to answer.
Shot 28
JULIE: Food.
Shot 29
ROY (hysterically): You heard what she said.COOK turns toward the grill and begins scraping it.
Shot 30
JULIE sits down on the stool next to PARKA's. He continues chewing.
Shot 31
COOK lifts the burger from the filthy grill, wipes the grill with a wet rag, then turns the burger over and puts it down again.
Shot 32
JULIE: Do you eat here often?
PARKA nods "yes" as he continues cutting his food. JULIE looks around then says: It's nice here.
PARKA, till chewing, looks around, then nods "yes."
Shot 33
ROY nervously holds the gun on COOK (off camera).
Shot 34
JULIE: Do a lot of people come here? ROY (off camera): Julie...
Shot 35
ROY: ...cut it out!
Shot 36
JULIE (turned toward ROY). Come on! (Then facing PARKA, explaining): We never meet anyone. We rush off and never get to know anyone.
Shot 37
ROY, still holding the gun on COOK, backs away from the counter, as the sound of a police siren soon becomes audible.
ROY (desperately): Dammit, Julie. We have to get out of here. Come on.
Shot 38
COOK turned toward ROY who is now off camera.
COOK: Didn't you want the money?
Shot 39
ROY (at the door, the sirens louder): Are you coming, Julie?
JULIE: Take it easy. I have to eat first.
ROY exits. COOK puts a plate of food in front of JULIE, who eagerly picks up the burger and bites into it. PARKA quickly moves the knife and fork closer to her. She puts the burger down and begins cutting into it, using knife and fork.
Shot 40
COOK puts his ghetto blaster right side up again and begins to fiddle with the tuner.
Shot 41
When JULIE snivels, he wipes her nose with the arm of his coat.
JULIE nods "yes," and eats.
PARKER: You may lean up against my parka, if you like.
JULIE moves her plate closer to his, then sits up against PARKER, leaning into him. They are now eating synchronously.