First we see two men sitting at a table next to the window, face to face. One in his early forties, obviously dominant, sometimes even showing his irritation as if he was wasting his time, the other much younger, very submissive, in a pleading attitude. They seem to be a couple, or at least former partners in life. The younger, with his back to the door, is telling about the nightmare that haunts him every night.
Later we can see the two main characters, Rita and Betty, sitting in this restaurant, at the same table where the two men had been before. The blond girl, Betty, is sitting exactly where the "dreamer" was. And the brunette, Rita, is exactly where his friend was. What is the interest of this coincidence? Actually it reveals what role the two women embody during the first part of the movie. The blond girl is the dreamer: she imagines all the "pink part" of the movie because she canít bear the reality. And like the dreamer, she is the weaker of the pair, while the brunette is the dominant one in the real world, as is revealed later.
What we can finally notice is that the "dreamer" and his partner seem to be gay, like Diane is a lesbian, and has an affair with Camilla, just another clue which helps us to find the links between the two scenes. - (Charlotte Dekens & Stijn Creemers)
Point of no return
In one flashback
scene, we are at Winkie's with the hitman. Diane fixates on different things for various reasons, but that does not mean that there is reciprocal interest being focused on her. Even the man
at the cash register did not start looking in Diane's direction until after Diane looked at him. Therefore, unlike a few other reviewers, I don't believe that the man at the cash register is a witness who can turn Diane in to the police. Instead, I think Diane's hitman was careful in what he said so as not to alert anyone who may be listening in or watching. The significance of the scene is to show us that Diane sees things like the man, the waitress and the key as certain types of symbols marking her movement up to the point of no return, and then her passing that point. The key represents the point of no return.
The presence of the bum is a self-fulfilling prophesy connected to a place like Winkie's, where food is kitsch - mass-produced junk to fit the fantasy aesthetic of an all-American breakfast - and the leftovers of which, whether the dross of food-factory production or that which diners leave unconsumed, is discharged as waste into dumpsters behind the restaurant. In this un-Disneylike "circle of life," the bum feeds on the waste of this institution - on the waste people don't feel like eating, and because we are what we eat, the bum eating waste is also the waste, or shit, of the society supporting the fast-food institution. That "god-awful feeling" about the man behind Winkie's as the one who's doing it translates into a collision between Dan's dream/fantasy outside and the reality of the bum.