Nicolas Roeg, in his well-crafted psychological thriller Don’t Look Now, is sure to pack as much meaning as possible into every frame of the film.  Consequently, we can explore the thematic elements of optics and grief on a deeper level for a richer understanding as well as even make more accurate plot predictions through careful attention to every detail presented in this film.  The second scene at the restaurant presents an excellent example of Roeg’s ability to take advantage of editing and cinematography, particularly the eyeline match, allowed through the film media to underline his themes and present his motifs with subtlety.  The scene occurs some time after the death of the young Christine Baxter who drowned while playing on the grounds of the Baxter’s old English home.  The parents, John and Laura, have now moved to Venice for a contracting job between John and a bishop to restore an old church.  Through the presentation of the first scene, a careful audience will already be aware of the developing theme of optics, or the varying ways humans perceive things, at this time.  The second scene at the restaurant is very important because it allows the audience to further understand the theme of optics, introduces new themes and characters, and draws a subtle but important connection between one of those new characters and John Baxter.
	Immediately following the tragic events witnessed in the opening sequence of Don’t Look Now, Nicolas Roeg abruptly shifts the setting from an English country home to Venice, Italy.  As John Baxter enters the restaurant and sits down to have a seemingly normal conversation with his wife, we begin to understand a new theme presented in the movie, which is how the characters deal with grief.  Presenting this normal conversation only a few short minutes after the drowning scene can only imply a repressed feeling of guilt.  A few seconds later John glances over his wife’s shoulder and notices two women sitting at another table.  An unspoken connection is thus introduced between John and the lady in the light brown jacket, and it will be reiterated throughout this scene multiple times.  An extremely important event occurs next in which John begins complaining that he feels cold while Laura continues sitting comfortably.  Although both John and the audience are currently unaware of his gift of second sight, John is currently experiencing the presence of his daughter Christine, as confirmed later when the psychic woman says she can see Christine as well sitting between them at the table.  Here, Roeg presents the first piece of evidence of John’s supernatural gift in the film.