Hey all

I am working on a re-write of one of my scripts and have come to a delimma.

The character is looking POV. Now I need to turn him in the same scene and take him out of his POV stance.

I need suggestions on how to make that happen.

RAY’S POV
Glances back at Wren.
Through the back window - A security guard and limping Sidney charge toward the taxi.
Wren turns and looks.

RAY(O.S.)
Ya in trouble buddy?
WREN
                    (sarcastic)
No. Just out getting some exercise in my wing tips and tie… Aren’t you the smart one.
He pulls a gun on Ray.
RAY
What the hell ya doin’?
WREN
Just turn around and step on the gas cabbie.
Tosses a bundle of hundreds at Ray.
WREN
Now drive!

(((Should Turn Here)))

The taxicab screeches away.
Ray gazes through the rear view mirror. He and Wren watch Sidney and the guard fade into the heat ripples off the hot asphalt.
RAY
Do you know who I am?
Wren shrugs.
WREN
Oh yeah. You’re Glenn fucking Campbell… How the hell should I know who you are. You’re just some cabbie… Should I know you?
RAY
Spose not. Ya just win the lottery?
WREN
Kinda.
RAY
Kinda?
WREN
Yeah kinda. Those two dopes chasing me. Ones my former boss and the other’s just pissed cause I stole his gun.
RAY
Look I don’t need no more trouble. Got me enough already.
WREN
Why do you have trouble? You on the run or something cabbie?
RAY
Yeah. I got some troubles.
(beat)
Hey, other then robbery, whaddya do fer that bank?
WREN
Made loans.
RAY
And withdrawals.

Ray laughs.

The radio resumes - country music.

Thanks for your help.

Spencer

Hey, you already know that I think POVs are direction that removes the reader from the story so I won’t say anything more but I will offer a slight rewrite just as food for thought. Here’s one way I might write the scene:

SLUGLINE

Ray glances back at Wren.

Through the back window - a security guard and limping Sidney charge toward the taxi.
Wren turns and looks.

RAY(O.S.)
Ya in trouble buddy?

Wren turns forward and smirks.

WREN
No. Just out getting some exercise in my wing tips and tie… Aren’t you the smart one.

He pulls a gun on Ray.

RAY
What the hell ya doin’?

WREN
Just turn around and step on the gas cabbie.

Tosses a bundle of hundreds at Ray.

WREN
Now drive!

EXTERIOR SLUGLINE

The taxicab screeches away.

Sidney and the guard fade into the heat ripples off the hot asphalt.

INTERIOR CAB SLUGLINE

Ray gazes through the rear view mirror while Wren looks back.

RAY
Do you know who I am?

Wren turns forward and shrugs.

WREN
Uh…Glenn f*****g Campbell?… How the hell should I know who you are? You’re just some cabbie… Should I know you?

RAY
Spose not. Ya just win the lottery?

WREN
Kinda.

RAY
Kinda?

WREN
Yeah kinda. Those two dopes chasing me? One’s my former boss and the other’s just pissed 'cause I stole his gun.

RAY
Look I don’t need no more trouble. Got me enough already.

WREN
Why do you have trouble? You on the run or something cabbie?

RAY
Yeah. I got some troubles…Hey, other then robbery, whaddya do fer that bank?

WREN
Made loans.

RAY
And withdrawals?

Ray laughs.

If camera directions are kept to a bare minimum (this meaning this is the only one in the entirety of the script), then using it shoudl be okay. However, Breanne's suggestion of just telling the story with the removal of the POV is a better read. Remember that even though you see it as a certain shooting method, some director someday might see it different and will change your direction as he sees fit anyway.

Furthermore, the point is conveyed simply by telling it from his perspective.  "Ray glances back at Wren." automatically makes us think from Ray's POV.  Just like in the classic "Don't direct" example.  You don't need to say "CLOSE UP:  He takes a gun out of his pocket."   Write "He takes a gun out of his pocket" and the reader's mind will close-up alone.

I would say that all you should do is write the movie. Leave the camera out of it, or find clever ways of writing your shots in the action. You don't need to include RAY'S POV, and then He glances back at Wren. Just write the action. Not too many ways to shoot that in the first place, so odds are the director might use Ray's POV after all.