For the Master shot from the back, I set my exposure in camera based on just containing the brightest highlights out the window. I then boosted the interior with 1 1.2K PAR plus an 800 joker bounced into a 4x8 beadboard, behind and to the side of camera.
There were 2 1.2K PARs outside the window backlighting the actors and casting the pattern on the side wall.
The set-up was more or less the same for the 2 shot and close ups of the actors against the window.
For the turnaround: the 2 shot and singles of Famke and JT, we had the 2 outdoor 1.2Ks coming through a 6x6 silk outside the window, somewhat frontal, but a little to the side to keep some shape. I also had a 4x4 diffusion frame (probably Opal) indoors, close to Famke to soften it further. We had a 4x4 Joker bounce for a soft back light on them. The tungsten lighting in the background of the restaurant was existing in the location, and I put a 4x4 Kino behind the bar to light the middle ground as the background actors walked through the space.
And to my surprise, Ted Schilowitz stopped by for an unannounced visit while I was lighting the turnaround.