Plot
Svein (Thomas Saraby Vatle) is a small boy with a pet rat, Halvorsen. His friend Dan has also one, James Bond. To Svein's regret many people consider rats to be a pest. After Halvorsen has knawed on too many electric cables and a water hose of the washing machine, Svein's parents decide Svein cannot keep it, and they bring it to the pet shop. Dan tries to buy him back for Sven, but the shopkeeper tells him that pets are not sold to minors. By threatening to expose fraudulous behavior of the shopkeeper (who sold an unsuitable animal as guide dog to a blind man) Dan gets Halvorsen. He can stay now with him.
There is an upcoming pet competition in town. Svein assumes that rats cannot participate, and is afraid to ask, but his friend Melissa inquires; it turns out that rats are accepted; she registers Halvorsen. With Melissa's help Svein trains him to do tricks, but Halvorsen fails in the first attempt in the competition. Svein realizes that Halvorsen does not like to do tricks, and promises him that he never has to do them again.. Svein is allowed to let the rat try again, but he declines. However, Halvorsen wins the title "pet of the year" for his friendship with Svein. Later Svein gives Melissa her own rat.
Read more about this topic: Svein And The Rat
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)