External focalization
The narrative describes characters from outside, like a camera: gestures and words, never thoughts.
In external focalization, the narrator forgoes interiority: it records gestures, dialogue, surfaces — never thoughts. The reader faces the characters as strangers in a café: everything must be deduced from the visible.
It's the regime of literary "behaviorism," perfected by Hammett and by Hemingway's stories: the dryness of the outside makes the inside all the more present for being withheld. Demanding, external focalization suits short texts, scenes of tension, and moments where the opacity of other people is precisely the subject.
Example
"He set down the cup. Checked the time. Left without a word." (What he feels: yours to infer.)