The Pianist Page #24

DOROTA:

Just over a year.

He nods. Brief silence.

SZPILMAN:

And how's Yurek?

DOROTA:

Dead.

Again, the awkward silence.

SZPILMAN:

When's your baby due?

DOROTA:

Christmas.

(A pause.)

This is not a good time to have

children. But then...

The door opens and Michal Dzikiewicz enters. He sees

Szpilman and stops. Szpilman stands.

DOROTA:

This is my husband. Wladyslaw

Szpilman. Marek Gebczynski sent

him.

MICHAL:

Oh, yes. I remember.

He shakes hands with Szpilman.

SZPILMAN:

Mr Gebczynski said to contact you

only in an emergency, but...

MICHAL:

Don't worry now. We can't move you

tonight.

Szpilman, dizzy, leans on the table for support.

MICHAL:

You'll sleep on the sofa.

He and Dorota look at him.

SZPILMAN:

Excuse me, could I have a piece of

bread?

MICHAL:

Yes, of course, we'll eat.

INT. DOROTA'S VILLA - MORNING

Szpilman asleep on the sofa. The sound of a cello. He opens

his eyes. Listens.

He swings his legs off the sofa, stands, and crosses to a

door. Quietly, he opens it a little.

Szpilman and his POV - another room.

Dorota, partially turned away from him, plays Bach on the

cello.

Szpilman watches her and listens.

INT. 2ND APARTMENT (4TH FLOOR), LANDING AND DOOR - NIGHT

A padlock being unlocked. Then, a key is inserted into the

Yale lock, turned, and the door opens.

Michal and Szpilman on the landing, enter the flat.

INT./EXT. 2ND APARTMENT AND STREET - NIGHT

A large room, sparsely furnished but with an upright piano

and a bed.

Michal carries a bag of provisions and puts them on a table

while Szpilman goes immediately to the window and looks

out.

SZPILMAN'S POV:

There are views of the city, but in the street below,

opposite, is a hospital and, on the corner, a building

flying a Nazi flag and guarded by a sentry, standing at

his sentry-box.

Michal comes up behind Szpilman.

MICHAL:

(in whisper)

You're in a very German area. The

building opposite is a hospital,

taking in wounded from the Russian

front. Next door is the

Schutzpolizei. It's the safest

place to be. Right in the centre

of the lion's den.

THE APARTMENT:

Michal makes for the door.

MICHAL:

I'll be locking you in. No one

knows you're here. So keep as quiet

as possible.

He nods and goes. The sound of the padlock closing. Szpilman

takes in the room. He sees the piano, is still for a moment,

then goes to it.

He sits on the piano stool and adjusts its height. He opens

the lid. A cloth covers the keys. He removes the cloth. He

gazes lovingly at the keyboard. He flexes his fingers.

Then, without touching the keys, his fingers floating just

above them, he plays. Silently. Passionately.

EXT. CITY SKYLINE. POINT OF VIEW THROUGH WINDOW - DAY

Snow falling.

INT. 2ND APARTMENT - DAY

Szpilman alert, hearing the padlock being unlocked and

then iheYdle. The door opens and Michal enters, accompanied

by a man, aged about thirty, Szalas, confident, a little

brash.

In whispers:

MICHAL:

All well?

SZPILMAN:

Thank you.

MICHAL:

This is Antek Szalas.

Szalas and Szpilman shake hands.

MICHAL:

He's going to look after you. I've

given him a second key. He'll bring

you food. See that you're all right.

He's with the underground, a good

man.

Szalas produces a quarter bottle of vodka, thumps the back

of the bottle so that the cork flies out. He finds glasses

and pours. While he does all this:

SZALAS:

You don't remember me, Mr. Szpilman?

SZPILMAN:

No, I don't think so?

SZALAS:

Warsaw Radio. I was a technician.

I saw you almost every day.

SZPILMAN:

Sorry, I don't remember.

SZALAS:

Doesn't matter. You've nothing to

worry about. I'll visit often.

MICHAL:

And you'll be pleased to hear the

Allies are bombing Germany night

after night - Cologne, Hamburg,

Berlin.

SZALAS:

And the Russians are really giving

them hell. It's the beginning of

the end.

He gives the others their vodka.

MICHAL:

Let's hope so. I don't know when

I'll see you again?

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