text / (UK) Ronald Harwood
Translated / Cao
Yijianxian. At the beginning of the film are several black-and-white news pictures, describing the scene of Warsaw before it was occupied by Germany in 1939. The weather is clear and the crowds are busy in the cheerful and charming town. The background music is Frederick Chopin's "C-sharp Serenade" played by Vladislav Shpilman on the piano. The gentle and powerful melody accompanies the news pictures.
Warsaw, location, day
1. Panoramic view of a traffic artery in the Polish capital. In the sun, several trams shuttle back and forth.
2. Medium shot. In the background of the previous scene, a statue of Jesus with arms raised stood on the square. There were several pedestrians and a cyclist.
3. Medium shot. Trams, cars, and bicycles together occupy a busy street lane.
4. Medium shot. A single-horse horse-drawn cart travels from left to right in the drawing.
5. A panoramic view of the National Theater of the Warsaw Opera House.
6. Vision. The Polish middle class walked carefree in a leafy park in the city. Subtitles, white capital letters: "Warsaw 1939" appears on the screen in superimposition.
7. Vision. One end of the park faces the arcade of an official building. Panoramic, the camera moves slightly down to the walker.
8. Vision. The camera stops for a while on the park path where pedestrians are walking.
9. Half-length lens. Some pedestrians come and go, others rest on the benches near the park entrance.
10. Medium shot. The middle-class family cars were parked side by side on the sidewalk diagonally under the care of their drivers, while the crowd gathered on the road next to the park.
11. Half-length lens. Several pedestrians were waiting for the train at a tram stop on a busy street. A tram stopped in the back view, and the next passenger walked away.
12. Half-length lens, close-up shot. A newspaper vendor ran towards the camera, holding a bundle of newspapers in his left arm. The panorama moves to the right, and the hawkers move closer and closer.
Warsaw, Poland Radio Studio, interior view, day
13. The screen changed from black and white to color. At the right end of the picture is a close shot of the hands of a pianist (that is, Vladislav Shpilman). He sits sideways facing the camera and continues to play the melody we heard in the first few scenes of the movie. The lens is pulled to the piano keys a little later, and after a short pause, it slowly rises, and the panorama moves to the right, and the pianist (played by Adrian Brody) is taken into the lens from the side. He was dressed in a light gray suit and tie. In the background, several music stands and a double bass show the whole picture of the recording studio. Vladislav Shpilman worked intently.
14. Reverse the half-length lens. Behind the rectangular glass window of the recording studio, the radio host sits behind the microphone 3/4 side. Behind him is the window glass pasted with cross-shaped scotch tape, which is reminiscent of the German bombing of the city. The host was also dressed in a suit and tie, staring at a sheet of music intensively and enjoying Chopin's music.
15. Reverse the lens. The camera zooms in, and the player sits sideways facing the camera, still playing the piano. At this time, there was an explosion sound from a long distance outside, and he calmly raised his eyes and looked out the window. The camera shot back from the left, but he did not stop playing.
16. Same as lens 14. Reverse the lens. The radio host turned to the window several times and appeared more anxious.
17. Same as lens 15. Reverse the lens. There was a loud and closer explosion. The pianist was taken aback. He shuddered and dodged to one side, trying to avoid danger, but soon resumed playing.
18. Same as lens 16. Reverse the lens. Under the impact of the explosive air current, fragments of shattered windowpanes flew across, and the host suddenly stood up and looked at Vladislav Shpilman (hereinafter referred to as Vladik) at a loss.
19. Same as lens 13 at the end. Reverse the lens. A very close shot of Fladick's face. He still played calmly, ignoring the plaster falling from the ceiling. The explosion outside became more urgent.
20. Same as lens 18. Reverse the lens. An older man, possibly the head of the station, signaled to the host to stop the show immediately behind the glass window in the studio.
21. Same as lens 19. Reverse the lens. While playing, Fladick looked at the two men, his expression anxious.
22. Same as lens 20. Reverse the lens. The two men motioned for him to stop playing. The director left the recording studio.
23. Same as lens 21. Reverse the lens. Fladik expressed to the impatient host that he was unwilling to interrupt the movement.
24. Same as lens 22. Reverse the lens. The host stood up, unplugged a few wires, and left the recording studio quickly.
25. Same as lens 23. Reverse the lens. Vladik continued to play desperately.
26. Half-length lens. A close-up shot of Vladick, with his back to the camera half-side, still sitting in front of the piano. In the background, the shards of the glass window of the recording studio were once again splashed in all directions under the strong impact of the explosive air current, and then a thick smoke and dust poured into it. The glass in the recording studio was shattered, and Fladick drew back and quickly hid behind the piano.
27. Reversal shots of convergence. Close shot. The camera quickly shot to the front of Fladick, who was standing in the smoky recording studio.
Polish radio hall, stairwell, interior view, day
28. Half-length shot, shot from above. The men and women in the building rushed down the stairs screaming and rushed towards the exit facing the camera. The panorama shifted to the right, and framed a young and beautiful blonde hurriedly in the riot. Close shot. She is Dorota (played by Emilia Fox). When she saw Fladik walking down the opposite staircase, she stopped and slowly turned to him.
29. Close-up, half-length lens. Vladik walked towards the camera in the frantic crowd and walked out of the opposite stairwell. There is a slight wound on his forehead.
30. Same lens at the end of 28. Close shot. Fladick passed by Dorota with his back to the camera, Dorota stood half-side facing the camera.
Dorota: Mr. Shpilman?
Fladik (stops and turns to her side): Hello.
Dorota (I am so happy to meet this artist that I forgot to run away): I came to visit you specially, and I really like your way of playing.
Fladik (he also ignored the panic in the hall, as if attracted by the beauty of this young woman): Are you?
Dorota: My name is Dorota.
Her brother, Jurek (Mihav Zebrowski) suddenly appeared at this time, facing the camera a few steps forward and approaching them, Dorota turned to him for a moment.
Dorota: I'm Yurek's sister. (Found the wound on Fladick's forehead, very worried) Are you bleeding?
31. Vladik stands facing the camera, close-up, with Dorota's back in the foreground on the left.
Vladik (covering the wound with a handkerchief, smiling): It's nothing, it's just...
Jurek (outside the picture): Come on, Dorota...
32. Same shot 30.
Jurek (in the painting, already downstairs): You will write to him in a few days to express your admiration. It is not the time now (Dorota followed him, but his eyes did not leave the artist. The camera is slightly Shake down).
33. Reverse the lens. Vladik faces the close-up shot of the camera. The camera shoots upwards from the bottom of the stairs.
Vladik: Yurek! ……
34. Reverse the lens. Half-length camera, slightly overhead shot.
Vladik followed Yurek and Dorota, who walked away from the camera in the hall and into the background.
Vladik: Why did you hide her?
Another explosion shattered a glass window. Another burst of smoke invaded the building.
Shpilman's house, Sriska Street, interior view,
35. Close up in the evening . Henrik (Ed Stoppard), Fladick’s younger brother, is sitting next to the radio with his back facing the camera, trying to tune out a band of the radio. He is wearing a striped shirt and a floral sweater. A huge tapestry hung on the wall. This is a middle-class residence.
Father (outside the painting): I don't know what to bring.
Mother (outside the picture): You always bring too much.
36. Half-length lens. Fladick's mother (Maureen Lipman) is surrounded by two daughters: Requena (Julia Rainer) and Halina (Jessica Kate Meyer). She held a pile of clothes restlessly in the dining room. The suitcases opened in the room reminded one of the imminent escape. Outside the painting, the alarm kept sounding.
Regina: How many boxes do you want to bring?
Halina: I want to bring my red dress.
As the two girls walked out of the room, the camera was framed to the side of the mother who was kneeling on the ground. In front of her was an open box on the ground. The lens is pushed forward slightly, and the panorama moves down. Close shot. A portrait held by Fladik's father (outside the painting) is drawn from the right.
Father (outside the painting): Tell me... Do you think... Do you think I should carry the portrait of Uncle Simon.
Pulling behind the camera, framed his father (Frank Finley) from the right, and he stood beside his wife.
Mother (who is at a loss, and anxiously): Take it, don't bring it... You can bring whatever you want! (In the back view, Halina re-enters the room, holding a red dress) Can't you see that I'm almost annoying!
Father (leaves his wife): Oh... he is coming back! Everything will be fine (the camera follows from the right).
37. Half-length lens. The door opened, and Fladick was on the right side of the background. He walked in facing the camera, while his sister Requena stopped on the left side of the foreground and turned to him.
Halina (outside the picture): We should bring another suitcase for shoes.
Regina (seeing brother): Fladick! (Picture from the left, relieved) Mom, (outside the picture), Fladick is back.
Vladick walked forward and put the key on a cabinet that he passed through when he entered the door.
38. Half-length lens. Regina came to her mother who was still kneeling in front of the box. Outside the painting, the sound of the radio can be faintly heard.
Mother (Standing up, feeling relieved too, the two women turned towards the camera and turned to Vladick outside the picture on the right.): Oh! Thank goodness, Fladick... (At the same time, Fladick enters the foreground, half-side facing the camera, located on the right of the painting; mother found the wound on his forehead and is very worried) You are injured...
Fladick (walking in the room) Step, I was surprised to find the suitcase next to me. The camera is pushed forward, the panorama shifts to the left): Nothing, nothing... It's just a small scratch.
Mother: I'm so worried (Harina entered the painting from the left, folding her red dress).
Henrik: I have told him not to do this... (At this moment, Fladick turned to his brother who was sitting outside the painting on the left.)
39. Same shot 35. Henrik sat next to the radio, facing his brother outside the picture.
Henrik (sarcastically): You have your credentials, even if you get bombed, people will know where to send you (turning to the radio again, Harina’s laughter is heard outside the picture).
40. The same lens 38. Halina walked away, smiling and drawing from the left.
Mother (surprised): Henrik! Henrik, stop talking...Stop talking like that (Regina enters the screen and picks up the things wrapped on the table)!
Father: I can't find anything.
Mother: God will bless us! God will bless us!
Halina (outside the picture): Dad, Dad...
41. Half- length shot. Halina walked to her father, who was walking around the next room with the violin facing the camera.
Halina (in the painting, back view): Vladick is back.
Father: What am I telling you? ! (He quickly draws from the foreground. Halina faces the camera and follows him)...Fladick
(outside the painting): What are you doing?
42. Same as lens 40. Fladik stood in the dining room half-side facing the camera, surrounded by a hectic and uneasy atmosphere. The father walked in, followed by the daughters.
Halina (walking in from outside the painting): Who saw my big hat?
Regina: What do you think I am doing? ...
Pushing to Fladick in front of the camera, it becomes a close-up shot.
Vladik: I don't know... (turns to Henrik outside the picture, the camera is shot from the left) They are bombing, and the radio stops.
43. Same as lens 39.
Henrik (turning sideways to his brother outside the picture, unhappily): Polish radio is not the only one.
44. Same as lens 42.
Mother (from the back view to the son, to the close view, half-side facing the camera): Huh? Prepare your luggage, baby. Pack your things, and then organize your boxes.
Vladik: Where are we going?
Mother: Stay away from Warsaw (picture from the left).
Vladik: Away from Warsaw? Where to go?
Regina (busy to pack the silverware, standing on the left side of the background, facing the camera): Don’t you know?
Vladik: What do you know?
Regina: You didn't read the newspaper? ……
Mother (outside the painting): Pack the porcelain and tableware into two bags.
Regina: Oh! ...Where is the newspaper?
45. Half-length shot of Halina. She is sorting things in the study room next door...
Halina (coming towards the camera): I used it to pack things.
Regina (outside the picture): Oh...
46. Same shot 43.
Regina (in the painting, annoyed): She used it to pack things! ...The
camera shifted slightly to the right. At this time, Vladik’s father
turned his back to the camera and entered the painting from the right. He took a magazine and entered the dining room— Father (turning to Vladick): The government has moved to Lublin.
Halina (outside the picture): All healthy men...
47. Same shot 45.
Halina (facing the camera and standing by the door of the study in the living room, she said to Vladick outside the painting): ...all should leave the city and build a new line of defense across the river—they are Said so.
48. The same lens 46.
Father (put the magazine in the background, then back to the camera): Actually there will be no people here (then turn to Vladick, the camera will pull later), only women are left, and all men are gone (from the foreground) Out of the picture)...
Fladick (follow him, the camera moves to the right and follow the shot): Are you planning to use these heavy boxes to build a new line of defense?
Half-length shot. Fladick stood behind his father, who was busy retrieving what he wanted from the dining room next door.
Mother (outside the picture, the camera is shot from mother's direction in the dining room): Pack your suitcase, Fladick. We don't have time to argue.
Fladick (to mother): I'm not going anywhere.
49. Close shot of Halina.
Halina (turning quickly to her brother outside the picture on the right, facing the camera, surprised and happy at what he said): Great! (She sits down and makes up her mind) I'm not leaving either.
Mother (outside the picture): Don't be too ridiculous! ……
50. Same as the end of lens 48. Father walked past Fladick, painted from the foreground, and walked out of the dining room. Fladick leaned against the door and faced the camera.
Mother (outside the picture): We have to be together.
Radio broadcast (suddenly clearer at this time, outside the picture): Please note... the following is an important announcement...
Fladick: No, listen... If I must die, I would rather die in my own home.
Mother (outside the picture): God bless.
Henrik (outside the picture): Hush! Quiet! ……
51. A very close shot of Henrik's half-profile back, he leaned close to the radio——-
Henrik (adjust the frequency): I got it, you guys listen!
Radio announcer (voice is very clear at this time): We learned from the BBC in London... (The camera is zoomed into a close-up. Everyone comes to the radio, or sits or stands) The British government has not received the German government’s comments on the British side The reply to the ultimatum... has decided to go to war on Nazi Germany (everyone was relieved after hearing the news).
Father (standing, half-side facing the camera, towards the radio): Oh, oh, oh! Very good! Very good!
Radio announcer: We are looking forward (suddenly, interfered by German radio)...
Henrik and his father kept beating on the radio again and again.
Fladick (half side facing the camera, sitting on the right side of the foreground, motioning for them to stop) etc...
Radio announcer (voice becomes clear again)... In the following time, France did the same Decide. (Everyone breathes a sigh of relief) Poland is no longer alone.
Everyone stood up and leaned together, and Fladick held his family in his arms. Everyone hugs and kisses for a long time. At the same time, an official hymn was playing on the radio.
Mother: Thank goodness!
Father (both happy and excited): Oh, oh, oh! This is really amazing! Very good! Very good!
Spurman's dining room, interior view, night
52. Close shot, slightly overhead shot: Father is drawing on the left, side facing the camera and filling the glass with wine. The camera is pulled back and positioned at the half-length shot of a family at the dining table. The dinner is over. Presents an atmosphere of joy. On the right, the mother faces the father at the other end of the dining table and begins to tidy the dining table.
Henrik (faces the camera and sits next to his sister Halina, lit a cigarette, and looks satiated): Mom, you did a great meal for this meal!
Vladik (sit next to Regina facing her brother, her half-side facing away from the camera): Hmm! It's really good.
Mother: This is a good opportunity that deserves some thought.
Father (raising the glass): Cheers to Great Britain and France! (Everyone stands up and raises their glasses) What am I telling you? ! Ok? ……
53. Father's close-up shot, standing facing the camera, in the foreground is him reaching out to clink glasses ---
Father: Everything will be fine! (The whole family clinks glasses to each other) Oh! ...
Warsaw, street, exterior, day
54. Vision. The German troops occupying Warsaw marched through the streets of Warsaw in three columns. Several buildings have been damaged by the war. In the distance, a dead horse was lying on the road. The German army boots stepped on the road rhythmically.
55. Close shot. Fladik, with his father and brother Henrik beside him, stood silently facing the camera on the street, watching the soldiers passing by.
56. Medium shot. The soldiers marched on the street half-side facing the camera. We can see the streets that were destroyed after the air raid in the background. In the foreground are two German soldiers directing traffic. They are half-side facing the camera, standing on both sides of their car on the left.
57. Same lens 55. Out of disgust with the sight, Henrik turned his back to the camera and walked away. His father followed closely, but Fladick remained motionless.
58. Intermediate shots. From the back of Fladick, he still looked at the occupying forces; at the same time, his father painted from the right. Fladik followed him, also drawing from the right.
59. Medium shot. The German army passed the statue of Jesus that appeared in the opening black and white expansion. A German photographer is shooting this scene.
Shpilman's house, interior view, day
60. Half- length shot. Halina and her mother are standing back in front of the dining room window, each windowpane is glued with cross-scotch tape.
61. Close shot. Fladik's father sat at the table facing the camera, and had just counted the few banknotes left in the family. In the background, Vladick waited absently, facing the camera and leaning against the door that opened to the living room; he plucked a few notes on the violin strings with his fingers.
Father (put the last few coins on a roll of bills on the table in front of him): 5003.
62. A close shot of Halina and her mother, standing in front of the window with their backs to the camera.
Mother (turning to the husband outside the picture, worriedly): Is this all?
Father (outside the picture): Yes.
63. Same lens 61.
Father: 5003 zloty, this is all we have.
64. Regina's middle shot. She sat facing the camera at the desk in the next room, and the camera shot from the dining room.
Regina (put down the newspaper she was reading): 3003 zlotys are superfluous.
65. The same lens 63. The father began to listen carefully to what his daughter said, and then Regina walked out of the study facing the camera ---
Regina (reading the newspaper while walking): Listen, "The new restrictions on cash..."
66. Convergent half-length Lens. She walked out of the study, read the newspaper, and came facing the camera ---
Regina: "The Jews can only keep two thousand zlotys" (she doesn't move, very close shot)...
67. Same camera 65. Lens connection. Regina entered the painting from the left, facing her father, and threw the newspaper on the table in front of her father.
Mother (outside the picture): Then what shall we do with the rest (husband looks up at her with anxious expression)?
Halina (outside the painting, confidently): Put them on...
68. Same shot 62. Halina is sitting in front of the window sill facing the camera half-side, with her mother standing next to her (front).
Halina: ...the bank, it's in the frozen account.
Henrik (outside the painting, interrupting her coldly): Bank...
69. A close-up shot of Henrik, he is facing the camera half-side, sitting on the couch.
Henrik (looking at his sister outside the picture on the right): Who would be so stupid to deposit money in a German bank? !
Regina (outside the painting): We can hide it in...
70. Same lens 60. Half-length shot.
Regina (towards a green plant in front of her): Look... (Looking at the father outside the picture, gently lifting the plant) We can put the money in the flowerpot.
Father (outside the picture): No, no...
71. Same lens 67.
Father: Let us use ancient tricks.
72. Same as lens 70.
Father (outside the picture): In the last war...
73. Same scene 71.
Father (stands up from the table, shakes under the camera): ...we drilled a hole in the corner of the table... (He leaned forward and knocked on the table three times — — shake under the camera — — stood up again ———The camera shakes up) and hides the money here (Fladic faces the camera and approaches his father from the back).
74. The same lens 69.
Henrik (facing the father on the left side of the painting): What if they move the table?
75. Same lens 72.
Mother (worried): What do you mean?
Henrik (outside the picture): Those Germans...
76. Same shot 74.
Henrik (to the mother on the left side of the painting):...break into the Jewish house and take everything they want: furniture, valuables... (He stands up, the camera pans up, and moves to the left.) What they want everything.
Mother (outside the picture): Really?
77. The same lens 73. Vladick walked behind his father, facing the camera, holding the violin, close shot.
78. Father is standing by the table, a close-up of one end of the table. His hand gripped a wooden board on the tabletop and slammed it outwards, and the whole wooden board fell off the table.
Mother (surprised, outside the picture): Oh! ……
79. Same as lens 75.
Mother (coming towards the camera): My God! What are you doing (very close shot, she stops, looking at the table outside the painting)? !
Halina (who has been studying the green plant carefully in the background): No, listen to me! ……
80. Same lens 77. Fladick looked at the table, a little funny. At this time, my father was at a loss.
Halina (outside the painting, no one really listens to her): This is indeed the best way to hide money.
81. The same lens 78. Father is trying to put the wooden sticks back into place.
Halina (outside the painting): No one will notice the inside of the flowerpot.
82. Henrik stood facing the camera, close-up shot.
Henrik (coming over and leaning at the table): No, no, no. Listen to me, I have been thinking about it for a long time.
83. The same lens 80.
Fladik (looks at his younger brother on the left side outside the painting, with a sarcastic expression): Ah! There is a new idea (both he and his father turned to Henrik)!
Henrik (outside the picture): Do you know how I do it? ……
84. Same as lens 82.
Henrik (very serious): I will use psychological tactics.
Vladik (outside the picture): What is it for? ...
Henrik (leaning over the table outside the picture in front of him): We put the money...
85. Same shot 81. Henrik's hands close-up.
Henrik (putting the money with the hanging watch): Put the watch on the table... (then grab the newspaper and cover them) and cover it conspicuously like this.
86. The same lens 84. Henrik stood up, as if satisfied with his strategy.
Halina (outside the picture): Hahaha!
87. A close-up shot of Halina, she laughed more than ever behind her mother.
Halina:......Hahaha......
88. Same shot 83.
Vladik: Are you an idiot or what?
Henrik (outside the picture): Those Germans...
89. Same shot 86.
Henrik (in the painting)... will search all hidden corners, I promise they will not notice here.
90. Same as lens 88.
Vladik: Totally an idiot (leaning over the table)!
91. Same as lens 85.
Fladick (takes the newspaper away, revealing the banknotes and watch): Of course they will find out. (Pick up a banknote and fold it up, while holding the violin in the other hand --- the camera shakes up slightly) Look...Look at...
92. Same as camera 90.
Fladik (a glance at his brother): What an idiot!
93. Same lens 91. With one hand, he made the appearance of putting the banknote into the violin column.
Henrik (outside the painting, funny): Oh, oh! ……
94. Same with lens 89.
Henrik: Say I'm an idiot!
95. Same lens 87.
Mother: No, this is a good idea. This is the last place you can...
96. Same lens 94.
Henrik (interrupting mother): It will take several hours...
Mother (outside the picture): We don't...
97. Same shot 95.
Mother: We are not in a hurry.
98. The same lens 92.
Vladik: It won't take long.
99. Same lens 96.
Henrik (impatiently): Then how do you take it out? Tell me...
100. Same lens 98. The tone was raised, and everyone began to speak. Fladick's father seemed to have trouble controlling the situation.
Henrik (outside the painting): Yes, yes...I really want to know how do you get them out of here.
Regina (outside the picture): Please calm down...
Fladick: I don't know... Or use tweezers. Why are you always opposed? ……
101. Same with lens 99.
Vladik (outside the painting): Always like this! ...
Henrik (imitating the appearance of using tweezers)... Then you are going to tweez them out one by one...
102. Same lens 97.
Henrik (outside the picture): Why do I always oppose it? ! ...
Regina (outside the picture): Calm, calm...Say one by one!
Halina (mentioned the plant again): No one listens to me, no one listens to me...
103. A very close view of Halina's front.
Halina (outside the painting): This is really the best place...
Regina (trying to calm everyone down): Please calm down a little bit. Quiet! Say one by one! Ok! please!
104. Same as lens 102. Halina faces the camera and walks to her mother—
Halina (she laughs at her sister on the left end of the painting this time): The lawyer has spoken, she likes order.
Regina (outside the picture): Listen...
105. Same shot 103. Calm was finally restored in the room.
Regina: ...Listen to me. We put the watch in the flower pot, and then put the bill in the violin.
106. With lens 104. The mother curled her lips and said that she neither opposes nor approves of this new proposal that at least everyone can agree to.
107. Same as lens 101.
Henrik (expresses doubts, and dare not say anything): Well...
108. Same shot 100.
Father (more worried about his violin): Can I still play the violin?
Fladick (in a calm and soothing tone): Don’t worry...
Pharmacy, interior view, day
109. Close shot of Fladick, facing the camera, calling from the corner of the pharmacy, there is a street view in front of him The glass windows on which are printed with a symbol of the pharmacist’s business scepter.
Vladik: Yurek? ...I am Vladik Shpilman.
Jurek (outside the picture, on the other end of the phone): Fladik!
Vladick: Hey.
Yurek: How are you doing?
Fladick (not too enthusiastic): Okay, okay, thank you... how about you?
Yurek: Very good, although the surrounding environment looks like this. I know why you called... (not even waiting for the other person to say the reason for the call) but we can't do anything. The radio station cannot be restored.
Vladik: Yes, I know... But, Jurek...
Jurek (interrupting him): No more music! Nothing at all! There is not even a Polish radio station anymore!
Fladik (trying to continue the topic just now): I know. Urek...
Urek (continued): But you will find a job. A pianist like you, Fladick...
110. Reverse the lens. Vladik stood by the phone facing the camera, close shot. In the background, a pharmacist in a white work shirt is seeing a doctor.
Fladick (joyed for a friend’s words): Maybe...maybe not... Anyway, I don’t want this... I am not calling to talk to you about my future job...
leading to the alleys of the Paradise Cafe, Location, day
111. Mid-range to close-up. Vladik and Dorota walked side by side in a Warsaw alley full of typical Eastern European styles facing the camera. In the back view, a house is located on a desolate street. The layout of the house is arched on the road, and it shows a scene of dilapidation during the war. Both Vladik and Dorota wore long warm coats, leather gloves and hats. The dead leaves covered the gravel pavement beside the street. The camera moves left to focus on them, then shakes down, pulls back, and follows the shot.
Dorota: I entangled Yurek a few weeks ago, and finally he couldn't take it anymore, so I told him to go to the radio with him the next day. So I came, but they blew up the radio! (They
walk in front of the camera, close-up shots)... Fradik (watching Dorota all the time): It's amazing to meet you in that situation.
Dorota (looking at Vladick excitedly and reverently): Really?
Vladik: Yes. This is... unforgettable (a cyclist approached from the back and rang the bell on the right of the painting; they got closer together).
Dorota: I have always liked your way of playing very much, Mr. Shpilman.
Fladick: Please call me Fladick.
Dorota (I didn't listen to him): No one played Chopin like you (a mother and son pass by them and disappear into the background).
Vladik: I hope this is a word of praise.
Dorota: Of course!
Vladik: Who knows? I was joking. (Points to the cafe) Shall we have a drink at the heaven cafe?
Dorota: I am very happy (happy eyes meet together).
Fladick (want to get rid of embarrassment): What about you? What do you do (they turn right at the end of the alley, pull behind the camera, and follow along)?
Dorota: Oh, I graduated from the Conservatory of Music.
Vladik: You are a musician (two soldiers pass by them and walk towards the background)?
Dorota: Yes.
Fladik (interrupting her): What music...
Dorota: But, just a beginner.
Vladik: Excuse me, what instrument?
Dorota: Cello.
Vladik: I like watching women play the cello (they are about to walk into the Paradise Cafe). We are here (the camera moves slightly, and their eyes stop on a sign at the entrance at the same time).
112. A close-up of the sign, which reads in Polish: "Jews are forbidden to enter." On the left, Fladick is about to push the door.
Dorota (outside the painting): It's really...
113. Very close shot. Dorota half-side facing the camera, standing in front of the coffee shop, Fladick half-side facing the camera, standing next to her, on the left side of the picture.
Dorota (looking at the sign, looking frustrated):...Damn it! How dare they (look up at Vladik who is trying to hide his anxiety)? !
Fladick (avoiding her gaze): You know these people, they call themselves better Nazis than Hitler himself.
Dorota (preparing to walk into the coffee shop, angrily): I have to go to the theory.
Fladik (holding her arm immediately): No, don't do this. Better not, trust me.
Dorota: What an insult to someone like you (the door opens and a guest is standing in the door)!
Guest (going out of the cafe): Goodbye.
114. Reverse the lens. Very close shot, the lens is slightly tilted up. Dorota, half-side facing away from the camera, standing in the foreground, she leaned toward Vladik to avoid the female customer who was escorted out of the cafe by her husband. The lens is slightly shifted to the left and adjusted to close-up. The guests walked in front of them, and after the close-up from the left side of the painting, her husband closed the door of the cafe behind her.
115. Vladick's very close shot, he is facing the camera half-side, standing in front of Dorota, Dorota is also facing the camera half-side, standing on the left side of the foreground.
Vladik (still embarrassing): Let's go elsewhere.
Dorota (Looking around): We can go for a walk in the park.
Fladick (coldly): No, we can't. (Only a slight smile) According to the official order: Jews are not allowed to enter the park.
116. Reverse the lens. Dorota's very close shot, she is facing the camera half-side, standing in front of the back of Vladick on the right. In the back view, you can see the four-wheeled carriage waiting for guests at the entrance of the park.
Dorota (surprised): Oh my God! Are you kidding me?
Vladik: No, I'm not kidding. it is true.
117. The same lens 115.
Vladik: We can sit on benches wherever we go, but I'm afraid that another official order prohibits Jews from sitting on benches in public places.
118. The same lens 116.
Dorota (looks straight into his eyes): This is ridiculous!
Fladik (returning to a charming tone): We can do this: we just stay here and chat, no one can stop us. (Dorota smiles again, and she stares at him fascinated again) By the way, you play the cello, Dorota? Who is your favorite composer? (Without waiting for her answer, speak for her immediately) Chopin? Really...
119. Same lens as 117.
Vladik: You should learn his cello sonata. (Immediately asked another question for her, he used her voice) How about you? Fladick? (Recovering my own voice) I can accompany you on the piano.
120. Same as lens 118.
Dorota (completely fascinated, with surprises in his eyes, and a brighter smile): Oh, Mr. Shpilman... you really... it's great (Vladick kisses her gloved hand lightly).
Fladick: Please call me Fladick.
Shpilman’s house, interior view, day
121. Close view of his father. He is sitting sideways at the table in the dining room. He is on the right of the painting. He is holding a newspaper and has not taken off his coat.—
Father (reading newspaper): "Jews in Warsaw Logo: I ordered all Jews in Warsaw to wear a clear logo when they go out..."
122. Half-length shot. The whole family gathers at the dining table, or sits on the sofa in the back view, and surrounds the head of the family in the left foreground of the painting with his back to the camera. They listened quietly, motionless, expressions of depression and anxiety.
Father (continue reading the newspaper): "This decree came into effect on December 1, 1939 and is effective for all Jews over the age of 12. The logo will be worn on the sleeve of the right arm, and the logo will be a blue star of David on a white background. The foundation must be large enough so that the corners of the large satellite are 8 cm apart. Each corner is 1 cm wide. Anyone who does not comply with this law will be severely punished. The Chief Executive of the Warsaw Region... (He raises his eyes ) Dr. Fisher."
Henrik (sitting on the couch in the back view, next to sister Halina; breaking the silence): I can't stand it anymore.
Regina (sitting in front of her father, facing the camera, arms folded on his chest): I can't stand it anymore, I refuse to be marked.
Fladick (sit sideways in the foreground and draw on the right, after a short silence): I... (clears the noise that was choked with excitement) May I read the article (take the newspaper handed over by my father. Mother too Stand up, walk up anxiously behind Fladick and read this article with him)?
Father: Do you want us to get these armbands ourselves? (Worriedly) Where do we get these?
Henrik: No way (definitely) we won't wear that one (Fladick puts the newspaper on the table and doesn't say a word).
Warsaw Street, interior view, day
123. Medium shot to half-length shot. Vladik's father walked slowly onto the sidewalk facing the camera, wrapped in a warm coat. He is holding a newspaper in one hand and a bag of potatoes in the other. Wearing a white armband with a blue satellite on his right arm, as stipulated in the law. The two German military officers entered the picture from the right side of the foreground with their backs to the camera, and met the old man, who was thinking intently without noticing them.
Officer A (stops, turns to the camera, and shouts in German to Vladick's father): You!
The old man came to the left side of the foreground (panoramic fine-tuning). He stopped and turned to the German officer who was beckoning him to pass.
Officer A (German): Come here.
Two women appeared in the background. They slowed down and deliberately avoided the conflict: they painted from the left.
Father walked up to the German officer.
Officer A (German): Why don't you salute?
Father (takes off his hat politely, in German): Forgive me...
the officer slapped the old man in the face.
124. Close shot of convergence. Standing in the foreground with his back to the camera, the German officer punched the old man again; the old man fell on the sidewalk. A young woman and her child walked here facing the camera and saw this scene. They slowed down but did not dare to interfere; the other man also hurried away.
Father: Oh...
At this moment, the officer draws from the right and walks to his colleague. Half-length shot of the old man, he slowly stood up, turned his back to the camera and continued to walk, with some hurried pedestrians beside him. The lens shifts slightly to the right.
125. Close shot. The two officers, half-side facing the camera, looked at the old man walking away outside the painting.
Officer A (German): You are forbidden to walk on the sidewalk! (Pointing to the drain stubbornly and disdainfully) Go into the drain!
126. At the end of the same lens 124. Father, stop, face the camera half-side, and turn to the speaker outside the painting. Then he obediently walked down the drain and continued walking his way. The camera shot his back. The lens is slightly adjusted to the right.
Spierman's house, interior view, day
127. A close shot of Fladik sitting at the side of the piano. He knocked out a few notes with one hand, and then immediately took notes on the sheet music in front of him.
Halina (outside the picture): You see...
128. Half- length shot. Halina walked quickly towards the camera. Holding a newspaper in one hand, she drew out the picture from the left side of the foreground to Vladick who was sitting outside the picture. Behind her, we saw Henrik slowly walking towards the dining room facing the camera.
Halina: ...this one?
Fladick (outside the picture): What? what is that? I'm working...
129. Same lens 127. Halina stopped beside the right brother Hua.
Vladick: What (Harina holds the newspaper and shakes in front of him)? what is that? What is it (snatching the newspaper from her angrily)?
130. A close-up shot of the newspaper in Vladik's hands. Above it is a plan of the future Jewish Quarter in Warsaw.
Halina (outside the painting, voice trembling with excitement): They are going to put us there.
131. Close shot. Halina, half-side facing the camera, stands on the left side of the painting, and Vladick next to it is sitting facing the camera, holding a newspaper.
Vladik: What "put us in"?
Halina (takes the return paper and is still reading excitedly): "According to the order issued by the Chief Executive of Warsaw, Dr. Fisher, regarding the establishment of a Jewish quarter in Warsaw, a Jewish quarter will be established. All living in Warsaw or coming to The Jews here must live there."
Vladick calmly raised his eyes and looked at Henrik outside the painting.
132. Same as lens 128. Reverse the lens. A half-length shot of Henrik, facing the camera, leaning against the fireplace at the right end of the painting, looking at his brother without a word, to see how he can withstand the blow of the news.
Halina (outside the painting, reading): "All Jews..."
133. Same shot 131.
Halina (leaning over to her brother, bringing the newspaper close to him, and continuing to read): "...People who live outside the prescribed area must move before October 31, 1940..." (Fladick took the newspaper and almost never Believe her ears. Halina stands up, crying in her voice) "Moving..."
Fladick (unwilling to believe): It is impossible to hold everyone there. too small. (Looking up at the younger brother outside the picture) We have 400,000 people in Warsaw!
134. The same lens 132.
Henrik (ironically, disguising his emotions): No, 360,000! That would be much simpler.
Mother (voice is distant and trembling, coming from her room, outside the painting): What do you think I should do? ...
Henrik looked to the room on the left outside the painting.
135. Same as lens 133. Close shot to half-length shot. Halina left Vladick and walked to her parents' room. The lens pulls a little later and moves to the right.
Mother (sobbing, outside the picture): You are smart, tell me what to buy.
136. Close shot. The camera is tilted slightly to take a picture of the mother. She faces the camera and sits on the edge of the bed with her wallet spread out. Behind her is her husband.
Halina (Half side facing away from the camera, drawing from the left): Mom? ! ... (sits sideways next to his mother who is trying to hide her tears) Mom, what's wrong?
137. Reverse the lens. The two brothers stood at the door of the room blankly facing the camera, disturbed.
Mother (outside the picture): 20 zloty.
138. The same lens 136.
Mother (showing daughter the only banknotes, her voice trembling): This is the only thing we have left. (Halina gently embraces her mother, trying to comfort her) 20 zloty, what can I buy for 20 zloty? (Puts the money back in the wallet) I have had enough of boiled potatoes, potatoes, potatoes...
139. Same shot 137. Halina could not find suitable words to comfort her depressed mother.
Spearman's house, interior view, day
140. Very close shot of the piano keys, overhead shot, Mr. Lipa (Richard Ridings)'s sturdy fingers played a piece of music on the keys. He closed the piano cover. The camera moved up quickly and pulled back a little later to get his close-up shot.
Mr. Lipa: This is my price. (Facing the camera and turning to Regina outside the painting) This is the price I can pay.
141. Connecting to the foreground, the half-length shot of Mr. Lipa, he stood by the piano, facing the camera and turned to Regina. She stood half-side, with her back to the camera standing at the left end of the foreground; Henrik was half-side looking at the scene with her back to the camera, he folded his hands on his chest and leaned against the door.
Mr. Lipa (walking by Regina, firm expression): I suggest you accept. You won't get more.
Regina (stunned by Mr. Lipa's offer): This is a Bagustan, Mr. Lipa!
Mr. Lipa (turning to Regina): Two thousand, I suggest you accept the price.
142. Half-length lens. Henrik was facing the camera and leaning against the door of the room, facing the scene outside the painting without saying a word, furious. In the background, Fladik listened quietly, sitting sideways in the next room.
Mr. Lipa (outside the picture): Do you eat piano when you are hungry?
Hearing this, Henrik had an attack, and he rushed towards the man outside the picture.
143. Close shot of Mr. Lipa standing half-side facing the camera. Henrik turned his back to the camera half-side, and entered the picture from the left.
Henrik (grabbing his collar furiously): Go away, dirty thief!
Mr. Lipa (pushing him away angrily): Oh! Why are you doing this? !
Regina (drawing from the left to separate them): Henrik, let go of him...
144. Same shot 142. Henrik was pushed into the background. Fladick remained motionless.
Regina (coming to the foreground, standing on the right side of the painting): Let go of him. stop!
Henrik (furious): I would rather give it as a gift! (Pointing angrily to the left exit of the drawing) Get out!
Regina faced the camera in despair and turned to Mr. Lipa outside the painting.
Mr. Lipa (outside the picture): Did you eat nothing today?
145. The camera is reversed, and the close shot of Henrik's half profile, his facial features are distorted because of anger. In the back view, the parents heard the sound from the next room.
Mr. Lipa: Are you in pain? You are all crazy. (Suddenly turned to the back view, facing the old couple standing at the door. Then turned to Regina on the left outside the painting) I have already given you a discount. I paid two thousand and I also paid for the transportation. (Turning to parents again) I didn't even calculate the transportation fee with you! (Pointing to Henrik excitedly) You didn't eat anything today.
146. Same as lens 144. Henrik and Regina stood facing the camera, stunned by Mr. Lipa's words. In the background, Fladick was still sitting sideways in the next room, seemingly indifferent.
Mr. Lipa (outside the picture): You are all crazy.
Fladick (turning to the camera, breaking the deadlock, calmly facing Lipa outside the painting): Take it away.
Regina and Henrik were shocked by these words, and at the same time they turned to Fladick, but he waved to signal: end the quarrel.
Warsaw street leading to the Jewish quarter, exterior view, day
147. distant view. Pedestrians on the sidewalks on both sides of the street watched helplessly. Many Jewish families, carrying boxes, half-side facing the camera, silently walked on the wet road leading to the Jewish quarter. They walked heavily. Overprinted subtitles in white capital letters gradually appeared, marking the time: "October 31, 1940". In the middle of the queue was a single horse drawn carriage.
148. A very close shot of Dorota. She stood sideways on the sidewalk, silently and excitedly looking at the moving team on the left side of the painting in front of her.
149. Medium shot to half-length shot. The carriage approached, and we saw Vladick walking by the carriage with a few pieces of furniture on it. His parents and Regina were sitting in the carriage. Halina and Henrik were walking side by side in front of the carriage. The lens is adjusted to the right. Vladik noticed Dorota, who was standing on the sidewalk on the left side of the painting. He stopped and turned to her when facing the camera.
150. The same lens 148. Dorota also recognized him on the right outside the painting. He kept staring at her---
Fladick (approaching, outside the picture): Dorota! ...
151. Half-length lens to close-up. The camera moved to the left to follow Vladick, he left the team and came to Dorota.
Fladick (stands in front of her, half-side facing away from the camera): Hello.
Dorota (sadly): I didn't want to come, I didn't want to see all this, but...I can't control myself.
152. Very close shot, reversed lens. Fladik was facing the camera half-side, standing in front of Dorota, and Dorota stood at the left end of the foreground with his back to the camera. In the background, the team continued to move forward.
Fladick (great to meet her again): How have you been recently?
Dorota: Very good.
Vladik: That's good.
Dorota: No, not really...
153. Reverse the lens. Dorota was facing the camera half-side, standing in front of Vladick, very close shot, Vladick standing on the right side of the painting with his back to the camera.
Dorota: They took my cousin... Jurek said that they would try to rescue him (looking at the team in front of him), which was so irritating.
Fladick (trying to comfort her): It won't always be like this, don't worry.
Dorota (reluctantly smiled): This is what I said. It's... It's ridiculous (watching his eyes for a long time).
154. Same as lens 152. Fladick's reverse shot.
Fladick (takes a glance at the family member who is leaving with the team at the right end of the picture): I...I should... (searching for the right words) Then, we will see you again... soon.
155. Same as lens 151 at the end. Close shot to half-length shot. Fladick turned and left Dorota and walked back to the team. He looked back at her again. The lens moves to the right.
Vladik (lightly waved to Dorota outside the painting): Goodbye (turned back to the camera and walked into the team).
156. The same lens 150. Very close shot. Dorota looked out of the painting and shed tears.
157. Medium shot. The team turned away from the camera and continued on the wet road.
Jewish Quarter, Špilman's new house, interior view, day
In fact, the Spearmans didn't need to move at all, at least not in the beginning. Their original address was within the area designated as a "little Jewish quarter" by the authorities.
158. Close-up overhead shot: Fladick's father put his box and several other boxes together, and then stood half-side facing away from the camera. Panning to the half-length of the camera, the other family members are standing in the empty house.
Father (look around): Well... what I want to tell you is: better than I expected.
He walked among the children, then walked to the kitchen in the back view, never letting go of his violin in his hands. When the camera is slightly adjusted to the left, we see our mother standing in front of the kitchen door. She put the box on the ground and a bag on the furniture next to it.
Vladik (standing facing the camera, pondering for a moment): Where do we sleep?
Mother (very calm, as if succumbing to fate): I slept in the kitchen with the girls. You, Henrik and Dad sleep here (into the kitchen).
159. Close shot. Halina, facing the camera half-side, walked towards the window at the right end of the foreground.
Halina (looks out the window): Look. (Turning to other people who are walking towards her) take a look (everyone gathers around her and looks out together).
Walls of the Jewish Quarter, exterior view, day
160. Medium shot. The camera was taken from a high-angle overhead shot of Spielman's house: a group of workers are constructing the base of a separation wall that separates the entire street from beginning to end. A few Jews watched quietly. Music starts.
Shpilman’s house, interior view, day
161. Same shot at the end of 159. The Spearmans gathered in front of the window, watching the insult again in silence in surprise.
Walls of the Jewish Quarter, exterior,
162 in the evening . Same shot 160. The newly built fence cast a long shadow. The top of the wall has barbed wire and glass ballast to prevent climbers from climbing over.
163. The middle shot of the Separation Wall taken from another part of the Jewish Quarter. It crosses the road and divides the street into two parts. There are placards written in German and Polish on the wall, "It is strictly forbidden to climb over this wall".
164. Shoot the upper part of the wall slightly upwards.
165. The middle shot of the wall divides the whole street into two parts.
Jewish Quarter, Commercial Street, location, day
166. Half-length shot, slightly overhead shot. Pull behind the camera and follow the shot: Vladik is in the crowd, (shaking on the camera) facing the camera and walking on a commercial street in the Jewish Quarter.
167. A close-up view of the bread shelf "protected" by the barbed wire.
Saleswoman (pushing away the children around): Go away, go away...
168. Close shot. A male corpse was lying in the mud in the middle of the road, and the pedestrians were indifferent. A little boy knelt beside him, crying and picked up the man's head —
little boy (who wants him to wake up): Dad, Dad! dad! dad! ...
169. A close-up view of a butcher shop. The two children, standing half-side facing the camera, looked at the meat hanging in the glass cabinet with longing eyes. The butcher's owner told them to fuck off.
170. Close shot. Henrik stood among other small vendors facing the camera, holding a book in both hands, showing it to pedestrians. Fladick entered the painting from the left and walked towards him. At this time, Henrik put the book in a wicker box in front of him and closed the lid. Pan and tilt the box under the camera.
171. Half-length lens to close-up. Fladik and Henrik each carried a handle of the wicker box, facing the camera and walking among the crowd in the commercial street. Pull back after the camera starts, and follow the shot.
Vladick: Have you sold it?
Henrik: Just one copy. Dostoevsky's "Idiot", 3 zlotys.
Vladik: Better than yesterday.
Henrik: Poor 3 zlotys. Someone here makes millions!
Vladik: I know.
Henrik: No, you don't know, trust me! They bought the guards and let them close their eyes. They bring in a lot of food, tobacco and alcohol, and French cosmetics, and they don't care about us.
172. Reverse the lens. Push in front of the camera (the Steadicam camera moves quickly around the person). The brothers were walking through the crowd carrying boxes. At this time they met a neurotic woman (Nomi Sharon) wearing a feather hat.
Woman in a feather hat (coming towards them facing the camera. She walks towards Vladick, very close shot): Excuse me. Have you seen my husband Yitzhak Selman? ...
173. Reverse the shot (Stedikang camera moves quickly around the character). Vladick's front view is very close. The woman was standing in the foreground with her back to the camera, and Fladik was obviously uncomfortable with this woman.
Woman in a feather hat (catch him and hold on): A tall and handsome man?
Vladick: I'm sorry, I didn't...
Woman in a feather hat: A little white beard... No? do not have it?
Fladick (walking away with brother): I'm sorry.
A close-up shot of a woman in a hat, she faces the camera, her eyes following them.
Woman in Feather Hat (Get Away): Oh, I'm sorry...
Fladick (very upset): I, I don't know...
Woman in Feather Hat: Goodbye, good night.
Fladick and Henrik draw from the left end of the foreground and continue to move forward, leaving the woman in the hat standing alone in the crowd facing the camera.
Woman in a feather hat (watching them go away, very close shot): But, but if you see him, please write to me. Okay? Itzhak Selman.
The Jewish Quarter, the passage of Krodna Street, exterior view, the Japanese
Jewish Quarter is separated by Krodna Street in the Aryan District. A pedestrian bridge is being built behind a series of staggered barricades, allowing Jews to sometimes pass between the "large" and "small" Jewish quarters. There is a long waiting line before the barricades.
174. Close shot. The camera advances and follows the two brothers walking in the crowd. They turned their backs to the camera and came to the roadblock on Klodner Street, where many Jews waiting to pass were already gathered. In the back view, a tram was passing by a horizontal street. The brothers stopped and put their boxes on the ground. We heard music from a group of Jewish amateur symphony orchestras coming from a distance.
175. Very close shot. Fladick and Henrik waited in the crowd. They stood sideways behind another man, who was watching the roadblock on Klodner Street on the right end of the front painting. In the background, an accordion player, a clarinetist and a violin player are playing a familiar piece of music.
Man in a hurry: Why does a street of foreigners pass through our residential area, why not go around?
Henrik: Don't worry (the man turns to Henrik), they are going to build a bridge soon. Haven't you heard?
The man in a hurry (surprised): A bridge, a bridge... those idiots!
176. Close shot. The camera passes through the crowd and aimed at the roadblock from the perspective of the brothers. There are two German soldiers in the background. A tram was passing by the horizontal street.
Man in a hurry (outside the picture): Germans think they are smart! Do you know what I think? I think they are all idiots.
177. Reverse the lens. Close shots of the three waiting men standing in the crowd half-side facing the camera.
Man in a hurry: I still have a family waiting for me to feed. I have to spend half the time waiting here, waiting for them to let us pass.
178. Close shot. Three musicians stood before a wall and played listlessly.
Men in a hurry (impatiently, outside the picture): They might think I'm here to listen to music.
179. A close-up shot of two German soldiers, half-side facing the camera, leaning on the railing of the roadblock, and in front of them is Klodner Street where the Poles are walking.
Soldier 1 (brutally directed at a man waiting in the crowd on the right side of the painting, in German) what's going on?
180. Reverse the lens. A close-up shot of the man next to him, standing in the crowd half-side facing the camera.
Soldier 1 (outside the painting, German): Are you impatient?
The man shook his head in denial.
Second Soldier (additional, off-painting, German): What's wrong with you? cold?
The man shook his head again.
181. The same lens 179. The soldiers provoked even more brazenly.
Soldier B (German): You should move! Come, move!
Soldier First (German): That's it! Dance! Jump up (they leave the railing and walk towards the poor man)!
Soldier 2 (German): Dance!
182. The same lens 180. Connect the lens. The German soldier walked from the left to the poor man.
Soldier A grabbed his arm and forced him to dance. The man had to jump up under the German teasing; the German turned to the camera, pointed at the other man on the left, pushed him in front of the first person, and forced him to jump together.
183. Connect the lens. The two men did not dare to defy and had to dance in the crowd. The people around who were watching didn't dare to speak, everyone lowered their eyebrows and plucked their eyes in front of lewdness.
Soldier A: Hahaha! ...
Soldier 2 (also came forward, outside the picture, German): So, jetzt machen wir mal die strasse frei...
184. Reverse the camera. Soldier B faces the camera, walks through the Jews to his colleague, and the camera moves to the right to follow the shot.
Soldier 2 (German): Come, create a dance floor for the Jews! (He draws from the right side of the close-up picture, and at the same time, his colleagues are looking for other teased objects in the crowd.)
First Soldier (takes their arms and walks to the temporary "dance floor", German): Come out! You, and... yes, you two!
185. Half-length shots of dancers, they are full of humiliation; in the background, a tram is passing through the free zone.
Soldier 2 (outside the painting, German): Jump!
186. Close shot. Soldier B stood in the foreground with his back to the camera, letting the musicians who were playing come here.
Second soldier (waves his hand, German): Hurry up!
187. The connected reverse shot, very close shot, Soldier B's side is facing the camera, expressing satisfaction.
Soldier First (turning to the dancer in the background): Hahahaha! ...
188. The half-length shot of the convergence. The soldier looked at the dancing people with interest. One of them stood on crutches very hard.
Soldier A: Hahaha! ...
Soldier 2 (German): Hurry up!
189. Same shot 177: The camera shot back from the crowd close to Fladik and Henrik, and they watched this scene angrily.
190. Close shot. Soldier A chose two more Jews and pushed them to the "dance floor."
Soldier A (increasingly excited and satisfied): Hahahahaha! ……
191. Same as lens 188. The old man on crutches fell to the ground amidst the laughter of two German soldiers.
Soldier 2 (German): I ch hab gesagt schneller!
Soldier A: Hahaha! ...
192. Close shot. Pairs of dancers danced with all their strength in front of the aggressor.
Soldier 2 (German): Ja, ihr sollt euch schneller, habichgesagt! Ja, di Judenpack! Ja.
Soldier A (German): Bisschen stimmung!
Soldier 2 (German): Ja tanzen! Ja, ja!
Soldier A: Hahaha! (A whistle sounds outside the picture to indicate that the roadblock has been lifted)...
193. Half-length shot. When the dancing couple continued to endure the insult, the roadblock in the background was lifted. The whistle informs the Jews that they can pass.
194. Medium shot. Polish police opened all the roadblocks on Krodna Street, temporarily blocking the flow of traffic, allowing Jews to pass from one Jewish quarter to another.
Jewish Quarter, Shpilman's house, interior view, day
195. Half- length shot. Henrik opened the door of the room, followed by his brother, and helped him move the wicker box in.
Mother (outside the picture): Ah, they are back!
196. Reverse the lens. Mother stood at the door of the living room, still looking at Yitzhak Heller outside the painting.
Mother (walking to the son at the door, loudly): Yitzhak Heller is waiting for you (privately, quietly telling them that he doesn't know the visitor's intentions).
197. Same lens 195. Two young people walked in. Henrik was both surprised and worried at the arrival of this apparently unfriendly visitor. They put the box on the ground, Vladick closed the door behind him, and at the same time his brother had drawn from the right side of the foreground.
198. The half-length shot of the convergence. Henrik walked into the living room half-side facing the camera and took off his peaked cap.
Henrik (stopped at the door, turned to face the left side outside the painting, did not greet the mother and the visitor, and went straight to the topic): What's the matter?
Mother (outside the picture): Please sit down. Have some catechu.
199. Reverse the half-length shot. My mother walked to the kitchen in the background with her back to the camera, and walked by Yitzhak Heller (Roy Smyers), who sat at the table facing the camera. Holding a cup of tea. There are cakes and two other cups of tea on the table. Not far away are the hat and gloves of this young Jewish policeman. He works in the Jewish police station, which is the Jewish police station under the jurisdiction of Judenrat (Jewish Parliament). District order.
Mother (to the kitchen): We will have lunch as soon as the girls come back.
200. The same lens 198. Henrik took off his shoulder strap nervously, returned to the door and walked in front of Vladick. Fladick took off his hat and put it away.
201. Father's half-length shot, half-side facing the camera standing at the other end of the table, the policeman is sitting outsi
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