Dorota is facing a moral dilemma. Remember, however, that this episode isn’t about adultery or killing, it’s about making false witness. (Again, we have no definitive word on this either, it could be about graven images.)

So, perhaps, the crucial moral choice in this episode is not hers. But this segment is all about Dorota’s quandary. We have to suspend some disbelief for this to bear proper weight. For example, we have to assume that Dorota’s husband is infertile and couldn’t be convinced that a miracle pregnancy can’t happen. We could also assume, at this point, that the couple hasn’t had sex in some time, but given later reactions, that doesn’t seem to be the case.

For whatever reason — or maybe nothing more than supposed reactions — Dorota believes she has a black and white choice. She believes that if she has a child, she must leave her husband for the father of the child, and if she aborts the child, she must stay with her husband.

There’s a very weird sense of social obligation to Dorota’s dilemma. While a traditional Catholic culture would support the need to stand by her marriage, the church fervently opposes abortion. So even within the dilemma there is another. Looming over it all is a false deadline — the three month legal requirement in Poland for abortions at this time.

Dorota returns to her apartment and sees an acquaintance, a man, waiting for her. Our first thought is that perhaps this man is her lover. But they kiss on both cheeks, so we know it is not. She invites him in. He’s a member of her husband (Andrzej's) climbing club. They are about to leave for Dehli, presumably onto the Himaleyas from there. He's carrying a very heavy pack with him.

When Dorota sees it, she becomes angry and asks why is he returning it to her -- is this a premature funeral? Kieslowski loves assigning deep meaning to objects. In this case the climbing pack is like the fetus within her — something she doesn’t want to decide about yet. She infoms him that Andrzej is still a member of the club, his gear should be stored there. He apologizes that then tries to comfort her, calling her "poor thing." She strangely replies to that "not anymore." Was there something between these two in the past?

Next comes a very typical Kieslowski scene. Dorota has a cup of coffee that she slowly pushes to the edge of the table and lets it crash below. This seems to bring a smile to her face, for some reason. We next see her listening to a piano concerto, deep in thought, not picking up the message machine. Her lover is calling her. He is a musician, apparently many times zones away, and he expresses how much he misses her and that he will call again the next day. He seems to be waiting for her to join him whereever he is (remember, she has that passport.)

We next see Dorota at an OBGYN office, her legs up in stirrups. This is a very odd scene, because she's three months pregnant, yet somehow can do an examination and call the fetus inside her (one that wouldn't even make much of an impression in modern ultrasounds) "a little beauty." Dorota informs him that she would like an abortion ... at which point he asks her name. What? He's her doctor, he doesn't know that? It's a perfunctory scene and it's poorly done, best not to dwell on it.

She makes an appointment for her procedure in two days, which puts a definitive clock on the plot. Next, we see Dorota enter a bar and approach a young man at a table ... we wonder again, is this him? But she asks him "is it you?" and then assume that he's some kind of middleman between her and her lover, who we're now starting to assume could be famous (well, as famous as a classical pianist could be in the 1980s.)

He doesn't have much story to add. He hands her a gift from him, then repeats the same information he gave over the phone -- she says that she knows. Then he asks if she has the key to his flat and she says yes. He asks her to pick up some musical scores in the apartment with a green cover. Now the plot is starting to feel a bit like "Three Colours: Blue." He then pushes a coffee towards her and says it's for her, but advising that the coffee has gone cold. She repeats "it's gone cold" then stands up and leaves.

While Dorota still seems deeply conflicted by her choice, she seems at this point to be leaning heavily towards staying with Andrzej.