The key to her choosing to speak through the piano is that no one is expected to respond, at least not in a way that would make the exchange a conversation or would imply that any real communication had taken place. Such expression is *safe,* and for whatever reason -- it's not important, really, what the resason is -- she feels the need to protect herself. That's why the Harvey Keitel character is such a compelling presence for her: He forces her to engage in a dialogue, to regard him in such a way that she cannot refuse -- after all, the medium he chooses (physical contact) isn't subject to the sheer power of her will, which, she says, is so strong that it scares her. (It's her will that causes her to put her foot in the coil of rope attached to the piano at the last moment and to plunge into the sea along with the thing. That IS a pretty strong will.) Once a dialogue is established with Keitel, she no longer needs the piano and her course toward a fuller *conversation* with the Keitel character is set.