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DRAMA

A mother kills her daughter for straying from the traditions of a patriarchal world.

A mother, terrified of shame, constantly criticizes her daughter who wants to be modern. A Muslim family lives in Adygea, where unofficial, strict patriarchal orders are upheld within individual families. The daughter works in a large metropolis, a half‑hour drive from home, where domestic violence is condemned. The duality of the family's rules is evident in the fact that Aina is the de facto breadwinner for her elderly parents, yet she has no voice of her own.

1.

Aina was born in Adygea into a Muslim family. Her strict parents failed to protect their daughter from an early pregnancy. Aina's younger brother was deeply affected by the family's troubles. As an adult, he constantly demanded proper behavior from his sister. The whole family regarded Aina with suspicion, although by nature the girl was quiet and modest. Her relatives' nagging upset Aina.

Aina worked at a bank in a large city. There she met her colleague, Galina. Galina is a married woman, unsatisfied with her marriage. Sergei, Galina's husband, shows her no warmth and constantly criticizes her. Together, the women try to add some variety to their leisure time.

1.

Aina and Galina spend time together after work, taking walks and discussing their personal problems. For both Galya and Aina, these rare meetings become a welcome outlet. Aina is quite reserved, and Galya doesn't always understand what weighs on her young, unmarried friend. So when Aina disappears, Galina feels lost. After all, formally, Aina has no major problems. Galina notices that no one is seriously looking for Aina. A relative of Aina's (Aslan) works at the local police station and doesn't want gossip about his family. Galya starts questioning Aina's relatives and begins to suspect them.

1.

Galina's suspicion falls first on Aina's brother, then on her parents. Aina's father blames himself. But the guilty party turns out to be the mother. She prevents her daughter from getting out of the river, which is known for its whirlpools. A young girl dies in one of them.

1.

The relative from the police (Aslan) hears the mother's confession. His expression doesn't change. He doesn't seem surprised. After this reaction, it becomes clear that no one will search for or punish Aina's killer.

It is not revealed who the father of Aina's child was. It's not the pregnancy itself that matters, but the protagonist's gender. This is intentional. Because the constant criticism of Aina didn't depend on her early pregnancy. She was treated like a problem from birth, simply because she was a girl – and a girl can bring shame to the family. A son's every action, on the other hand, is a source of pride and admiration.

[PAGE 1]

AINA

INT. PRIVATE HOUSE IN ADYGEA. DAY

A sunlit room in a private house with a table in the middle. A married couple sits in silence opposite each other: a woman around 40 with a heavy gaze from her black eyes, named SIMA, and a large man, about five years older, RUSTEM.

Beside the parents stands their 14‑year‑old son, AKHMAD. He is stocky, dark‑haired. His swollen, red eyes show he has been crying recently.

The ticking of a wall clock is heard. Rustem slams his fist on the table with a loud smack.

Akhmed whimpers and runs out of the room past the kitchen.

In the kitchen stands his sister, AINA. She is 16, very graceful, with long hair pulled up in a high bun. The girl throws a pinch of salt into boiling water and steps back to avoid splashes hitting her belly. From the side, it's visible that Aina is 4‑5 months pregnant. A distracted smile plays on her face.

EXT. BIG CITY. MIDDLE OF THE WORKDAY.

Crowds of hurrying people, among which young girls and women stride energetically with serious expressions. They are all different. In pants, in skirts, in strict suits, sitting behind the wheel of a car, touching up their lips in the rearview mirror.

Female laughter is heard. A short‑haired blonde walks a dog on a leash; another, in comfortable sneakers, pushes a stroller with one hand, a mobile phone pressed to her ear with the other.

The city noise fades. It is overtaken by birdsong and the sight of a wide, calm river.

EXT.

A bird's‑eye view. The river is the border between the modern city and Adygea.

EXT. A WEDDING IN THE NEIGHBORING YARD.

Near a private one‑story house stands Aina's mother, SIMA. She is taking laundry from a tub and hanging it on the line. Sima is dressed in a long, loose‑fitting, straight‑cut dress; she wears a headscarf. Sima looks into the neighboring yard. There's a wedding. Three cars decorated with balloons and ribbons are waiting by the gate. In the yard, the groom is talking with the bride's parents. The bride, in evening makeup, peeks out of the window.

Aina's mother sighs heavily and shakes her head.

SIMA

Now, that's lucky!

Aina hears her mother's exclamation. Aina is now 24 years old. She is slender and attractive. She's wearing dark jeans. Her thick hair is loose.

EXT. FAST, SHALLOW MOUNTAIN STREAM. SUMMER. DAY.

Aina sits waist‑deep in the river on a natural ledge formed by blue clay. Aina is in a dark sports swimsuit. Red marks, resembling bruises, are visible on her bare arms. Aina cries silently. Leaves drift in the clear, running water. Aina watches one leaf. It moves unusually: not with the current, but straight towards Aina. It's a snake. Aina gasps and quickly scrambles onto the bank.

[PAGE 2]

INT. BANK. SMALL HALL. TWO WINDOWS. TECHNICAL BREAK.

Aina sits at the first teller window, facing a computer screen, clicking the mouse.

AINA (O.S.)

What a nightmare! When will he finally come and fix the printer? I'm embarrassed in front of the clients.

At the second window, behind a glass partition, sits GALYA.

Galya is 40. Galya is married, with two children. Galya looks very young; she has an athletic figure and short hair.

Galya and Aina wear white blouses and dark trousers; green uniform scarves with the bank's logo are tied around their necks.

GALYA looks at Aina and speaks cheerfully.

GALYA

You know why the printer always breaks during our shift, right?

AINA (with doubt in her voice)

You think so? But he's married!

Galya snorts and doesn't answer.

INT. GALYA'S APARTMENT. KITCHEN. EVENING AFTER WORK.

Galya, in a short house dress, is cooking dinner. Two boys, 10 and 12, are doing homework behind Galya. The boys occasionally pinch each other, interfering with each other's writing. Galya's husband, SERGEI, enters. Sergei is 45, a slender, short brunet.

Sergei addresses Galya (displeased tone).

SERGEI

You could at least watch how they're doing their homework! Their handwriting is like chicken scratch!

GALYA (not turning around, tiredly‑indifferent)

And what are you for? I either handle dinner or the kids – take your pick!

SERGEI (irritated)

Other women somehow manage to do both…

GALYA

Yeah, other women manage, but you don't!

The boys exchange glances and start gathering their notebooks. They leave the kitchen.

SERGEI (calming down)

I still don't understand what you spend your time on. You don't have any friends. You could just sit after work and cook soup.

GALYA (offended)

I don't have friends because I'd be ashamed to bring them to our home. I don't want them to know how loud and shouty you are.

SERGEI (without malice)

I'm a catch! Another man would have talked to you the old‑fashioned way by now.

GALYA

One more word, and you won't see any more food from me!

SERGEI (conciliatory)

Okay, okay, I was just joking…

INT. BANK. STAFF ROOM. LUNCH BREAK.

Galya and Aina sit at a small table, drinking coffee. Aina eats a cookie, picking off small pieces with her fingers.

GALYA

You'll be eating that until the end of the day!

AINA (embarrassed)

I can't eat fast.

[PAGE 3]

GALYA (thoughtfully)

But on the other hand, that's probably why you're so slim. I should take a leaf out of your book! (anxiously) I've been meaning to ask, maybe we could go to a movie after work? Or just walk around the city?

AINA

With pleasure! Let's go to the movies tomorrow? I'll check what's playing tonight!

INT. GALYA'S APARTMENT. KITCHEN. EVENING.

Galya, Sergei, and the boys are at the table. They all have pelmeni (dumplings) on their plates. The boys watch a YouTube show on TV, where someone is playing a challenging level of a computer game. In the corner of the screen, a young guy loudly comments on the virtual players' actions.

SERGEI (wincing)

Fine, if they were playing themselves, but they're watching other people watch and comment… Turn down that nonsense!

Galya takes the remote and lowers the volume.

BOYS

But, ma‑a‑am!

GALYA

Quiet, I said! Your father wants some peace.

SERGEI

I don't want peace, I want homemade pelmeni!

GALYA

Then you should have married a submissive girl from a Caucasian family. By the way, I'm going to the movies this weekend…

SERGEI (with feigned jealousy)

With whom, exactly?

GALYA

With a girl from a Caucasian family… Since you keep saying I have no friends. I do, as you can see!

INT. GALYA'S APARTMENT. BEDROOM. MORNING.

Galya is trying on clothes in front of the mirror. Sergei lies on the bed, watching.

SERGEI

Are you really going to the movies with a friend, or with a lover?

GALYA

I'm going with Aina, with Aina! I just haven't gone out in a thousand years, except to the playground or the store for bread. I'm nervous, like it's a date, you're right!

SERGEI

Who is this Aina anyway? Young? Pretty?

GALYA

Leave me alone! The main thing is she'll go to the movies with me. I'd already forgotten what it's like to be carefree and just walk down the street alone, with no purpose, to just stroll, you know?

SERGEI

What's in it for her, hanging out with you, a young girl? What can you offer her? And it's strange she's not married yet. In Adygea, they marry them off fast, before they get a taste of freedom…

EXT. BRIDGE OVER THE RIVER. VIEW FROM ABOVE, THEN SUDDENLY DOWN. SUMMER.

Galya stands on the bridge. Galya is dressed in an elegant white dress with black polka dots. Her waist is cinched with a belt. Galya leans on the bridge railing. On several bars, colorful padlocks with the names of couples in love are attached as a sign of fidelity. Galya keeps checking the time on her phone. The planned meeting with Aina is delayed. Half an hour passes. Aina sends a message. Galya reads it, shrugs, and leaves the bridge.

[PAGE 4]

The bridge is crowded. Parents with children, girls with guys, groups of teenagers. Galya hurries away alone, constantly bumping into the crowd. Disappointment and awkwardness are written on Galya's face.

INT. GALYA'S APARTMENT. KITCHEN. EVENING.

Galya washes dishes and noisily stacks plates.

SERGEI

Keep it down! Your noise is giving me a headache! Am I to blame that your Aina stood you up?

GALYA

You're not to blame, but you're gloating! For once in a blue moon I went out, and bam! Take that! Can you even imagine how uncomfortable and awkward it was for me, standing alone on that bridge?

Galya finishes washing the dishes and turns to Sergei.

GALYA (upset)

She turned out to be so unreliable! At work, she seems fine. Sure, she's a bit slow sometimes, but management values her…

SERGEI

So what did she write you, why didn't she come?

Galya rolls her eyes.

GALYA (irritated)

She wrote she wouldn't make it in time. Traffic, if you please! Well, if she'd written earlier, I'd understand, but to flake out like that… it's just weird! And how am I supposed to talk to her at work now?

INT. BANK. PAUSE BETWEEN CLIENTS. GALYA AND AINA SIT AT NEIGHBORING WINDOWS.

Aina's face has a thick layer of foundation.

Galya diligently pretends to be busy with papers. Aina stares unseeingly at her monitor screen.

Galya can't stand the silence.

GALYA (whispering)

Too bad we didn't hang out yesterday, didn't go to the movies…

AINA (also whispering)

I'm sorry too. But I got so busy with housework yesterday, by the time I finished washing the windows, I realized I wouldn't make it. Sorry.

GALYA

No big deal. We'll go next time.

A client approaches Aina's window. Galya glances at Aina. Aina turns sideways to her and pulls a strand of hair from behind her ear to cover her cheek.

INT. AINA'S PARENTS' HOUSE (SIMA AND RUSTEM). EVENING.

In the room are Sima and Aina. Aina wears a stretched black t‑shirt and old jeans. Sima is dressed in a long, dark blue flannel robe with large pockets. Cotton fabric for sewing bed linen is spread out on the chairs and sofa. Aina holds a large piece of fabric in her outstretched arms. Sima, with sharp, large scissors, approaches Aina, cutting the taut fabric in half.

AINA (with a short laugh)

As a child, I was always afraid I wouldn't have time to pull my hand away and you'd cut my fingers off…

[PAGE 5]

SIMA

We're always afraid of the wrong things. You'd be better off fearing something else.

It's dark outside the window. Aina and Sima are reflected in the glass. Rustem enters and draws the curtains.

RUSTEM (irritated)

How many times do I have to tell you, you can be seen from the street. Everything you do is visible!

SIMA

I forgot, Rustem, sorry.

AINA

Dad, there's no one outside. No one to watch us!

Rustem brushes the fabric scraps off the sofa, making space for himself, and sits down.

AINA (with disapproval in her voice)

Dad, why on the floor! This is for new bed sheets!

RUSTEM

What, are the floors unwashed? Slobs!

Sima and Aina exchange glances but remain silent.

Later. Same evening.

AINA

Mom, how do you put up with a husband like that?

SIMA (sincerely surprised)

I have a good husband, daughter. Domestic, doesn't drink, works, brings money home. And he's a good father to my children!

AINA

Sure, sure… I didn't expect anything else from you.

SIMA

You get married first yourself, then we'll talk!

INT. GALYA'S APARTMENT. EARLY MORNING.

Sergei and Galya sit in the kitchen, drinking coffee and watching the news. The boys are already dressed and waiting in the hallway.

BOYS

Dad, come on, let's go!

GALYA

Sergei, really, they're already dying in their coats waiting for you. Take them!

SERGEI

No respect for the father of the family. Let me finish my coffee! So, you think she had bruises on her face?

GALYA

God, stop gossiping already! Just go!

INT. AKHMAD'S HOUSE. EARLY MORNING.

Akhmed's wife, RUZANNA. Ruzanna is twenty‑two years old. Ruzanna is about to give birth.

Akhmed waits for Ruzanna to pour tea into his thermos.

AKHMAD (cheerfully)

Such a caring wife! You can find decent tea at a gas station, I guess…

RUZANNA (with a smile)

For now. But when my belly gets tight, who'll take care of you? I'll have sleepless nights soon, when your son arrives. I won't have time for you then.

AKHMAD

I'm sure my mother will babysit him. You'll be able to rest. And for her, this will be the first and so far only grandson!

[PAGE 6]

RUZANNA

Yeah… Your sister Aina isn't in a hurry to get married. And even if she were, I doubt she'd manage…

AKHMAD (severely)

Don't gossip about things you don't know! Anyway, time to hit the road.

INT. GALYA'S APARTMENT. LOGGIA. EARLY EVENING.

Galya hangs laundry and listens to music on her phone. Galya sighs, then sings along. The boys help her, taking laundry from the basin and handing it to her.

GALYA (regretfully)

How time flies. You're growing up, and I'm getting old. It's so sad it makes me cry! All the best and most interesting things are ahead for you! Everything for the first time!

The phone stops the melody. A message arrives. Galya reads it and shrugs.

BOYS

What did they write?

GALYA (thoughtfully)

I have a colleague at work. A young girl. Seems to be trying to be friends with me. Kind of strange.

BOYS

That's good! You'll have fun, not be sad!

GALYA

It's just that I have nothing to offer her. What can I talk to her about? Washing floors and cooking dinner? She should be dating young men, not hanging out with a respectable mother of a family…

Galya turns to the boys, but they've already long since run off the loggia. From the dark glass of the balcony door, Galya's reflection stares back at her. Galya fixes her hair.

GALYA

Of course, in the evening light, I still look okay…

EXT. THE RIVER. HEAVY DOWNPOUR. EARLY DUSK.

The river water is a dirty swamp color. The current sweeps bushes along the riverbank. Branches with leaves swirl in whirlpools in the water.

NEWS ANNOUNCER (V.O.)

Due to the rain, the river level is rising. Authorities warn that being in the river is now deadly dangerous. Parents are strongly urged not to let children go to the river beaches.

Aina rides a bus through the city along the road by the river. Aina looks fearfully at the powerful current. The girl got soaked before boarding the bus. The foundation has washed off her face in patches. Yellowish traces of healing bruises are visible on her cheeks.

The bus passes through the city bustle and stops at the final stop. Three hundred meters further, the private sector begins. Aina is the only passenger. Aina gets off the bus. A taxi is parked near the stop. The driver honks sharply, turns on his headlights, and starts the engine. Aina obediently walks towards the car. The bright headlights pierce her graceful figure. Aina opens the front door and gets in. The taxi immediately speeds off and drives towards the bridge over the raging river. It has gotten dark. Through the taxi window, Aina stares into the churning water.

AINA (sadly, barely audible)

It pulls me there. I'm tired. I wish it would all end soon…

[PAGE 7]

AKHMAD (severely)

Look what you're thinking! You need watching over! How long do I have to babysit you? My wife's about to give birth, I work in a taxi all day, and that's no picnic… And then you with your nonsense!

AINA

Sorry, Akhmad, I wasn't thinking.

AKHMAD