This scene opens by showing a pretty cook mixing bread in the kitchen. Jones comes in unexpectedly from a trip and carries a dress suitcase. He inquires for his wife and is told by the cook that she is absent. Jones is hungry and asks for something to eat. The cook is very obliging and Jones becomes unruly, chuckles the cook under the chin. The cook puts her arms around Jones' neck and leaves finger imprints of flour on his back. This is where the trouble commences. (Edison catalogue)

The scene opens in the bedroom of Mr. Nation, husband of the famous Carrie Nation, the “Kansas Saloon Smasher”. Mr. Nation suddenly arises from the bed and picks up a crying infant from the cradle, and walks it up and down the floor. He suddenly steps upon a tack, becomes infuriated, and throws the baby back into the cradle…

Keiichi (Kenichi Hagiwara) is a weather man. He gets involved with two married women, Yoshiko (Mitsuko Baisho) and Miyoko (Chieko Baisho). Both want to divorce but are trapped in meaningless marriages. While being undecided of who he wants to chose, Keiichi witnesses passions boil to an unforgiving climax.

People on both sides of the Russia–Ukraine border have recently been real relatives, and now they are ready to curse each other, accusing "of all mortal sins." So, who "divorced" us? How did it happen that we began to believe the faces from the TV more than the native people? Why did "brothers forever" suddenly become "we will never be brothers"? The heroes of the film are residents of Lviv, Ivano-Frankivsk, Kiev, Kharkiv, Slavyansk, Kherson and their relatives and friends from Moscow, Voronezh, Smolensk, Sevastopol and Khabarovsk. The end-to-end story of the film is a dialogue between the director and his cousin, who lives in Lviv and who, unlike the author of the film, categorically did not accept the "revolution of dignity".