We have spent all of Dekalog 7 concerned about Anya, for good reason. A six year old girl on the run with a young woman who doesn’t have a clear idea what she is doing is a perilous situation.

But as Dekalog 7 comes to its conclusion, it’s curious how little concern the audience has, so far, been made to feel for Majka. This is a 22 year old woman facing a crossroads in her life. Kieslowski’s late career is filled with women who fit that definition. In every other case — from Anka in episode 4 to Weronika/Veronique and Valentine in “Three Colours: Red,” Kieslowski is hyperfocused on the wellbeing women at this stage of life.

Majka arrives at a train station on a Sunday and asks the ticket clerk when the next train will arrive. The clerk asks “where to?” and she replies that she doesn’t care. Two hours, the clerk said, it’s Sunday. We next see a lone service locomotive traveling through the station and Majka tries desperately to flag it down, to no effect.

The ticket clerk takes pity on them — asks if they are running away “from your old man,” two which Majka replies “from everything.” They are invited inside where they can rest.

The ticket clerk is sitting at the ticket window reading “Madame Bovary” by Gustave Flaubert as Ewa approaches. She asks “have you seen a girl with a child?” The ticket clerk tries to lie about it, saying they were there and left, but Anya is sleeping on the couch right behind her and Ewa sees her right away.

Anya sees her through the window and says “mom.” Stefan and Ewa race into the building and Anya meets her at the door. Majka, who was napping, watches them reunite. They look at their older daughter, but say nothing to her, hugging Anya. Majka notices a train approach and she races to get on. Her mother finally yells out to her.

Ewa says “Majka … my daughter.” Anya wriggles out of her arms to runs toward the pulling away train to get a glimpse of her mother. She says nothing and the film fades out on her.

The ending felt abrupt to me, but perhaps that was for the best. There’s no dramatic conclusion for Majka. Her sacrifice in the final scene is heartbreaking — she makes no effort to keep or share Anya, she just decides to go.

The story is over, but more than any character in the Dekalog, I want to know what happened to Majka. Did she emigrate to Canada? Was she able to recover from all of this trauma?

I wish Kieslowski had done something with Majka in one of his four last movies. She seems to have a far more dramatic life ahead of her than the young women in most of Kieslowski’s films.