The soldier and the tracklayer Valya corresponded for more than a year. The girl said in her letters that she allegedly worked as a teacher and tried to appropriate qualities that she did not have, although in reality she was a sweet, good person. As a result, the soldier who came to Valya never recognized her, and Valya was ashamed to admit her deception...

Instead of a frame, the works of Paul Neagu presented in this film are hidden in cabinets of various shapes and sizes; instead of the gallery visitors gaze, they demand the viewers intervention: to open, to look, to enter, which is why the artist takes them out and portrays them as traps for the pedestrians of Bucharest. The musical accompaniment consists of modernist brass compositions by Edgar Varese.