Arthur comes to his family home in the countryside from England for his mother's funeral. On this occasion a meeting is held with: the younger sister, Father and a "friend of the house" (read: Father's former lover, now functioning as his caretaker and nurse) - Mrs. Lila. Arthur is in his 40s, he is "halfway there", but he has not achieved much in his life, although he used to show so much promise. He has fallen from his dreams of designing lofty structures down into a bleak reality: he is an overworked lorry driver. He drinks, does drugs, sets up fake accounts on erotic portals, multiplying his conquests. Ever since he parted with his former love Hania (from whom he fled fearfully, unsuccessfully searching for the erotic ideal of his mother in women), everything is just a "fall":
He says that he doesn't think he loves his wide. He declares his love to Hania, offering to come back, just to withdraw again a second later. He doesn't know anything for sure. With one exception. His little son is in the hospital, dying of cancer. Arthur knows he'd sacrifice anything for his recovery. Arthur's younger sister, Little one, hasn't really made a life for herself either. She lives with the memory of her mother's rejection as a punishment for the inappropriate choice of her husband. Her husband, Jacek, is a terrible bore, still dreaming about big business, and their closeness seems to be barely a memory.
In this drama, everyone has trouble showing their feelings. Siblings are clumsily hugging, Hania and Arthur, unable to talk to each other, "play a game", Father is eternally contemptuously ironic, Hania is finds talking to dolls easier than to her family. They also have problems with communication. As in the symbolic scene with little Arthur walking by our mother's side, trying very hard to say something important - he will make another attempt only when his mother is already dead. Everyone also has deep and long-standing grudges against everyone else.
A cynical, ostentatiously crude Father has a grudge against his late wife about a wasted life. Little one and Arthur have a grudge against the insensitive Father who is always escaping into his writing. The Little One has a grudge against her brother that he neglected their mother, who in turn had a grudge against the Little One and therefore did not speak to her for fifteen years. Everyone is affected by this drama - except perhaps the kindly Lila, who, finding consolation in poetry and trying to patch up the gaps in family communication with the quite common method of consumption ("eat, eat"), somehow reconciled herself with the Father's spitefulness, pushing her around and the role of "the stupid one". Everyone is also emotionally entangled in each other. Is there anything hidden under the armour, spikes and masks? Is it still possible to untangle the knots caused by mutual wounds?
The drama will culminate in the moment when Father reads his late wife's letter summing up their family life (but was it truly written by her?), and immediately afterwards Arthur finds out that his child has miraculously recovered. Then Arthur will talk to Voice and makes decision to consciously direct his fate, resulting from the fact that Arthur offered himself to God in exchange for saving his son. This decision is a leap into the dark. However, halfway through, a choice must be made...
The contemporary, natural language of the dialogue, has been deprived of any punctuation - as though the author wanted to leave the distribution of accents and tensions in the utterances up to the actors, or maybe emphasize the "roughness" of verbal contacts of the presented family.