The play is set in a contemporary Albania grappling with rampant capitalism and one of its effects, usury. The characters, all gleefully corrupt, continuously try to make profit out of each other, all the while dreaming of emigrating to America. Rrako's wife Juli is expecting a child and he imagines selling it to a Greek family to pay off his debts. However, as the play goes on, there are more and more candidates for the child's paternity. Increasingly eccentric characters appear, including the European, a community civil servant, the ideal dupe, or Leké, a crook who passes himself off as a resurrected historical personality. The two most cunning characters escape abroad; Poverty, you never escape that', conclude the others, resigned.

Like Ilir Bezhani's other recent comedies, this play exposes, in an extremely lively fashion and in a comic mode close to farce, the difficulties Albania is wrestling with today. Not one character emerges unscathed, as all of them contribute, in one way or another, to the widespread atmosphere of fraud.

The play, which has no subdivisions, is a continuous chassé croisé. The characters constantly come in and go out, and all the devices of vaudeville are brought into play: confused identity, puns, asides, secretly snatched conversations, conjugal infidelity and illicit love. The specific originality of this play lies in the way that this virtually standard mechanism serves an entirely unexpected situation, in the east, at the very end of the twentieth century.

The action either swings towards farce or the grotesque, by pushing the ridiculous nature of the situations to extremes, (according to the video recording, this is how the Albanian audience received the play), or towards the underlying social and economic drama, the absurdity making way for a kind of compassion, and serving to disguise the bitterness of a population which is going to the dogs, ultimately reduced to fraud after having been defrauded by everyone: leaders, volunteers, foreign powers and all sorts of moralists.

Produced in April 1996, this comedy prefigures the scandal of the financial pyramids which collapsed in early 1997, causing riots in which nearly a thousand people died.