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暂无英文版的简介，请添加内容帮助我们完善数据库。

The characters of the play do not know that tomorrow there will be a war, that many people have only a few days left to live. They enthusiastically fight with the teacher, fall in love, cry and laugh, have fun, fight, mischief and impudence, but they seem to be just children, although - the paradox of that time! - their souls mature and develop much faster than their bodies. And when their friend's father is arrested by slander or mistake, they are ready for the first trials, for the initial lessons of injustice and grief, mutual assistance and mutual understanding. The tragedy that happened in the classroom was a kind of test of readiness for tomorrow's sacrifices and tomorrow's exploits.

Tomas is happy as family father, raising teen son Milan (as his knavish buddy) and running-especially gastronomically- a club with his mother Nike, whose absences to take course aiming for career progress causes tension. Covering for Milan's systematic class dodging to pursue a musical ambition, Tomas discovers going trough Nike's stuff the knave isn't biologically his son, feels utterly cheated by wife Nike, and feels like wrecking their relationship, family and livelihood musical bar. Former common study friend Clemens, a divorced MD, confides he wasn't interested in Nike, being gay, and advises 'getting laid' without commitment, but finding that out hurts utterly confused Milan even more. The spouses must pull together when son Milan (16) decides to seek his genetic father, a former GDR literature professor Dr. Karoly Gaál, who is now in a home for demented seniors.