Fikreta (in her mid-forties) and Betina (in her mid-twenties) make a living from cleaning other people’s homes and apartments. In one of those apartments, at the bottom of a closet, Betina finds a voice recorder and a box with old audiotapes. The tapes contain recordings, an audio journal recorded by an unknown Tenant during the war. These recordings represent the parallel thread of the play, taking place during one of the longest sieges in the history of modern warfare.

The action takes place in a small apartment in one of Sarajevo’s suburbs during one of the cruellest winters the city has ever seen. The building that housed the apartment that Fikreta and Betina are cleaning is surrounded by a white nothingness. While Fikreta is trying to deal with this her own way, Betina becomes obsessed with the Tenant’s tapes. As there’s a blizzard raging outside, the apartment becomes some sort of a limbo for these two women, whilst the Tenant’s story becomes the catalyst for their secrets and fears. In the play’s finale, the line between the real and the imaginary, the present and the past, the living and the dead becomes more and more blurred.