In 1968 a French new wave filmmaker is working on a film about Mao's China. He wants to present it as a happy utopia which finally left alienation and exploitation behind. One part of the film is taking place in the future when America attacks China. The filmmaker wants to film using montage strategies of Eisenstein's October. While on the rain from Paris to Brussels, he reads in the paper that Russian tanks are going through the streets of Prague. Completely pre-occupied by his film, the filmmaker ignores the larger political context of Prague events; he is exited about the opportunity to get some footage for the film. He rushes back to Paris, grabs his hand-held film camera and takes first train to Prague. There he indeed finds Russian tanks in big numbers but there is a problem: the medieval streets of Prague look very different from China countryside where the scene is supposed to take place. The filmmaker pays the crews of two Russian tanks to drive to the countryside for half a day where he films the tanks. Happy, he returns to Paris where he finally realizes what actually took place in Prague. His first thought is to destroy all his footage but his old Fluxus friend convinces him to donate it to the audio-visual division of the National Library. The librarians have difficulties deciding under which category to file the footage; eventually they file it under "travel films."