In a dystopian future, Europe is unified under a totalitarian patriarchy, where each town is assigned a single economic purpose. In Brendovery, Wales the occupation is prostitution. Arriving by train from London is Billy Hampton, a young American expatriate and draft evader (Bill Paxton in his first lead role), ostensibly there to enjoy a sex-filled holiday. Unknown to him he is a time bomb assassin, programmed by a feminist terrorist cell to assassinate the local minister of prostitution.

2'20"
An indictment ballad of all the different political groups in America.

Antony Balch tackles key themes and ideas from the writing of William S. Burroughs in a unique, cinematic style.

William Burroughs and Antony Balch are seated next to each other, looking directly at the camera. Their dialogue goes something like, "I'm Tony, who are you? I'm Bill. Where are you Tony? I'm in London, where are you? I'm in a 1920s movie, Tony." First Bill speaks Tony's lines, then later the entire dialogue is repeated with the correct people speaking the lines. It is repeated again later with Bill's dialogue playing while Tony's lips move and vice versa. There are other permutations as well.
In between these scenes are shots of Burroughs and Balch sitting alone staring at the camera. They are dressed so that their heads seem to be floating in black space. Burroughs recites what might be some sort of Scientology ritual (he flirted with it for a time) about getting a "pre-clear" to imagine himself out of his head using pushing and pulling bars (?). Balch quotes some dialogue from the movie Freaks (a film which he was successful in finally getting past the British censors for distribution in the UK). Later, Burroughs appears again, but Balch speaks his lines about preclears. Likewise, when Balch reappears alone, Burroughs quotes from Freaks.

Essentially a dizzying montage of quirky shots of legendary Beat Generation writer William S. Burroughs and noted surrealist artist Brion Gysin, this nearly 20 minute avant-garde short features repeated articulations of such random things as "Hello," "Where are we now?," and "Look at that picture" instead of music or standard dialogue. The narrative is decidedly nonlinear and perplexing, with no discernible plot whatsoever as we see images of Gysin working on his paintings and calligraphic designs and Burroughs rummaging through draws, packing a suitcase, giving a young man a physical, making a call in a phone booth, and waiting on a platform for a subway train.