The Harrow Road, Paddington, London. Max, a young would-be poet running wildly through the streets with panic in his eyes, eventually slows to a walking pace and enters his dishevelled, cold-water, studio bed-sit.

Desperate for money to pay the rent, he attempts to borrow from his neighbour, Sandy, a prostitute, but she has none. The landlady knocks on his door to demand the rent and complain about the noise while Max is listening to very loud symphony music on a reel-to-reel tape player. He responds by turning the volume up higher and smashing his room to pieces with the axe he keeps under his bed. He absconds from the flat laughing, carrying his only worldly belongings. The landlady screams after him, threatening to call the police.

Now homeless, Max stumbles across a tall office block belonging to Farson Advertising. Inside, he makes his way to the top floor and asks to see Farson, the company's chief executive. Once inside Farson's palatial office, Max makes his pitch: he wants Farson's company to market his suicide as a public mass media spectacle. Farson is at first disparaging, but out of evident amusement at the prospect of cat-and-mouse power games, he accepts the proposition.

On a rooftop somewhere in London during a jump location scouting session, Farson introduces Max to Pointer, his marketing expert. They explain to Max that everything has been set-up: they have financial backing and the interest of the media. Their only challenge now is to manufacture a marketable image for Max. His objections to being treated like a commodity amuse the marketing men. The jump is scheduled for the following Monday afternoon.

In a studio, preparing to film a televised statement, Max refuses to read the script Pointer has written for him and instead suggests Pointer read it. Max's motivations have been distorted to make him seem a reactionary martyr. The message is applauded by the studio crew, but Max storms out disgusted.

Back in the studio, Clio goes to Max as he is reclining on the opulent bed supplied by Farson. Clio wants to know why he wants to do it. She tells him it's 2am on Sunday - he doesn't have long left to live. They make love. Afterwards Clio warns Max not to let Farson get the better of him, but Max is already distracted. They fall asleep.

Farson wakes Max from an erotic dream of Clio with breakfast on a trolley. There are two other gifts: a loudhailer and a set of keys to the building from which he is to jump. Today is the day. Max demurs, but Farson cuts him to pieces with a tirade of abuse so vitriolic that Max crumbles into submission. As the coup-de-grâce, Farson calls Clio before him, revealing she slept with him to earn a bonus for 'softening-up' a 'difficult client'. In front of her, Farson reads one of Max's own excruciatingly embarrassing poems back to him.

Max listlessly embarks on the long climb up the staircase to the rooftop. Meanwhile, Farson, pleased with himself, offers to take Clio out for a celebratory drink, but she points out everywhere is closed - it's Sunday. Farson smirks to himself, amused he has duped Max into thinking it's Monday and an audience is waiting for him.

On the rooftop, Max encounters the unexpected presence of a photographer taking some early morning shots of the London skyline. After an exchange of mistrustful glances, Max is resolved to go through with his performance. He stands precariously on the very edge of the parapet and addresses his imaginary audience. Alarmed, the photographer dashes over to rescue Max, only to tumble to his own demise after a scuffle.

While this is happening, Clio is in hysterical tears admonishing the perplexed Farson. She makes him get down on his knees and beg forgiveness. It is evident that Farson has been pursuing Clio's affections.

Max runs through the streets in a panic-stricken state, with nowhere to seek refuge but his dilapidated dwelling. Elsewhere, Clio is left alone screaming in tears.