Friday night in Toronto’s lower west end. Chatter from a dinner party in Harry and Carol’s nouveau riche condo drifts through an open balcony door, as two freebase cokeheads, Pretty and Johnny, have a party on their own in the alley below. As the dinner guests leave, the hostess is nowhere to be found. Until, a wet thud and a sharp scream rise up to the balcony. Pretty stares in horror at Carol’s body, splayed on the alley floor, as Harry screams for help from above. The sharp burst of police sirens sends the cokeheads running as Peter, a middle aged police officer, sprints from his cruiser to check Carol’s vitals. Rocket forward three months and these five disparate lives begin to cataclysmically intersect through weaving multi-narrative story arcs that release spurts and geysers of long-suppressed sexuality and aggression. Beautiful things can happen when you hit rock bottom.

A cyborg escapes the facility where he was created. With the help of a local sheriff, he tries to run from the dangerous scientists that created him.

‘Hell’ is the name of the hero of the story. He’s a prisoner of the women who now run the USA after a nuclear/biological war. Results of the war are that mutants have evolved, and the human race is in danger of extinction due to infertility. Hell is given the task of helping in the rescue of a group of fertile women from the harem of the mutant leader (resembling a frog). Hell cannot escape since he has a bomb attached to his private parts which will detonate if he strays more than a few hundred yards from his guard.