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柯克·道格拉斯是美国政府的高阶特务，他跑到中东视察一个研究超感应能力的计划，其中有其子安德鲁·史提芬斯在内。不料他的同僚约翰·卡萨维兹竟偷偷雇用恐怖分子对研究中心突袭，以为将柯克杀死，从此拥有安德鲁等一群具有超能力的青少年为他服务。但柯克死里逃生回到美国，一方面找寻儿子的下落，另一方面透过亦在作研究的女生埃米·欧文作绝地大反攻。

故事发生在1968年的美国芝加哥，民众们对越南战争和麦卡锡主义的反对呼声越来越高，一场声势浩荡的民主运动一触即发。约翰（罗伯特·福斯特 Robert Forster 饰）是电视台的摄影记者，他亲眼目睹了事件的来龙去脉，并有幸成为了事件中的一员。一次偶然中，约翰结识了名叫艾琳（弗娜·布鲁姆 Verna Bloom 饰）的女子，她的丈夫在越战中不幸死去，约翰对艾琳心怀怜悯。随着时间的推移，约翰渐渐爱上了善良坚强的艾琳，而艾琳亦对正直的约翰心生爱慕，两人走到了一起。然而，这段恋情遭到了艾琳的儿子哈罗德（Harold Blankenship 饰）的强烈反对，不惜以离家出走来表示抗议，可是，就在哈罗德离家当天，骚乱爆发了，在一片混乱之中，艾琳悲哀而绝望地寻找着自己的儿子。

阿利斯（马尔科姆?麦克道尔）是一位无恶不作的少年，他的特殊喜好是边听贝多芬的交响曲边奸淫女性，某次他进入一所别墅抢劫一番后，打残了该别墅的主人——一名小说家，并用特殊喜好蹂躏了其妻子。后来因为杀了一名单身女子，阿利斯入狱并接受了特殊的人格治疗，出狱后，他对淫乐之事产生彻底的厌倦。但当阿利斯回到家时，周围人群没改变对他的旧看法，在种种歧视的重压下，他跑到郊外一所别墅想喘口气，不想这所别墅正是他以前抢劫过的小说家的那所。而作为反政府组织首领的该小说家为了达到某种目的，软禁了阿利斯。当这件事暴露小说家被捕时，其手下为了对抗政府，扬言要把阿利斯恢复原来的性情，完全不理一旁的阿利斯大叫“我完全好了”。

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.