Five friends share a London flat, start their day with breakfast, and head out toward Smithfield Market, where the city’s advertising buzz fills the air and giant posters proclaim the slogan “Meat for Go.” The mood is a mix of casual banter and weary disillusionment, a snapshot of lives that feel slightly adrift as they pass the stalls and street scenes that frame their day.
During the make‑or‑break moment of a TV commercial shoot for the same Meat for Go campaign set in Smithfield Market, Steve [Dave Clark] becomes increasingly fed up with the routine and hollowness of his stunt work. In a reckless bid for independence, he steals a flashy E‑type Jaguar (the 260 EYW prop) with a young actress and model, Dinah [Barbara Ferris], who has carved out a celebrity persona as the “Butcher Girl.” Their impulse to vanish takes them from the hustle of the capital toward a quieter, more remote escape. After a detour to Oasis Swimming Pools and a sequence around the Great Conservatory on the grounds of Syon House, they push onward into the wintry lanes of southern England, headed for Burgh Island off the coast of Devon. Dinah’s dream of buying the island—an attempt to reclaim some control over the life she’s lived in the glare of television visibility—begs the question of what happiness could really look like when so much attention follows every move.
Yet the pursuit is relentless. Leon Zissell [David de Keyser], the campaign’s calculating advertising executive, cynically manipulates the situation and dispatches two of his henchmen to recapture the runaways, underscoring the price of fame and the way an industry profits from a star’s desires. Their journey unfolds with a series of starkly different encounters: first, a group of beatniks squatting in MOD‑owned buildings on Salisbury Plain, with some of the footage shot in the evacuated village of Imber; then an encounter with an eccentric, wealthy middle‑aged couple in Bath’s Royal Crescent, whose opulence contrasts sharply with the grit of the road. Steve also harbors a hopeful detour to visit his boyhood idol, Louie, who now runs a youth club in London’s East End but has since relocated to Devon.
As the chase continues, the couple’s escape becomes a wider pursuit that includes the police and Zissell’s men after a fancy‑dress party in the Roman Baths at Bath. Eventually, Louie recognizes Dinah instantly thanks to her TV fame, yet fails to recognize Steve, even after introductions, highlighting a drift between public perception and personal identity. Dinah’s dream of the island proves to be something of a disappointment; at low tide it becomes reachable from the mainland, and Zissell has already arrived, clearly besotted with her. A growing crowd closes in around the two as the moment of farewell approaches. In the end, Steve makes a quiet choice to say goodbye and leaves with his friends, choosing a path that may be free of the chase but filled with its own uncertain future.
