A cuff-kiss- and tumble account of young off-beat America where the characters wobble schizoid up the downhill road of responsibility. A misunderstanding about each other's sexual status after meeting at a queer masquerade throws Tanya Landon and Val de Franko into a relationship with ""the safety valve of sexlessness built in."" Actress Tanya, finally fed up with lines, confronts photographer Val with ""Like I'm a chick who digs sex"" and together they exit to the darkroom. The relationship develops until an abortive (not literally) Christmas. Exit Tanya, enter Honey Bea. Honey Bea is a photographer's plump find (Val runs a photography studio where disclosure is the keynote.) But Honey turns out to be an elusive subject in real life and Val's thoughts reel around Tanya who, ""addicted to the wrong types,"" hasn't forgotten him. Honey's mind is a little out-of-focus but hovers on Val. The three circle each other in a candid camera world of snapshot degeneration...until Seesaw Sunday which spotlights their negative values and destroys Honey. A few too many special affects superimposed on a talented technique.