英国流行乐队演奏员锡德，在朋友家遇到南希后，两人相爱了。锡德从南希那里染上吸毒的毛病，毒瘾太大，不得不终止音乐生涯。锡德和南希总是吵架，两个人精神上也发生极大的变化。—次吵架，锡德冲动将南希杀死。事后，锡德逃脱了法律制裁，却终因吸毒过量而死亡。

A Japanese couple honeymoon at the Chelsea Hotel in New York. That night the wife finds her husband's dead body and a video tape of the brutal murder. A NYPD Detective, first at the murder scene, attempts to get to the bottom of the mystery of the murder in the locked room.

This TV documentary shows some of the colourful residents of and people connected with the New York Chelsea Hotel. Some highlights include Andy Warhol and William Burroughs having dinner; Quentin Crisp pontificating in a blue rinse hairdo on his balcony and Nico forgetting what she is talking about halfway through a dour rendition of "Chelsea Girls". A number of lesser-known characters also appear, linked together by a tour guide walking around the building and some sub-Shining sequences of a child cycling round the landings on a rickety tricycle.

1978年10月，性手枪乐团贝斯手席德的女友南西被人发现陈尸于却尔西旅店100号房的浴室，纽约警察未详加调查，将同处一室却早已嗑挂的席德冠上谋杀罪名；席德在隔年二月猝死，南西之死的真相也成为千古悬案。导演访问了近两百名相关人士，试图抽丝剥茧还原出真相。究竟是爱你爱到杀死你，或者席德只是代罪羔羊，凶手另有其人？看完电影，由你决定。

A new documentary, exploring the Chelsea Hotel's role in the cultural and artistic movements of the 20th century, from the Beat Generation to the Punk Rock scene. Delving into the history of the hotel, as a home and gathering place for some of the most influential artists and cultural icons of the past century, including Mark Twain, Arthur Miller, Jack Kerouac, William S. Burroughs, Bob Dylan, Iggy Pop, Leonard Cohen, Madonna and a possible spirit or two. Including historical footage of some of the residents and regulars who made the glorious Chelsea Hotel so legendary.

Queen of China (Hanoi Hanna), based on Ronald Tavel’s scenario, loosely refers to the real-life radio show host who broadcast antiwar propaganda to American soldiers in Vietnam. It is Mary Woronov’s showcase piece, in which she metes out physical and psychological abuse to Susan Bottomly, Angelina “Pepper” Davis, and Ingrid Superstar in a room at the Chelsea Hotel. At first, the cast tries to accurately adhere to Tavel’s scenario, but by reel two it all falls apart—the performers begin to use their real names and exhibit a sort of residual stress disorder that permeates the rest of the film.