An unnamed hit man (Issach De Bankolé) spends most of the film moving from location to location throughout Spain, collecting the information and equipment he requires to complete his latest assignment, the assassination of an American corporate bigwig (Bill Murray). He meets most of his contacts in cafes, although one woman spends a few days naked in hotel room and another dines with him on a train. As the movie develops, it becomes clear that The Limits of Control is intended to be seen as a parable. Ultimately, it is about art, music, literature, cinema, science, sex, and hallucinations banding together to provide the instruments by which the evil of soulless American capitalism can be destroyed.