Zack is framed when he’s paid to drive a car that turns out to have a body in the trunk; Jack is set up in a sting with an underage girl; Bob (who “killed a man” by throwing a billiard ball) lands in the same cell. Zack and Jack start out hostile and barely speak; Bob is relentlessly chatty, quoting “Bob Frost” (Robert Frost) and filling a notebook with English phrases.
Bob hatches an escape plan, and the three break out and flee into the Louisiana bayou. Lost in the swamp, bickering and nearly splitting up, they’re kept together by Bob’s optimism (and his ability to scrounge food). They stumble on a isolated house in the woods belonging to Nicoletta (Braschi). Bob and Nicoletta fall instantly in love; Bob decides to stay with her. Zack and Jack, now with a grudging, unspoken bond, go their separate ways at a fork in the road.
The film isn’t about the mechanics of a jailbreak—it’s about the chemistry between the three men, dead-pan humor, Müller’s stark black-and-white images of New Orleans and the bayou, and a soundtrack split between Waits’ songs and Lurie’s score.
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