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Charlie Rankin is come out of prison, but he must be murderer because he is indebted the man who protects him in prison. He walks confusedly the line between right and wrong. His life changes when he meets Florence who understands really him.
Assuming a series of increasingly empty noir postures and grimaces, Dorff expedites the plunge into frustrating pointlessness of this curious psychological drama.
There are intimations throughout that Charlie may not have the strongest grip on reality, though there's nothing ambiguous about the picture's overriding tedium.