When writing a feature film, or even discussing it over coffee, one often has a mental road map of where the story is headed. Think of it as an outline view of the sequence of events with a sense of how the story will look and be told. This is the "treatment."
In a large studio we would have had to produce one or several of these. In actuality, though, writer/director David Beedon developed his thoughts straight into a first draft of the screenplay.
But chances are many of the people we pitch this project to will not be interested in reading the whole script. We need something direct and to the point. In fact, we might need something even shorter than a treatment. We need a log line. A log line is one of those short blurbs you see in TV Guide, It only gives you the slightest inkling what the story is all about. But it's a quick read; certainly less than 25 words.
The proposed log line for our film is:
A hit man struggles to quit his profession when he is asked to compromise his moral code.
That's it! Of course there are other elements of this story that make for a compelling narrative and an interesting character. But as far as the short of attention are concerned, that's our story.
It took considerably longer to develop the treatment [or what would more accurately be called the synopsis; it's only two pages]. Our challenge was to convey the narrative as clearly as possible while keeping the characters and mood alive. The visual style is also an important aspect to this film. We decided to include additional information about the film in little side bars throughout the synopsis.
RAY HAMILTON is extremely good at what he does. He is efficient, quiet and always gets the job done.
Unfortunately for some; Ray is a hit man.
His conditions: no names, no women or children and no reasons, are finally compromised. After years of silently living in the shadows waiting for his prey, he is forced to question his profession. His latest job was finished with one serious hitch, a witness. There never has been and there can be, no witnesses. Though Ray doesn't know this man, he knows why he must die and for the first time, Ray is judge, jury and executioner.
OSCAR WEGG, his contractor and only real contact with the outside world, is unsympathetic. This isn't the type of work that you can easily walk away from and it's not the way to easy street. Neither is really ready to retire. Besides, Ray is very good at this.
This is what Ray does best.
Ray's next mark is guarded by a phalanx of seriously armed men.
It's an inconvenience but one Ray's deft skills easily overcome. During Ray's escape he overhears that they were expecting not just any hit man, but him. How did they know Ray was hired? If not from Oscar than who? And...
Why do they want to kill Ray?
The witness Ray killed was the only child of RICHARD MASON, a powerful crime boss. Intensifying Mason's rage, the contract that led to his son's murder was bought by ARNIE MILLER, Mason's right hand man. An issue Mason forces Arnie to understand.
Vengeance is to be exacted. At any cost.
Ray lays low at a hotel run by MELISSA CALAHAN. She's pretty, kind and seems struck by Ray. Ray is uncomfortable with her attraction. It has been a very long time since his life allowed a relationship of any significance.
Arnie's men, DODGE and JUAN, hole up in Dodge's car and watch Oscar's every move. They're waiting, waiting for Ray to show. But Ray's not going to make it that easy. The two sit together for days in the cramped confines of Dodge's car. One of them inexperienced and young, the other savvy enough to have made it this far and hopeful to retire soon. So long as Juan doesn't screw things up. Dodge does his part to clue Juan in, but it's a difficult task with such a cocksure young thug.
Ray tries to make sense of all that's happened. He confronts Oscar with an idea. Make the first move. Kill Mason.
But Oscar knows this won't end Ray's problems, far from it.
By the time Dodge and Juan suspect Ray is near, it's too late. Ray's gone. As Oscar explains, Ray's not invincible, he's invisible. He comes and goes as he pleases, using misdirection and traveling in shadows.
Another problem of sorts - Ray is starting to fall for Melissa. In the distant past, Ray left his wife and daughter because of who he was and what might happen to them. That was then... if he can straighten things out, if he can go away with her... maybe.
Maybe he could reclaim what he lost so long ago.
Melissa playfully suggests they go to the track and Ray accepts. Melissa's life may not be without its share of problems, but through Ray she desires to change her own course.
Ray arranges for Oscar to meet there since Oscar has set up another hit, a curious hit. Oscar's new mark is another dilemma for Ray.
Oscar's next mark, is a woman.
Before Ray can completely absorb all the implications, Arnie and his men appear. They're close, but not too close. Ray separates Arnie from the others and tries to reason with him. Arnie will have none of it, he's too embroiled himself. There's only one outcome for Arnie; Ray's death. Juan interrupts them and a shootout ensues but without the intended result. Inexplicably Ray disappears into shadows once again.
Ray meets up with Melissa who can't help piecing together what Ray does, who he is. At once she's frightened yet she sees beyond Ray's past. She sees a future, different from her own. Two wrongs don't make a right, but can they be better together?
Not if left up to Arnie, bent on only one resolve. He's discovered where Ray's hiding out. Now Arnie's too close, and that's unacceptable. With cold precision Ray makes clear who is in control. And makes sure no harm comes to Melissa. But this is how it will be from now on, unless...
Can Ray compromise his code of ethics for the money and actually find peace? Ray desperately wants to return to the normal life he once had. Melissa is that possibility, but can he 'right' himself by taking this one last job and hanging it up?
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