When a low life trickster loses his partner, he must perform the great con with a once legendary con artist to escape the dangerous ganster he stole money from.

The Fugitive is an excellent example of a protagonist who while fleeing is nonetheless in the driver's seat of the plot.? The protagonist, Dr, Richard Kimble, doesn't have to return to Chicago.? He would only put himself in greater jeopardy by doing so.

But he returns anyway -- it's his call, his choice -- in order to pursue his objective goal, to find out who really murdered his wife and why.

I call this a "Damn the torpedoes, full speed ahead!" moment. (After?David Glasgow Farragut who gave that order in the Battle of Mobile Bay during the U.S. Civil War.)? IMHO, it's one of the strongest choices a writer can give to a protagonist.

>>> looks more badass than the really is heheh

People in the The Biz have an inordinate affection for con artist characters because, I speculate, it's a business where successful artists are also con artists.? They have to be:? manipulation is a? standard operating procedure.

The Fugitive is an excellent example of a protagonist who while fleeing is nonetheless in the driver's seat of the plot.? The protagonist, Dr, Richard Kimble, doesn't have to return to Chicago.? He would only put himself in greater jeopardy by doing so.

But he returns anyway -- it's his call, his choice -- in order to pursue his objective goal, to find out who really murdered his wife and why.

I call this a "Damn the torpedoes, full speed ahead!" moment. (After?David Glasgow Farragut who gave that order in the Battle of Mobile Bay during the U.S. Civil War.)? IMHO, it's one of the strongest choices a writer can give to a protagonist.

>>> looks more badass than the really is heheh

People in the The Biz have an inordinate affection for con artist characters because, I speculate, it's a business where successful artists are also con artists.? They have to be:? manipulation is a? standard operating procedure.

Indeed, a protagonist that isn't driving the plot forward (reactive) is not worth being the protagonist. That reminded me of Harrison Ford in the Fugitive. There is a constant 'survival' pressure on him, but still he is making all the calls.
I guess it all makes a better sense...? if I was going to rewrite it to a more proactive.. "When a low life trickster loses his partner, he must perform the great con with a once legendary con artist to avenge his friend."

In this more proactive approach, the logline makes Hooker looks more badass than the really is heheh