Responding to dpg’s point about the woman’s influence. Yes, it’s very similar to the personal experience you mentioned.

The gang members were vulnerable and needy due to poverty and oppression and she offered the only ray of hope so it’s not like they were spoiled for choice. Talking about her in hindsight, some say she was an angel and some say she was the devil in disguise.

I suspect most people have hidden sides to their character waiting to be discovered. So, one day, she’s a trainee accountant walking into a store during a hold-up and twenty minutes later she’s found her life’s vocation and she’s a wanted felon, having teamed up with the guy robbing the store.

So who knows when a person will stumble across their biggest turn-on? I’m talking to you, dpg.

Talking about screenwriting and film-making: it’s important to know the rules. Just like it’s important for all fine artists to study drawing. But when you begin your artistic life you throw the rule book away because it’s the only way to do anything of real value. Now, everything I’ve been saying in this thread is from the perspective of a director who also writes so I have absolutely no problem sticking to my guns all day long.

Yeah, I can’t disagree with what you’re saying, dpg. The framing device is the suspenseful preparations of the firing squad. The story of the woman and the priest is part of the fabric of the larger theme of social alienation. It would be disingenuous on my part to present a logline that does not describe the screenplay. Not to mention issues of defining its genre. The story of the woman and the priest is an edgy melodrama while the larger story is an action-adventure movie.

Thing is I’m not using the logline to sell the script – just to describe it to people who are familiar with the project. If I were trying to sell a script like this I might go for a half-page synopsis and include a few exciting details.