60 Second Assassin (film) - Plot

Plot

Hired killer 'Minute Fong' is so-called throughout the kung-fu world for his ability to beat an opponent in under a minute. With such an effective technique, Fong naturally gains an unnerving reputation throughout China. The killer is beginning to rethink the actions of his life though and sees the next few jobs as definitely being his last. After his girlfriend commits suicide he finds his priorities in life changing even though his employers promise him rich rewards for obedience. Fong agrees to take one final assignment; to kill a man named Lai in a specified town. The obvious catch is that the town is inhabited by scores of men with this name and therefore the assassin must carefully search out his target. While staying in the designated location, Fong befriends a local boy who proves to be a mischievous, yet good-hearted younster who is merely looking for a father figure. Over time, the supreme fighter agrees to teach the boy kung-fu so that he can defend himself and the rest of his family. As the master-student bond develops, so does the friendship between Fong and the youngster's mother and grandfather. Fully immersed in this ordinary life, the killer forgets his assignment, but is quickly reminded of it when he discovers who Lai really is. Now Minute Fong must decide whether his loyalty lies with his new friends or his ruthless employers.

Read more about this topic:  60 Second Assassin (film)

Famous quotes containing the word plot:

    There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.
    Ralph Waldo Emerson (1803–1882)

    The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.
    Franz Grillparzer (1791–1872)

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)