Dead in a Week: Or Your Money Back

In a world where the grind of everyday life is laced with a sharp, unsettling humor, the film opens on the edge of desperation. The city’s restless pulse—its neon‑lit streets, cramped apartments, and stale coffee‑shop conversations—creates a backdrop that feels both ordinary and oddly surreal, inviting the audience to wonder how far someone might go when hope feels out of reach.

William is a struggling creative on the brink of surrender, haunted by a string of personal and professional failures that have left him feeling invisible and exhausted. Rather than ending his own story in the usual ways, he makes a deal with a stranger, placing a contract on his own life with a bizarre guarantee: if the job isn’t completed within a week, he gets his money back. This premise turns his despair into a twisted negotiation, framing his inner turmoil as a darkly comic bargain that raises questions about agency, value, and the price of redemption.

Enter Leslie, a seasoned hitman whose reputation is built on professionalism and a detached efficiency that borders on the mechanical. When confronted with a client who wants to be killed, he treats the request as another line item in his ledger, yet the unusual terms and personal stakes behind the assignment pique his curiosity. The clash of their motives—William’s yearning for release versus Leslie’s cold‑hearted commerce—sets up a tense, cat‑and‑mouse dance that crackles with wit, uneasy empathy, and the possibility that even the most hardened contract can’t ignore the fragile humanity lurking beneath the surface.

Last Updated: August 10, 2025 at 02:11