In the midst of his hired kill, a Hitman is visited by his drug abused Uncle and learns the essence of life through his six-year-old daughter.

Hello ?Clint,

I don't agree with DPG whose advice matches with action movies (which is not exactly yours, unless I'm mistaken).

IMO, you already have what you need in a logline (explicitement or implicitement):
- a?catalyst (the visit of the uncle)
- a hero (the hitman)
- a flaw (he's a villain)
- an antagonist (his uncle and maybe his daughter)
- an external goal (kill his next victim)
- an obstacle/problem to solve (the visit of his drug abused uncle)
- Something at stakes (his reputation and security?and?maybe his daughter)
- a mentor (his 6 year old daughter)
- an inner goal (a way to redemption?)
- an arc... (which doesn't mean he necessarily will changes of job. In a Tarantino's movie, he would not hahaha!)

Is this lesson about life the manner how his 6 year old daughter deals with his uncle's addiction and some other consideration about their mutual relation? or something similar?
If so, I find your logline good.

"When a hitman is visited?by his drug abused Uncle in the midst of a kill, he is given a chance to learn the essence of life through his six-year-old daughter."
or
"When a hitman is visited?by his drug abused Uncle in the midst of a kill, he is given a lesson about the essence of life through his six-year-old daughter."

Best.

A logline should not be about "life lessons learned" -- that's a subjective goal arising from an internal need.? A logline should focus on the external goal, what the main character needs to accomplish as a result of the inciting incident.

So, as a result of being visited by his uncle -- the inciting incident -- what must the hitman do?? What become his objective goal? Who opposes him? What are the urgent stakes?