A remand prisoner is re-routed to a temp facility where she must play ball with her vile cellmate in order to identify her own unwitting connection to the terror attack that diverted her.
A_R_RoadLogliner
A remand prisoner is re-routed to a temp facility where she must play ball with her vile cellmate in order to identify her own unwitting connection to the terror attack that diverted her.
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It seems like you are shutting the barn door after the horses have escaped.
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“In order to prevent a terrorist attack, an FBI agent goes to prison undercover and has forty-eight hours to deceive her cellmate into giving up the detail of the attack.”
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It ups the ante if the Terrorist attack hasn’t happened yet and getting the information from the cellmate is vital to stopping the terrorist plot.
Following a terror attack, a transiting prisoner is diverted to a detention centre where she must establish the unwitting nature of her connection to the attacker.
Is this about what would’ve happened, if Andy Dufresne got his chance at Elwood Blatch while still in Shawshank?
…forgive me but the wording seems confusing; what do you mean by “diverted”?
The logline sets up a situation for a plot but does not follow through with a complete plot.? Further, if the prisoner is in the role of the protagonist she is presented as a helpless victim of the situation, more acted upon against her volition that acting of her own volition.
A protagonist should be in the driver’s seat of the plot.? If, as in this case, she involuntarily finds herself in the passenger seat in a (dramatic) vehicle, she must find a way to get into the driver’s seat.? She must find a way to subvert the objective goal of her adversary (“to identify her own unwitting connection” — whatever that means) with her own objective goal.
So upon finding herself in this circumstance, what becomes her objective goal?? ?The logline should be framed in terms of her objective goal — not that of her captors.