Prison exchange
CraigDGriffithsUberwriter
A woman comes home to finds a wounded fugitive in her house. His partner has taken her daughter. The woman must help the man get medical attention and escape if she ever wants to see her daughter again.
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I think this sentence would be better attached to the first one. ‘His partner has taken her daughter.’
A woman arrives home to find a wounded fugitive in her house and her daughter missing. She must help the man get medical attention and escape if she ever wants to see her daughter again.
Let the reader assume that he has either a partner or some other means of making her help him.
I think this sentence would be better attached to the first one. ‘His partner has taken her daughter.’
A woman arrives home to find a wounded fugitive in her house and her daughter missing. She must help the man get medical attention and escape if she ever wants to see her daughter again.
Let the reader assume that he has either a partner or some other means of making her help him.
Of course (picture me slapping my forehead). I had a few runs at it, but couldn’t get it to read well. Thanks. I am going to try and write it as a contained thriller. Never written anything contained.
Of course (picture me slapping my forehead). I had a few runs at it, but couldn’t get it to read well. Thanks. I am going to try and write it as a contained thriller. Never written anything contained.
Just googled ‘contained thriller definition’. LOL. In that case, maybe you should try to include something about how the relationship between the woman and the fugitive develops. Can you get a feeling of suspense in there somehow? But to be honest, this isn’t my genre. Someone else probably knows more about this type of story than I do. Keep at it.
Just googled ‘contained thriller definition’. LOL. In that case, maybe you should try to include something about how the relationship between the woman and the fugitive develops. Can you get a feeling of suspense in there somehow? But to be honest, this isn’t my genre. Someone else probably knows more about this type of story than I do. Keep at it.
Why would they not hold the daughter hostage in the same house with her mother? Why would the villains expend the extra effort, hassle and risk of splitting up, one partner in crime taking the girl elsewhere?
Why would they not hold the daughter hostage in the same house with her mother? Why would the villains expend the extra effort, hassle and risk of splitting up, one partner in crime taking the girl elsewhere?
I like Lee’s variation. The twist at the end is that once he escapes her phone rings and her daughter has just been at a friend’s house.
There will also be a bit of the Stockholm syndrome.
You need to show in your logline that your screenplay is a contained psychological thriller. Screenplays are sold by genre. Something like this:
‘A woman comes home to find a wounded fugitive in her house and her daughter missing. She must play a game of cat and mouse with the fugitive, while helping him get medical attention and evade capture, if she ever wants to see her daughter again.’
>>he escapes her phone rings and her daughter has just been at a friend?s house.
Ye ol’ bait and switch routine on the audience. Might work for a short film. But if I had to sit through a 90 minute feature film only to discover that the big reveal was that the daughter had never been abducted, was never in any danger, I would feel as cheated and used as the woman.
Others’ mileage may differ.
The bait and switch could be a little annoying. But it is not uncommon and as long as the drama holds it should be okay. It is just a scene, it can be dropped.
“Cat and Mouse” is quiet where my mind is at, but it does need something. I’ll let it brew in the brain and see what happens. I’ll write it with a number of statis shifts. More of an arm wrestle. She will also come to gain some compassion or empathy for him. This is not to say she will protect him, but the hatred lessens. So when she finds she has been deceived she is not desperate to call the police.
Not an easy task to pull off, but I think I am up to it.
I like where this story is going but I do not see the standard b story; the love interest. Why not make her slowwwwly fall in love with the fugitive, who then at in the beginning of the third act f?. her over?
I personally find this a very original storyline, and using Rutger Oosterhoff’s idea about love would improve it greatly as would make the genre more of a sub-love story, although you can’t contrast love as a major part of the movie as it would seem as neglection towards the taken daughter. Maybe try to add the realisation of love when she see’s how much the fugitive wants to help to find the daughter (so she thinks) but actually he just wants vengeance towards the other fugitive??? At the scene where he does find the fugitive and the daughter his anger and passion for vengeance drives him to forget about the safety of the daughter and the ‘hostage’ position she’s in, eventually she dies from his lack of thinking in the moment and he kills the fugitive and to his shocked realisation of how he could of prevented the daughters death, he commits suicide from guilt.
Hope this helps.
I thought something like that. The B story is the unfold of his backstory, what she learns about him. I think I can get away with empathy, love would be a stretch, he is still holding her daughter as far as she knows.
How Shakespearian is that. Great take, don’t know if I could pull it off (I am not that type of writer), good twists. I’ll pillage what I can from that tidal wave of thinking. Thanks
Hmm. LOL.
You are right, I not think about that.
I’m curious, do you want her to escape in the third act or do they both leave the house? I guess she must pull of an Houdini as the leading character in “Nick of time” does.
Good point. A ticking clock is needed. She doesn’t try to break free because that would sign a death warrant for her daughter (perhaps). Her daughter is her focus.
She must achieve his goals to achieve her own.
I was thinking of moving it to a hospital, but I am trying to keep it in a single location, as long as the story doesn’t suffer.
I think the premise can handle a single location.
Started plotting. So far, a house, a car and a 7/11. Won’t need anymore locations. Any suggestions keep them coming.
World: major storm has taken out infrastructure, power, phone etc. this removes the “just call the cops” question. Single mum, 15 yo daughter, should be home but missing.