After an escaped convict forces a divorced mother to hide him, they fall in love and must flee to Canada to start a new life.

It’s ?a love story and the objective goal arises as a consequence of their falling in love. ?So is that the inciting incident? ? Or is the inciting incident his forcing her to hide him?

When he forces her to hide him, he only intends to remain until dark and then get out of town. ? That’s his end of Act 1 objective goal. ?(Flee to where, ultimately, is left unsaid and is unessential at that point in the story. His urgent need is to flee — anywhere)

?But because he’s injured, he has to wait. ?Other complications and romance ensue. ?And so ?his objective goal changes. ?(And she acquires one. ?At the start of the story, she’s just drifting aimlessly in a stagnant pool of depression.)

Here’s how the story breaks out in relation to the logline:

>>After an escaped convict forces a divorced mother to hide him
That’s the bulk of Act 1.

>>they fall in love
That happens in the 1st half of Act 2

>>and must flee to Canada to start a new life.
That happens at the midpoint in Act 2. ?The decision is triggered by a moment that forces the couple to decide and act; he can no longer linger in hiding. ?It?raises the dramatic question: ?will they be able to flee together to Canada to start a new life?

The rest of Act 2 and Act 3 work out the answer to that question.

BTW: ?I’ve noticed this breakout in a few other loglines for films. ?The standard paradigm is that the objective goal should be set up by the end of Act 1. ?And that becomes the objective goal statement in the logline.

But in some films, ?the final objective goal of the film that becomes the?objective goal statement of the logline doesn’t get set up until the midpoint. ?(But no later!)

fwiw