A selfless man journeys through love and loss when he attempts to break his brother out of prison.

How does the "love and loss" translate into a breakout scheme?

Like MichaelHag said. "Love and loss" are subjective, ethereal. How do they translate to images of people, places, objects and events on screen?

And what's the inciting incident? That is, why must he free his brother?

Like MichaelHag said. "Love and loss" are subjective, ethereal. How do they translate to images of people, places, objects and events on screen?

And what's the inciting incident? That is, why must he free his brother?

Interesting. I think if you were pitching this an executive would ask what does "love and lost" look like. Did he get dumped? Did his bride get whacked by the mob? It just could add an interesting element.

I posted a different version earlier. I rewrote a lot of the script yesterday, and felt this logline was more fitting.