Aren’t street racing and stunt driving 2 distinct specialty niches? ? ?Don’t they require 2 different sets of skills? ?Yes, there may be obstacles in the former, but nothing like the obstacles and hazards in stunt driving. ?And the goal in racing is get across the finish line first — not jump 50 cars or across the Grand Canyon.

Also, “aging ex-motorcycle racer” ?calculates out to about how many years? ?The great Knievel’s career was finished ?by the time he was 42. ? Age takes its inevitable toll, in the reflexes to avoid accidents and the resiliency to recover when they happen anyway.

And wasn’t Knievel in his glory days a soloist– he wasn’t one to share the spotlight in his stunt performances with anyone else?

Anyway, a common framework for stories like this to use a ?bookend. That is, there might be an opening scene where he has a chance to compete against Knievel. ?They’re reckless young bucks, full of alcohol, piss and big dreams. Either he loses badly. ?Or he fails to take advantage of the opportunity, ?passes it up for the safety and security of a white collar job. ?Marriage and a mortgage. ?No risk– and no glory.

Now years later, the layoff is a trigger for him to go for glory, ?for one last chance to do what he didn’t do — didn’t have the guts to do — in his youth.

Or whatever. ?The point is the logline should suggest that his struggle is about more than earning a living after he’s laid off. ?There’s more at stake than mere money. ?What’s at stake is his last chance to fulfill his biggest dream.

So what is his biggest dream?

fwiw.

Agree with Dkpough1. ?There doesn’t seem to be anything unique, new about the concept that differentiates it from all other cop/crime genre films. ?And the cop is givens no particular objective goal.

Well, he wants to survive, obviously. Isn’t that an objective goal? ?But trying to stay alive is not what got him involved in gang — it’s the unforeseen consequence. ?(Staying alive is the ultimate stakes.)

A further issue with the logline is that it sets up the undercover cop as the active character only to surrender the agency — the active role — to the rival cartel. ? The other gang seizes control of the story as they hunt down the other gang, including the undercover cop.

The logline should be framed such that the protagonist is in the driver’s seat of the story from the inciting incident to the final FADE OUT.

So, what becomes the actively pursued objective goal of the undercover cop when the rival gang counterattacks? ?What must he do?