You can’t keep the secret a secret in the logline.? For one thing, there have been too many films done over the decades about secret Nazi this and that (conspiracies, Swiss bank accounts, art treasures buried in mines, hideouts in Argentina, etc.)– it’s become a tired trope.

Your logline needs to reveal the secret. Agents, producers and directors want to know if you’ve got a new take on the trope before they’re going to ask to read the script.

And loglines are not about decisions to be made… eventually, maybe.? Loglines are about the action that follows from a decision that is made; specifically, the decision to commit to an objective goal.

Through all the iterations of your logline, I still don’t have a clear sense of what her objective goal is.? So, for the moment I suggest forgetting about writing a complete logline with all the required elements.? Just write one short sentence stating her objective goal.? ?Nothing more.? ?Just her objective goal.? What is it? What she must do?? Exactly,? what is she struggling to achieve?

Just brainstorming….

Why would the boss send a “newbie” to solve a big problem with a major client?? Wouldn’t he send his “ace” accountant, his best and proven trouble shooter?

She can be — should be — an unconventional accountant.? But again shouldn’t her psychic abilities be an asset?? Her canny powers enable her to think outside the box, find and solve accounting problems in unconventional ways.? Her boss may not understand how she solves accounting mysteries, and he may be exasperated by her eccentric personality — but he can’t argue with her results.

Consider how Arthur Conan Doyle crafted Sherlock Holmes.? He’s a weirdo, a drug addict (opium), is impossible to live with — but his acute powers of observation, his impeccable deductions make him the go-to guy for solving intractable mysteries.? The result is an immortal literary character.

In fact that’s one way to setup your character for the plot to follow.? Introduce her solving an intractable problem that has stumped everyone else? in an unconventional way.? Establish the character, her role and her distinguishing characteristic, her strength.

And then she gets “The Call”, the case in Berlin.

Now she can refuse “The Call” initially because she’s a “home body” . That’s a character eccentricity that makes her more colorful. But I don’t see it as a character flaw.? A character flaw is a personal problem that threatens to defeat the protagonist, prevent her from achieving her objective goal, solving the dramatic problem.? Not just in the 1st Act (by not wanting to leave her comfort zone), but also in the 2nd and 3rd Acts.? But she’s far outside her comfort zone in Act 2 & 3– so how does that constitute an ongoing threat to reaching her objective goal?

Also, wouldn’t her psychic powers enable her to apprehend something about the accounting problem that hooks her interest; her intuition tells her she’s the only one who can solve the problem? Ultimately, a superhero has to do what a superhero has to do:? rise to the challenge in spite of any personal inconvenience.

My point is that ultimately the primary motivation for your character engaging in the dramatic problem that sets the plot in motion needs to be positive and proactive (I want to do this, I gotta do this for a greater good) not negative and reactive (If I refuse, I’ll get fired).? Negative and reactive is weak.