Tired of being his 24/7 gopher, a workaholic lawyer gives her playboy boss two weeks notice only to fall in love with him while finding her replacement.
The featured logline puts more of a spotlight on the story hook, the personal relationship, than the underlying plot structure. The defining characteristics of the principals are correctly aligned; that is, in diametrical opposition so as to create plenty of conflict and wedge issues.
Here’s my take on a longer, more complicated version spotlighting the plot:
An idealistic lawyer works for a playboy developer [condition for the plot action] provided he not demolish a beloved community center [objective goal]. But when he treats her as his 24/7 gopher [inciting incident for the plot action] she quits [cause of plot action] only to fall in love with him [major complication] while finding her replacement.
Minus the words in brackets this version comes in at 38 words, just under what I consider to be the maximum acceptable length for a logline.
Her overarching plot goal is to save the community center. Her mission seems accomplished before the end of Act 1.
So, at the end of Act 1, her objective goal realized, fed up with being used a gopher, she gives two weeks notice. Her new plot goal is to find a suitable replacement before the ticking clock runs down. And then exit and resume the kind of the work where her heart is: public service law. This seems to be the end of the plot because it seems to resolve all the wedge issues, all the conflicts, all the dramatic tension.
But it’s only the beginning of the plot. The heart, soul, and hook of the film is in the “B” story, the romance, not the “A” story, the construction or destruction of this or that structure. The overarching objective goal in the “A” story recedes (mostly) to the background and serve as a framework in which to play out the more interesting “B” story which now comes to foreground. It is the story thread for working out her character arc: to fall in love with a guy in spite of their clashing temperaments and wedge issues.
The “A” story comes to the foreground again late in Act 2 when the playboy is under pressure to renege on his promise. This precipitates the ultimate crisis in his (much bigger) character arc. Now he must man up if he is to save the community center—and their relationship.