The latest draft of the logline lacks the causal connection between the inciting incident and goal. How will her robing the parents solve the problem of them being held at gun point?

Secondly the stakes are not clear, sure you’ve got organised crime in the logline, but what is the actual threat? To their lives? To their business? What MUST the girl prevent from happening?

I think your guts are correct about your attachment to the girl’s internal struggle, for me this comes across as her?character flaw – she needs to learn to be less naive.

How about something like this:

After a naive girl goes on a first date with, an unknown to her criminal, she must help his gang rob her house in order to prevent them killing her parents.

The problem that arises form this is that she must take their word for it. Essentially she trusts the criminals to not kill her parents after they rob the house – a naive action in its own right. This means that she hasn’t learned her lesson and her parents will likely still be killed. Of course she could turn on the criminals and contact the police or lock them in the cellar – after she completes her inner journey she would presumably now better than to trust the criminals again.

I.e:
After a naive girl goes on a first date with, an unknown to her criminal, he forces her to help his gang rob her family home in order to prevent them killing her parents but she manages to trap the gang in their wine cellar.

Not sure that is what you want to write, but it illustrates the point of her overcoming her flaw.

I can’t see enough action to fill a whole act 2.

He hitchhikes a ride with the officer,?but?then what happens?
They sit in his space car for 50 minutes until they find the bad guys? What is the resulting action?

Films are often sold on the action of act 2 as it is most of the film, best if you describe how he plans on getting back the loot – fight, steal or con his way to it.