A troubled young man converts to Islam to please his Muslim girlfriend, gets set up by a psychopathic terrorist in a train bomb attack, he must evacuate his frantic landsmen before a ticking time-bomb kills them.

>>A naive young man converts to Islam for the love of a girl, winds up in the middle of a terror plot against his country.

Getting better, but it still describes more of a situation-- and a good one-- than a plot. And it frames him as more the victim of his folly than the agent of his redemption. The plot is what he must do when he realizes his folly, that he's been used. So maybe:

When a naive young man converts to Islam for the love of a girl only to discover he's being used in a terrorist conspiracy, he has 2 hours to thwart their plot."
(32 words)

This logline suggests beginning the story in media res -- the middle of the conflict. That is, hit the floor running with dramatic tension, with conflict, with an opening scene where he is already frantically trying to find out where the bomb has been planted. ?Then, perhaps, interweave with backflashes explaining how this crisis arose, how he got himself into his dramatic predicament.

A tough writing challenge, but when done well, it makes for a more engrossing script and ?movie. An excellent example is "Michael Clayton". It ?opens ?with a tense opening teaser that builds to a "WTF!" car explosion on page 16, then flashes back to the beginning, to show how Michael Clayton got himself in such a predicament. ?You can download a pdf of the script here. ?Well worth studying, imho. And viewing , if you haven't already.