After being rescued from herself by a mysterious ex-singer, a depressed yet promising young woman must face the adversities of returning the favor without losing herself again along the way.

I like the previous version more. The fact that the person who save her from suicide was himself trying to commit suicide add a degree of quirkiness that the new version does not have.
I posted a link to a Pierce Brosnan movie with the same initial concept in the initial thread.
I like the idea that the suicide survivors share a bond and feel responsible for each other lives.

Somebody mentioned to me the following concept:
Somebody who want to die will only be allowed to die if he/she can convince somebody else that his/her life is worth living. Ultimately convincing himself/herself that life is worth living.

I think I understand where you want to go with your story, but it seems to me you still need to flesh out "bringing him back to life, make him start living again" with a specific goal, a concrete purpose. What does "bringing him back to life, etc" look like on a movie screen? What will happen by the end of the 3rd act that will constitute visual proof to the audience that she has succeeded (or failed)?

IMHO, you're trolling in some deep psychological waters -- the best kind for a drama. Best wishes.

I understand what you're saying but I'm not sure how to include it on the logline without making it too extensive or giving too much.

He connected to her because he knew how she felt and didn't want her to do it although he is finding it hard to don't do it himself. On the other side, she connected with him because she felt disarmed with his honesty and there was something growing up between them which will be explored during the script. The favor she wants to return is bringing him back to life, to make him start living again and help him with the cause of the depression (guilt) that he's feeling (that would be another story to tell later related with the death of an old army friend). As she becomes more frequent in his life they start seeing new possibilities but the causes of their depressions are still there, until they decide to fight them.

I just feel it's something everyone can relate to. We all feel a little down sometimes and we have this hope that someone will come and save us and everything will be okay. Most times that doesn't happen and we have to face things alone (which I will also try to explore on the story).

No matter how bleak the circumstances are that trigger a suicide attempt (death of a loved one, a terminal disease, impending financial ruin) 95% of a suicide intervention takes place on the level of emotions. Logic, facts are of no avail in talking someone out of suicide. Success depends on connecting on an emotional level.

So what was the emotional connection, the bond, that he was able to establish with her that saved her life?

Of course, she can feel grateful for his intervention. But why would she feel the need to "return the favor". What is the favor she feels compelled to return? And why?

Dare I ask: why do you want to do this story? What's your emotional bond to this logline?

Thank you @dgp! I'm new to this website and I haven't worked out how things work around here yet. I thought of this: "After being rescued from herself by a troubled ex-army, a depressed but promising young woman feels drawn towards him and must face the adversities of returning the favor without hitting the lowest point again." Is it better?

EmpireThinking:

As someone who does volunteer work on a suicide prevention hotline, who has spent gut-eviscerating hours talking people out of killing themselves, I cannot help but respond to this logline with more than casual interest.

I can think of several plots lines that might follow from the setup, but it's your logline. Alas, I still don't know with version 2.0 what plot you have in mind. "Without losing herself again along the way" is vague and subjective. A logline should communicate a specific, objective goal that follows from the inciting incident.(The stakes seem obvious: life or death. Either/both may try again unless...)

What hooked my interest in version 1.0 of your logline was the possibility of an compelling relationship. When 2 suicidal strangers talk each other out of jumping off a bridge, they become deeply involved in each other's life. Do they become best friends/allies? Lovers?. What problem must they overcome to prevent them from trying again? (The dramatic question in "Ordinary People"-- must viewing for anyone writing a script about suicidal characters, imho.)

Finally, may I suggest that to maintain continuity, that the thread of discussion be kept in this version of your logline. If you want to make revisions, do so in this thread or revise the logline at the top rather than post new versions of the logline.

fwiw.