Based on real events. “After a decorated Wehrmacht officer?s family accidentally is sent to a Nazi death camp he must save them before the camp commandant dismantles the camp and kills all the inmates.”

OK, I DID read your comment again just now ? not at 2 am last night- it makes sence, going to write the mini-step outline when i?m back from work?. this is then his yourney but as already stated it will not have a happy ending for her and the children. If it had a happy ending it would be just an other story!! But what about the husband.

For me the story starts with;

(a) The to be promoted officer/husband now if he survives; him tastifing at Neurenberg. He story and will round the story up at the end of the movie.

If he does not survive,he?s killed by The Reich trying to save his family (also killed by the Reich);

(b) The story starts with the Jewish FRIEND of one of the mother's sons (which he met on the train to Treblinka). He will be one of the +- 200 (must check the number) survivors after the succesful escape from Treblinka (think: Escape from Sobibor) The young boy will testify at Neurenberg in the beginning of the story and will round up the story - the end of the movie.

You just WON ME OVER!! Ok, at the end some small differences in opinion about het story devolving could be there.

Based on real events. After a decorated Wehrmacht officer?s family accidentally is sent to a Nazi death camp he must save them before the camp commandant dismantles the camp and kills all the inmates.?

If we see the story ONLY from husbands point of view, he does not know that a camp revolt is imminent. He's saving his family from a death camp, not knowing that here is another possibility for his wife and kids to survive -ESCAPE.
Somewhere in the the beginning of the third act he must find out. We cannot just say the Treblinka revolt did not happen. And it's a good storyline. It makes things complicated and ups the stakes!!

After some thought, I also DIG "is sent" in your logline. The audience now can't say": so what, she did it to herself, what should I care (as you already mentioned)!!

Yes Jax, I like your - and - Nirs and Gabors - comments. BUT EVERYBODY ON THIS FORUM HELPED THIS STORY EVOLVING. Wow!! I'm going to rewrite the mini step outline. I need some sleep now, I feel like a zombie after living on this forum every night -untill 2 o clock. This story is going somewhere now and I'm excited!!

It seams that you are at a cross roads of your own with regards to this concept.

1) Follow the original text as closely as possible making the wife the MC with a true story. Wether it happened or not the inciting incident (getting on the wrong train) seams to challenge the suspension of disbelief for most readers which is a big problem for a logline. Further it appears to have a seemingly small amount of action (both verbal and physical) able to sustain an entire feature.

2) Create a fictional story making the husband the MC which won't be a true story but based on real events. In which case the exact mode of transport to the death camp can be left out of the logline and the inciting incident is his family being sent to a death camp. In the synopsis you can decide how this happened and how he learns of it to make the inciting incident credible as this is a fictional story. He must save his family from the commandant but in order to do that he must learn the error of his ways as a Nazi officer this gives you an external goal and an inner journey of growth.
In this case you have a MC with a heroes journey, clear goal, an antagonist, high stakes and a ticking time bomb.

The outer and inner journeys are directly related to each other in option 2 as the outer journey can only be completed after he completes his inner journey.
This is what powerful stories are made of.

e.g:
Based on real events, after a decorated Wehrmacht officer's family is accidentally sent to a Nazi death camp he must save them before the camp commandant dismantles the camp and kills all the inmates.

That?s cool Frugal, from the point of the soldier as leading figure, yes. But (at first) I want to stay as close to the TRUE EVENTS as possible. But this would be a great alternative! That is if the soldier finds out fast-that: (a) his wife and children took the wrong train and; (b) where this train is going. The train would feel like a ticking time bomb!

I do like the concept of this and feel it could work well as a film...would suggest your 'officer'/husband/father is the MC - you can still detail the experience of the wife/children on the train and in the camp - running alongside his actions (whilst he's doing this..they are experiencing that..), as I assume he does everything he can to get them released, and possibly doesn't know that they were gassed until some time after (and possibly isn't revealed until towards the end of the film) it still fits well with his overall (assumed) dilemma - who are the enemy and who are the allies, and who can save his family (and what will he do to secure their safety)? Well worth developing further.

Yes Jax, the part I "quoted" is out of the book Treblinka by Jean-Francois Steiner. I know it is hard to believe, even when it is told (seen) by camp witnesses. It's an interesting point of making him the protag, but he was not in the camp (because he was somewhere else and did not take that train), so HIS story is not interesting. He could lead the story of with testifying in Nuremberg.