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Scene Map 55
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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1 INT. ORLANDO AIRPORT - EARLY AFTERNOON - PRESENT 1 PATRICK CAMPBELL, mid-60s, salt & pepper hair, wearing jeans, a short-sleeve polo shirt, and sneakers, walks through the airport, pulling a small suitcase and wearing a backpack. He passes a sign that says: WELCOME TO ORLANDO.
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4 EXT. MOBILE HOME - CONTINUOUS - PRESENT 4 Patrick exits the vehicle, grabs his backpack from the backseat and starts up the walkway. As he nears the porch, the door opens and a young lady steps out. She is dressed in blue scrubs, like a nurse. This is the
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5 INT. JESSIE’S LIVING ROOM - CONTINUOUS - PRESENT 5 A tapestry of light and color shining through open windows on decorations that look fitting for an elderly person’s home. Vases on every table, pictures on every wall. In the middle of the small room, in an overstuffed, amber-
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6 INT. JESSIE’S KITCHEN - LATE AFTERNOON - CONTINUOUS - PRESENT Patrick and Jessie sit around a small white table, sipping coffee PATRICK First, I’m in no hurry. I plan to
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7 INT. JESSIE’S KITCHEN - EARLY MORNING NEXT DAY - PRESENT 7 Patrick strolls into the kitchen. Jessie is sitting at the table. PATRICK Good morning, Aunt Jessie.
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8 EXT. ALLENTOWN, PA RESIDENTIAL STREET - MORNING - 1936 8 A street lined with small, clapboard houses, and large oak and magnolia trees. ALICE BYRNE, fifteen, stands on the sidewalk, looking up at the second floor window of an unkempt white house, with
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9 INT. JESSIE’S BEDROOM - MORNING - 1936 9 A young Jessie (13), auburn hair, goes to the window, looks out JESSIE Coming! Coming! Keep your knickers
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10 INT. JESSIE’S KITCHEN LATE AFTERNOON (FLASHBACK)- 1936 10 Jessie has a pot of spaghetti boiling on the stove. She slices a loaf of bread, places it on a pan, spreads butter over each piece, then sprinkles each with garlic powder. The table is set, everything ready for Daddy’s supper.
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11 INT. FOYER - LATE AFTERNOON (FLASHBACK) - 1936 11 Her DADDY is taking off his work boots. He is not a tall man, but his arms are so think, it looks as if his sleeves might burst. Jessie hands him the beer.
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12 INT. DADDY’S BEDROOM - LATE AFTERNOON (FLASHBACK) - 1936 12 Jessie looks frantically for the slipper. She spots it beside the bedside table. JESSIE There it is Daddy.
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13 INT. JESSIE’S BEDROOM EARLY MORNING - 1936 13 Jessie finishes buttoning up her dress, takes a last look in the mirror. ALICE Jessie! Now we only have five
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15 EXT. BARNES DRUG STORE MORNING - 1936 15 They reach Barnes Drug Store, a brick building with a dirt parking lot. The two girls stand outside the door. ALICE
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16 INT. BARNES DRUG STORE - 1936 16 PHARMACY is on the left side, and on the right a long bar, with a huge mirror behind on the wall. At the end of the bar, behind a six-foot section of ROUNDED GLASS, buckets of ICE CREAM sit in an open cooler. Along the bar are SILVER STOOLS
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17 EXT. SIDEWALK LATE AFTERNOON 17 Jessie and Alice walk home after the first day’s work. ALICE Oh my God, Jessie. Richard Stroud likes you!
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18 EXT. IN FRONT OF JESSIE’S HOUSE - AFTERNOON - 1936 18 Standing on the sidewalk in front of Jessie’s house. ALICE So, what does your dad think about you having a job?
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19 INT. JESSIE'S BEDROOM LATE AFTERNOON - 1936 19 Jessie changes out of her green dress. Hangs it in her closet. Only 2 other dresses hang there, along with a plain housedress. She puts on the housedress and slippers and goes
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21 INT. LIVING ROOM - EVENING - 1936 21 Jessie curled up on the couch with her Nancy Drew mystery. Daddy and Mr. Mike are on the front porch drinking beer. She can hear them talking and see them through the front screen door.
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22 INT. KITCHEN LATE EVENING 1936 22 The clock in the kitchen reads 10:00. Jessie hears Mr. Mike leave, and hears Daddy stagger and stumble up the stairs. Jessie sits and waits until the clock reads 10:15, then she tiptoes out of the kitchen to the stairs.
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24 INT. JESSIE'S BEDROOM - 1936 24 Jessie crawls into bed, pulls the covers tight and closes her eyes DREAM SEQUENCE 25 INT. JESSIE’S BEDROOM NIGHT 1936 25
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26 INT. JESSIE'S BEDROOM NIGHT 26 Jessie suddenly jerks awake to find Daddy partially on top of her, caressing her legs. DADDY I’m so sorry I yelled at you, baby.
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27 INT. JESSIE'S BEDROOM EARLY MORNING NEXT DAY - 1936 27 Jessie wakes up, throws the covers back and sees her panties are still on. She starts crying. 28 INT. JESSIE’S BATHROOM - CONTINUOUS - 1936 28 She climbs into the bath, tears mixing with the bathwater.
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31 EXT. JESSIE’S HOUSE - CONTINUOUS - 1936 31 When Jessie steps out of her door and walks down the walkway, Alice is standing there, bouncing on the balls of her feet, and holding her hands behind her back. JESSIE
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32 INT. BARNES DRUG STORE - CONTINUOUS - 1936 32 Mr. Barnes meets the girls at the door and informs them that Gladys is ill, and they will have to run things themselves for the day. MR. BARNES
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33 INT. BARNES DRUG STORE ICE CREAM COUNTER - 1936 33 MONTAGE OF JESSIE LOOKING AT THE DOOR AND AT THE CLOCK. THE CLOCK SLOWLY MOVES THROUGH THE DAY AND SOON IT’S ALMOST 4:00 Richard Stroud never shows up. 34 INT. BARNES DRUG STORE BACK STORAGE AREA - 1936 34
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35 EXT. SIDEWALK MORNING NEXT DAY - 1936 35 Warm, sunny day. Jessie and Alice skip to work JESSIE You’ve go to read the article, Alice. It’s amazing! There’s a
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36 INT. BARNES DRUG STORE ICE CREAM COUNTER AFTERNOON - 1936 36 MONTAGE: Throughout the day, Jessie watches the door. A few times Alice gives her a sad look and shakes her head. Once, she comes over and pats Jessie’s shoulder. ALICE
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37 EXT. SIDEWALK LATE AFTERNOON - 1936 37 Jessie and Alice skip home. ALICE Jessie has a date! JESSIE
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38 INT. ALICE’S BEDROOM - AFTERNOON - 1936 38 Jessie is squeezing into the dress, which is very tight. JESSIE It’s beautiful. ALICE
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39 INT. JESSIE'S KITCHEN LATE AFTERNOON CONTINUOUS 1936 39 Jessie has the table set and is waiting for Daddy to come home. She hears the door open and takes a beer from the fridge 40 INT. FOYER - LATE AFTERNOON CONTINUOUS 1936 40
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42 INT. JESSIE'S KITCHEN - EARLY MORNING NEXT DAY - 1936 42 Jessie has breakfast ready when Daddy comes down. He sits and gobbles up the food. JESSIE Where did you and Mr. Mike go last
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43 INT. DADDY’S BATHROOM - MORNING CONTINUOUS - 1936 43 Jessie pulls all the clothes out of the basket and hurries back downstairs. 44 INT. ENCLOSED BACK PORCH - MORNING CONTINUOUS - 1936 44 Jessie drops the clothes on the floor in front of the WRINGER
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45 EXT. SIDEWALK - MORNING CONTINUOUS - 1936 45 Jessie and Alice walk down the sidewalk on their way to work. Jessie pulls out the card from her dress pocket and hands it to Alice. JESSIE
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46 INT. BARNES DRUG STORE - AFTERNOON CONTINUOUS - 1926 46 Jessie is cleaning the counter behind the ice cream cooler. The bell over the door rings. Jessie looks up and Richard walks in, wearing a baseball uniform. He walks down to the ice cream cooler.
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47 EXT. SIDEWALK LATE AFTERNOON - 1936 47 Alice and Jessie are walking home from work JESSIE It’s not an actual date. He’s just taking me to the park.
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48 INT. FOYER - CONTINUOUS - 1936 48 Jessie rushes in the door and bounds up the stairs. 49 INT. DADDY'S BATHROOM - CONTINUOUS - 1936 49 Jessie pulls the card out of her bra and drops it on the bathroom floor behind Daddy’s clothes basket.
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51 INT. KITCHEN - EVENING - CONTINUOUS - 1936 51 Daddy in the kitchen eating supper. He finishes, grabs a beer from the fridge, his newspaper, then out onto the front porch. Jessie cleans up the kitchen, flops on the couch in the
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53 INT. JESSIE'S KITCHEN - EVENING CONTINUOUS - 1936 53 Daddy is sprawled on the kitchen floor, a chair overturned. JESSIE Daddy! Are you all right? Let me help you.
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54 INT. JESSIE'S BEDROOM EVENING CONTINUOUS - 1936 54 Lying on the bed, Jessie tilts her head back to stop the bleeding. Her face is red where Daddy struck her. When the bleeding stops, Jessie goes into the bathroom. 55 INT. JESSIE'S BATHROOM - EVENING CONTINUOUS - 1936 55
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56 INT. JESSIE'S BEDROOM - EVENING CONTINUOUS - 1936 56 Jessie puts on her pajamas and crawls into bed, the tears seeping onto her pillow. She closes her eyes and falls asleep. LATER
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57 INT. JESSIE'S KITCHEN - AFTERNOON - PRESENT 57 Patrick and Jessie at the kitchen table. Recorder in the middle of the table. JESSIE I think that’s all for now.
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58 EXT. JESSIE’S BACK YARD - AFTERNOON - PRESENT 58 A garden right out of a storybook. Beautiful rose bushes and daisies. Jessie slips on a pair of gloves lying on the stoop and picks up a small set of shears.
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59 INT. JESSIE'S KITCHEN - AFTERNOON - PRESENT 59 She pulls a vase from a cabinet, fills it with water, and arranges the flowers before setting the vase in the middle of the kitchen table. JESSIE
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60 INT. CAR - AFTERNOON - PRESENT 60 Patrick picks up his phone, dials. Puts it on Speaker. DENVER POST OPERATOR (Over the phone) Denver Post. How may I direct your
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61 INT. JESSIE'S KITCHEN - AFTERNOON - PRESENT 61 Jessi’s up from her nap, back in the kitchen. JESSIE Carrie should be here in a bit, so let’s wait on the wine.
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62 INT. JESSIE'S BEDROOM EARLY MORNING - 1936 62 Jessie opens her eyes to the morning’s first light. JESSIE (V.O.) I pulled myself out of bed and stared at the blood-soaked sheets.
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63 INT. JESSIE'S BATHROOM - MORNING - 1936 63 Ambles to the bathroom. Dares a glance in the mirror. Faint redness under her eye. She tries to smile. Winces a little. JESSIE (V.O.) The swelling in my nose was all but
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64 INT. JESSIE'S KITCHEN EARLY MORNING - 1936 64 Daddy eats while reading the morning paper. Doesn’t say a word. Jessie picks up a fork, stabs it gently into her hand. JESSIE (V.O.) I wanted to grab a fork and stab it
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65 INT. JESSIE'S BATHROOM - CONTINUOUS - 1936 65 Alice applies makeup to Jessie’s face. JESSIE (V.O.) While I sat on the toilet seat, Alice patted powder all over my
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66 EXT. SIDEWALK - CONTINUOUS - 1936 66 Jessie walks quickly down the sidewalk, holding a brown paper bag with the sandwiches. JESSIE (V.O.) I remember a few wispy clouds hung
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67 EXT. SIDEWALK OUTSIDE BARNES DRUG STORE MORNING - 1936 67 He pushes away from the building. In his hand is a small bouquet, and Jessie’s eyes go wide. RICHARD Jessie?
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68 EXT. SIDEWALK - MORNING - 1936 68 They continue to hold hands and talk as they make their way down the street and over to the park. RICHARD So, you read Nancy Drew? I’ve read
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EXT. ROOSEVELT PARK - DAY - 1936 Big, public park. Lots of grass, swingsets RICHARD You came here near the end of the school year, right?
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69 EXT. SIDEWALK OUTSIDE OF JESSIE’S HOUSE - CONTINUOUS 1936 69 Jessie, Richard and Alice reach the house. TWO POLICEMEN are sitting in their car. They both get out. POLICEMAN #1 Are you Miss Vasily?
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70 EXT. ALLENTOWN HOSPITAL - AFTERNOON - 1936 70 They arrive at the hospital, three stories high, with beige brick, a red tile roof, and red and white striped awnings over every window. JESSIE (V.O.)
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71 INT. HOSPITAL WAITING AREA - CONTINUOUS - 1936 71 JESSIE (V.O.) After giving my name, one nurse hugged me and told me they had taken Daddy in for surgery and had

JESSIE

A young woman, Jessie, navigates an abusive home life and her dreams of becoming a dancer, while finding an unexpected ally in her estranged aunt.

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Overview

Poster
Unique Selling Point

The unique selling proposition of 'JESSIE' is its raw and emotional portrayal of a young girl's resilience in the face of abuse, interwoven with her older self's reflections. The dual timeline structure offers a fresh perspective on trauma and redemption, making it stand out in the drama genre.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Claude
 Consider
Gemini
 Recommend
GPT4
 Recommend
DeepSeek
 Consider
Story Facts

Genres: Drama, Coming-of-age, Romance, Historical, Coming of Age, Mystery

Setting: 1936 and present day, Orlando, Florida and Allentown, Pennsylvania

Themes: Childhood Trauma and Abuse, Resilience and Survival, Family Relationships, Ambition and Dreams, First Love and Innocence

Conflict & Stakes: Jessie's struggle with her traumatic past and her father's abuse, alongside Patrick's desire to connect with his aunt before it's too late.

Mood: Reflective and somber, with moments of warmth and nostalgia.

Standout Features:

  • Unique Hook: The dual narrative structure that intertwines Jessie's past with Patrick's present, exploring generational trauma.
  • Major Twist: The revelation of Jessie's father's abusive behavior and its impact on her life, which adds depth to her character.
  • Distinctive Setting: The contrast between the idyllic mobile home park in Florida and the harsh realities of Jessie's childhood in Allentown.
  • Innovative Idea: The use of storytelling as a therapeutic tool for Jessie, allowing her to confront her past.

Comparable Scripts: The Notebook, A Man Called Ove, The Glass Castle, Little Fires Everywhere, This Is Us, The Help, The Fault in Our Stars, The Secret Life of Bees, The Pursuit of Happyness

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

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Overall Score: 7.49
Story Critique
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Characters

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Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

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Scene-Level Percentile Chart
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Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
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Memorable Lines
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World Building
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Correlations
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Loglines
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