WHAT IF SUPERPOWERS CAN’T PROTECT YOU FROM EMOTIONAL TRAUMA?
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LOGLINE:
Jessica Jones is a moody, boozy super hero detective trying to piece her life back together following a terribly traumatic event. When the Schlottman’s hire Jessica Jones to sleuth out their missing daughter, Jessica realizes elements of the case are rekindling her own traumatic memories. Is it possible the incidents are related? Could the man responsible for Jessica’s past abuse be the same man who is holding Hope Schlottman captive now?
COMMENT SUMMARY:
This script is a great origin story for a compelling and complex character. Jessica Jones is an interesting take on the thorny, troubled Noir detective from a woman’s point of view. What if Philip Marlowe were a woman? A woman with super powers! Association with Marvel Comics properties makes this project an automatic CONSIDER.
SYNOPSIS:
Open on the dark, seedy streets of New York City. A romantic couple holding hands ducks off the street and into an alleyway. Thinking they’re sufficiently alone, the couple begins having sex. Little do they know someone is photographing their Tet a tete from afar. Enter JESSICA JONES – (street-smart private investigator, principal narrator). Jessica photographs the couple’s steamy encounter from a distance.
In narration, Jessica Jones explains her life and career; “New York may be the city that never sleeps, but it sure does sleep around. Not that I'm complaining. Cheaters are good for business. A big part of the job is looking for the worst in people. Turns out, I excel at that. Clients hire me to find dirt, and I find it. Which shouldn't surprise them - but it does.”
In VO, Jessica explains cheaters are the bread and butter of her private investigator business. When a husband finds out their spouse is cheating, they have two choices. Either do something about it or keep denying it and try to shoot the messenger for ruining their already shitty lives.
Later, back at JESSICA’S OFFICE/APARTMENT - Jessica shares the photographs with the woman’s husband. Angry to find his wife cheating on him with his own brother, the man flies into a rage and attacks Jessica. Even though he’s bigger than her, Jessica defends herself and throws him through the plate glass window of her office door. A handful of photographs flutter to the ground.
This is JESSICA JONES – super-powered private detective, badass private investigator superhero. Never one to take any guff, Jessica reminds her unconscious client: “Then there’s the matter of your bill.”
Inside HOGARTH'S LAW FIRM – Jessica enters the lobby, breezing past the front desk receptionist as though she works there. The front desk secretary, PAM, catches up with Jessica at a trot. Jessica, unfazed by Pam, does not slow in the slightest.
Jessica meets HOGARTH (beautiful, powerful corporate lawyer, Jessica’s boss) in the hallways. Walking, they fall into stride with one another. Their conversation is the back-and-forth banter of old acquaintances.
Jessica asks for a case. Hogarth reminds Jessica the last time they saw one another, Jessica called all lawyers: “scumbag henchmen for corporate America.”
Hogarth explains her firm just hired a new full time investigator – a job that had been offered to Jessica Jones, but which she previously turned down. Jessica says she prefers to freelance and have no ties with other people.
Hogarth calls Jessica Jones unprofessional, erratic, and volatile. Jessica protests – she’s delivered on eight jobs no one else could. Hogarth explains Jessica’s ability to get results helps her overlook the many of complaints Hogarth receives regarding Jessica’s methods.
Jessica redoubles her efforts. “I'm not going to beg you for a case. I will ask you, though, very strongly.” Hogarth relents her grudge and gives Jessica a fresh PI assignment. Last week, an exotic dancer fell off stage when her pole came loose. Now, the dancer is severely concussed and has permanent brain damage. Hogarth is representing the dancer and wants Jessica to serve a summons to GREGORY SPHEERIS, the owner of several gentlemen's clubs.
Hogarth explains there are outside parties interested in Spheeris' property but that his bodyguards make it difficult for anyone to serve him legal paperwork. The good news is that “difficult” is Jessica’s specialty.
Back at JESSICA’S APARTMENT – Jessica gets to work doing the legwork on her case. She calls Gregory Spheeris' office, pretending to be someone else. She smartly convinces the secretary to share Mr. Spheeris’ upcoming calendar appointments with her. The secretary confirms Mr. Spheeris has a dinner reservation the following day at 7PM at the SoHo House – a members-only restaurant. Restless and unable to sleep, Jessica leaves her apartment/office with her camera and a bottle with whiskey.
Jessica stands in the STREET AT NIGHT – Jessica positions herself on the building fire voyeuristically observing the inner lives of the people in this apartments building. Jessica opines: “In my line of work, you gotta know when to walk away. But some cases just won't let you go.”
From her perch on the fire escape, Jessica watches a woman walking on a treadmill in her apartment. The woman soon gives up on exercise, instead stuffing her face with a hamburger.
In the apartment below, Jessica observes a man sniffing the inside of a high heel shoe. Jessica is disgusted.
At street level, Jessica watches a man lead a woman out of the bar and a few yards down to the door of the apartment building.
Jessica has a brief flashback. A man’s voice in her head. KILGRAVE: You want to do it. You know you do. Jessica snaps out of it. She is shaken, panting. To calm herself down Jessica begins reciting street names to herself. “Main Street. Birch Street. Higgins Drive. Cobalt Lane.”
Jessica looks back to the apartment. The shoe-sniffing man is being embraced by a naked woman. Jessica sips form her flask of whiskey and watches the couple kiss.
Back at JESSICA’S APARTMENT – Jessica lays awake listening to her neighbors argue. Fed up with their row, Jessica throws a shoe at the ceiling, leaving a sizeable mark.
Jessica notices her bedroom door is open, she hears someone in her apartment. A moment of suspense – it’s her neighbor, drug addict MALCOLM raiding her pantry.
Malcolm complains Jessica’s peanut butter isn’t crunchy. Jessica explains to Malcolm that he’s in her apartment by mistake. Shooing Malcolm home, Jessica opens her office/apartment door to find an older couple only just about to knock.
The couple asks if she is Jessica Jones, private investigator, explaining they tried to reach her via phone but got no answer.
Jessica ushers Malcolm into the hallway and invites the older couple, BARBARA and BOB SCHLOTTMAN, into her office to talk. The Schlottmans have flown in from Omaha hoping to locate their missing daughter, HOPE.
Bob - a carpenter by trade – notices the state of Jessica’s office/apartment door from Jessica having thrown her last client through the glass. Bob suggests the screws are stripped. Jessica admits it wouldn’t be the first time. Jessica encourages the Schlottmans to share their story with her; to start at the beginning.
Barbara explains her daughter, Hope, is a student athlete, captain of the Track and Field team at NYU. A month ago Hope began behaving erratically; told her parents she was taking a break from the team – which is very uncharacteristic of her. When Hope moved out of her apartment and quit the team, her parents became concerned and came to the city to check on their daughter. The Schlottmans went to the police but were told there was no evidence a crime had been committed. Someone at the police station recommended the Schlottmans contact Jessica Jones.
Bob offers to fix the door, uncomfortable with the thought of leaving a woman alone, defenseless, in this city with no lock and no door. Jessica Jones offers to take the Schlottmans' case for an hourly rate, plus expenses – her standard contract.
Later, in her APARTMENT - Jessica eats takeout and investigates the Schlottman case by doing a little online research. In narration, Jessica shares the information she’s gathered so far: “Schlottmans. Bob, general contractor. Barbara, accountant. Not wealthy, but legit. Son, Owen. Daughter, Hope.”
Jessica works the Hope Schlottman case. Jessica sneaks into Hope’s apartment building and breaks into her apartment. Jessica lies to her roommates, saying: “It was open.”
Jessica talks to Hope’s roommates. The man films Jessica using a camera strapped to his head. He explains he’s making an experimental time-lapse film of a year in his life. When suddenly left, Hope’s friend needed a roommate so she ended up with this crackpot, experimental artist off of Craigslist. The roommate is angry with Hope for leaving her in a lurch. Jessica tells the man to turn off the camera. He refuses. Jessica rips the camera off of his head, throws it across the room.
Jessica asks the roommate to see Hope's belongings. Hope told the roommate to sell all her stuff – worth a whopping $98 - the rest is in a box in camera guy’s closet. The roommate explains Hope isn’t actually missing. “She's just holed up with that guy. Why else would a best friend crap on you?” Hope’s parents, concerned only with Hope’s athletic life, had no idea.
That night, OUTSIDE A NIGHT CLUB - Spheeris (douchey, self-important, strip club owner) leaves the club with some bodyguards. A parking attendant brings Spheeris' car around. Spheeris gets in and drives away. Jessica tries to start a conversation with Spheeris who is stopped at a stoplight. Jessica politely asks if Spheeris knows the way to the Chrysler Building. Spheeris responds, dripping with snark – “It's called Google Maps, moron. Spheeris tries to drive away, but a super-powered Jessica has lifted the back of his car off the ground using her bare hands. The wheels spin in the air, the car is going nowhere.
Spheeris is freaked out by Jessica’s super strength. Jessica serves Spheeris with the summons. Spheeris threatens Jessica – “Don’t touch me or I’ll tell the world about you. There’ll be nowhere to hide.” Jessica says she’s not hiding. She explains: “people just want to feel safe. They'd rather call you crazy” than admit that it’s possible for Jessica to deadlift Spheeris’ car or that Jessica can melt Spheeris’ insides with her laser eyes. Jessica serves Spheeris with papers and takes a photo of him holding the summons.
Later that night, back at JESSICA'S APARTMENT - Jessica has fallen asleep at her desk. In a nightmare, Jessica imagines Kilgrave licking her face. Frightened, she startles herself awake. Jessica recites street names to calm herself down – “Birch Street. Higgins Drive. Cobalt Lane.”
Jessica's phone rings. It’s Hogarth, returning her call. Jessica tells Hogarth to cut a check for having served papers to Spheeris. Hogarth explains she received a call from Spheeris' attorney who claims Jessica lifted Spheeris’ car over her head and threatened him with her laser eyes. Jessica can’t believe Spheeris believed “that bullshit”. “Clearly, there's no IQ test for owning a strip club.”
At HOGARTH’S LAW OFFICE - Hogarth talks to Jessica on the phone. Pam, Hogarth’s assistant, smothers Hogarth in a romantic embrace. Hogarth tells Jessica she’d have enjoyed seeing Jessica serve the papers to Spheeris and that Hogarth will notify payroll to cut Jessica a check for her services. Hanging up with Jessica, Hogarth and Pam make out furiously.
Back at JESSICA’S APARTMENT/OFFICE – Jessica puts on a jacket, gathers her bag, and leaves.
Jessica returns to the apartment building she was surveilling earlier. Instead of perching herself on the fire escape, Jessica crosses the street to the entrance of the bar.
On the SIDEWALK, OUTSIDE THE BAR – Jessica looks in the windows of the bar. As Jessica turns to walk away, the man she saw the other day exits the building, taking out the trash. Seeing Jessica swigging from her flask, the bartender invites Jessica inside for a better drink. Jessica says she prefers to “buy in bulk”. Still trying to entice Jessica inside, the bartender explains he’s running a Ladies’ Night special. Jessica can drink for free because she’s hot and drinking alone – a scenario that always attracts customers. Jessica follows the man back inside the bar.
Later that night, inside THE BAR – It’s closing time and only Jessica, the bartender, and another bartender named Roy remain. Roy dismisses himself for the evening. The bartender sounds last call. Jessica orders a double. She and the bartender get to know one another via after-hours small talk. The bartender remarks on Jessica’s ability to drink a lot of alcohol for a woman her size. Jessica explains she rarely gets asked on second dates because of her remarkable tolerance. Jessica asks about the bartender’s family. He explains he has none, only “regulars”. The bartender asks Jessica if she’s having a hard day at the office to which she replies – “they’re all hard.”
Jessica explains she is a natural Private Investigator. It’s the only thing she’s good at. Jessica and the bartender flirt back and forth Jessica tires to read the bartender like a series of clues – it is, after all, her job. She surmises the bar is kept so clean because the bartender has personal stake in the business. “There’s history here. Memories. Something personal, but private.” The bartender suggests Jessica is flirting with him. Jessica corrects him – “I just say what I want.” Slam cut to Jessica and the bartender have sex.
Jessica gets up out of bed and heads into the bathroom where she tries to compose herself by washing her face. In the medicine cabinet, Jessica finds a picture of a woman. The bartender’s wife? Awkward! Jessica gets dressed and leaves, apologizing on her way out. In the street outside, Jessica vomits into a stairwell.
Later, at JESSICA'S APARTMENT – Jessica, sleeping on her couch, is awakened by her inconsiderate upstairs neighbors arguing loudly. Jessica’s phone rings, it’s Hope’s mom – Barbara Schlottman. Jessica explains to Barbara that Hope had made recent charges on her credit card.
We see Jessica working the case and doing investigative legwork. Jessica interviews a lingerie store employee. Jessica narrates her line of thought regarding Hope’s case. She postulates Hope is going overboard to make a new boyfriend happy.
We see Jessica tracking down clues – she goes to a menswear store. Jessica speculates: either Hope is an idiot in love or she's being conned - which amount to pretty much the same thing.
In the course of her investigative legwork, Jessica comes across a familiar restaurant. She enters and speaks with the manager who explains they’re not yet open for dinner.
Jessica asks if this restaurant used to be called Il Rosso. The manager explains it is now called Niku - having re-opened eight months ago. Jessica identifies herself as a private investigator and shows the manager a picture of Hope. The manager explains he doesn’t want any more trouble. Last Tuesday Hope came into the restaurant with a man. Her companion asked specifically for a certain table in back – a table where another couple was already seated. The manager explains he momentarily lost his mind and asked the couple already sitting there to move in order to accommodate Hope and her date.
As the manager explains the story, Jessica remembers (in flashback) being taken to this restaurant herself. Jessica remembers sitting at that same table opposite Kilgrave herself. Jessica is obviously traumatized by the memory.
The manager goes on to explain how that night the sommelier comped the couple a $500 bottle of wine. Further, even though the restaurant is now Asian fare, Kilgrave ordered an Italian dish that had been a specialty of the previous restaurant, Il Rosso. The manager explains: in order to accommodate Kilgrave, the chef had to hunt down the recipe from Il Rosso's old chef – which he did gladly! How strange!
In flashback, Jessica remembers sitting at the same table with Kilgrave and Jessica celebrating an anniversary. Jessica flees the restaurant, hyperventilating. Jessica tries to compose herself outside, again reciting a litany of street names: “Birch Street, Higgins Drive... Shit.”
Jessica runs to the apartment where Bob and Barbara Schlottman are staying. Jessica inquires which police officer gave the Schlottmans Jessica’s name? Bob explains it wasn't a policeman, rather, a man at the police station who suggested getting in touch with Jessica Jones, PI. Bob said the man overheard the Schlottmans’ conversation with the desk sergeant regarding their missing daughter, Hope. The man had a nice English accent and suggested the Schlottmans engage Jessica with their missing daughter’s case.
Jessica suddenly realizes this whole case has been a setup. It was Kilgrave who put the Schlottmans in touch with Jessica. Jessica tells the Schlottmans to pack and leave town as quickly as possible – they are in danger.
At JESSICA’S APARTMENT – Jessica is spooked by the resurfacing of Kilgrave in her life, she tries to flee NYC and book a flight to Hong Kong. Jessica attempts to book a ticket using Hope Schlottman’s credit card - which is declined. Without payment, the airline refuses to hold the ticket for Jessica. She hangs up in disgust - ugh!
Jessica calls Hogarth and demands compensation for the Spheeris job she did earlier. Hogarth explains it takes a few days for the check to go through payroll. Jessica swallows her pride and asks Hogarth for a loan. Hogarth declines, suggesting instead Jessica ask a friend. Jessica confesses: “I don't have any goddamn friends.” and hangs up.
At HOGARTH’S LAW OFFICE - Pam and Hogarth have an awkward moment as Hogarth's wife, Wendy, walks in. Pam seethes with jealousy watching Hogarth and Wendy kiss – she is, after all, the other woman, a third wheel.
Back at JESSICA'S APARTMENT - Jessica paces the floor, freaking out. Jessica makes a phone call, letting it ring only once before hanging up. Jessica gets into the elevator to leave, her neighbor, Malcolm gets in just as the elevator doors are closing. Jessica confesses to Malcolm that she desperately needs money. Malcolm offers her his TV to pawn – confessing she’s welcome to it since it’s stolen anyway.
At TRISH'S APARTMENT - Trish discusses booking new guests on her show with several of her assistants. Trish insists on trying to book Madeleine Albright. Trish notices Jessica climbing over her balcony and quickly dismisses the assistants. After making sure everyone has left, Trish meet Jessica on the balcony, chastising her for not using the door like regular people. Jessica asks Trish for money. Trish asks Jessica why she hasn’t heard from her in six months. “You shut me out. And now you show up here asking for money?”
Jessica explains Kilgrave is back and it’s freaking her out. Trish tries to calm Jessica – “It's been a year, Jess. You saw him die. You saw his death certificate. This is just your PTSD.” Trish asks Jessica if she’s still having traumatic nightmares and flashbacks. Trish suggests Jessica see a therapist.
Jessica calls her therapist a quack, saying he charged her $200 to tell her she should recite street names to calm down and get over her PTSD.
Jessica explains Kilgrave is back and pushed the Schlottmans' missing daughter case specifically to her. Jessica recalls Kilgrave taking her to that same restaurant on their one-month anniversary. Trish offers to call the police. Jessica explains the police can’t help and Jessica’s plan is to turn tail and run away.
Trish reminds Jessica that she can’t just leave Hope with Kilgrave. Trish offers to find a way to protect Jessica and reminds her she is “far better equipped to deal with that animal than some innocent girl from Omaha.” Jessica reminds Trish that Jessica tried to stop KiIlgrave before, but failed. Trish gets Jessica the money she’s asking for.
Jessica grabs a cab. Inside, she imagines Hope's parents begging for her help finding their daughter. Jessica diverts the cab, telling the driver she needs to make a stop uptown, 59th and Fifth. The cab drops Jessica outside a hotel.
Upon entering the building, the doorman immediately recognizes Jessica and welcomes her back. Jessica makes her way to a specific hotel room. Mustering her resolve, she pulls the fire alarm to clear the building. Jessica approaches the door at the end of the hall, all the while plagued by terrifying flashbacks.
Jessica breaks into the room at the end of the hall. Searching it, Jessica imagines Kilgrave whispering in her ear: “You missed me.” Jessica finds Hope on the bed. Hope explains Kilgrave left 5 hours and 21 minutes ago. Hope has been compulsively keeping track of the time – counting the minutes since he left. Jessica tries to get Hope to leave. Hope explains she can’t – she’s compelled by his suggestion to wait for Kilgrave to come back.
Jessica phones Hope’s parents, explaining they must get Hope as far away from Kilgrave’s influence as possible. Jessica instructs the Schlottmans to check out of their hotel and go directly to her office where Hope and Jessica will meet them.
Meanwhile, Hope refuses to leave the bed. Kilgrave’s power of suggestion is so strong; she’s even refused to go to the bathroom – choosing, instead, to wet the bed. Jessica picks Hope up and carries her, kicking and screaming out of the hotel room. Eventually, with no other choice, Jessica knocks Hope out.
Later, at JESSICA'S APARTMENT – Jessica explains to the Schlottmans that Kilgore’s power wears off when he is not in physical proximity with the person under his influence. Hope admits Kilgrave’s powers of persuasion are so powerful that he had her doing things she didn't want to do. Jessica encourages Hope to recite the names of the streets in her neighborhood growing up – the same trick Jessica uses to calm herself. Jessica insists none of this is Hope’s fault.
Hope's parents arrive at Jessica’s apartment/office. Jessica explains Hope will be ok, but she must be kept away from Kilgrave. Jessica warns the Schlottmans that Kilgrave has escaped and the family should return immediately to their home in Omaha. Hope hugs Jessica, thanking her for saving her life. Jessica tells her to leave, assuring Hope she will be right behind them.
The Schlottmans leave. Jessica watches the newly reunited family embrace in the elevator. It seems a happy ending - until Hope draws a gun from her purse, as the elevator doors close we hear gunshots and the Schlottmans screams. Jessica runs to the lobby where the elevator doors open revealing Hope has gunned down her parents. Hope continues to vacantly pull the gun’s trigger even though she’s emptied the entire clip into her parents. Hope looks at Jessica and tells her to “smile”.
Hope finally snaps out of Kilgrave’s hypnotic suggestion and realizes what she has done - gunning down her own parents in cold blood. A disturbed Jessica approaches goes to flee the scene in a taxi. The driver asks Jessica where to? Jessica pauses momentarily, before heading back into the apartment building.
In voiceover, Jessica explains she has two choices. She can deny the situation or do something about it. Having made her choice to get involved, Jessica heads back into the apartment building. Look out Kilgrave, Jessica Jones is on the case and she’s coming for you.
GENERAL COMMENTS:
Refreshing, mature and potentially dark take on the super hero/detective genre from a female character’s POV. This feels new and interesting. A dark Marvel dealing mature themes and strong language is an enticing property. The character is fun and female-forward. Jessica is real; her struggles with empowerment and a troubled past are real. In many ways, this series wouldn’t need the super-powered angle at all – able to stand on its own as a detective procedural. CONSIDER.
STRENGTHS OF MATERIAL:
This pilot is an interesting take on what a Noir detective procedural would look in a super-powered Marvel Universe.
Jessica Jones is a complex character with complicated core wounds that aren’t going away any time soon. She’s a thorny, hard-drinking, hard-screwing private detective struggling to make move on from a traumatic past. This is textbook Philip Marlowe. What makes the premise of this show interesting and ripe is in changing the gender of that stereotypical hero from a man to a woman.
This pilot has tough themes – abuse, trauma, recovery – at the very heart of its story. The relationships are complicated and the themes are mature.
WEAKNESSES OF MATERIAL:
Noir is a difficult genre to execute well. Sometimes when the touch of the writing is off, a script can easily slip into a campy, spoofy place. Throw super heroes on top of Noir and things could easily start to feel busy and contrived. With the wrong touch this show could become Law and Order MCU.
Keep the story mechanics simple. The success of the pilot script comes from the emotional baggage between characters, not that Jessica Jones can punch through a steel door or Kilgrave can control your mind. The super hero stuff is just extra.
POTENTIAL FOR DEVELOPMENT/IMPROVEMENT:
Any property attached to the Marvel Comics Universe deserves consideration. The Marvel Universe provides access to a deep catalog of characters and plotlines to use as source material.
Jessica Jones could be a Calamity Jane-type character - a contradiction in femininity, whose tough exterior and cold emotional distance mask the feminine fragility of a sexual trauma survivor. Doesn’t get much more complex than that!
You’ve made a traditionally masculine detective role that of a woman, a woman with super powers. A woman who is stronger than a man. The very premise of this show subverts the expectations of the genre and is baked through with cultural tension and friction.
The Marvel Comics Universe has a vocal and vindictive fan base. This is both a blessing and curse. People aren’t going to just watch this, comic fans are going to scrutinize it.
