When a stripper learns the exact date of her death from a mysterious patron, she seeks to tie up the loose ends and find meaning in her life.

What it lacks is a clear antagonist and a true conflict. I was immediately struck by the irony of a stripper- paid to untie her clothing to take them off- having to "tie up loose ends", so you may want to explore that possibility in future logline attempts. Irony provides instant conflict, and conflict drives every story. Good luck!

Geno Scala (sharkeatingman), judge...

I agree with debbiemoon. The term "loose ends" is too broad. Maybe the stripper has a "come to Jesus" moment," and wants to get out of the business. Maybe she wants to help others who have followed her path with the time she has left. And maybe, just maybe the ticking clock of her impending demise happens to stop when she truly helped other, which in-turn ends up saving herself. Good luck.

Dammit, I'd be desperately trying to avoid dying, forget 'tying up loose ends'! However, if you're going down the Bruce Joel Rubin accept-your-fate route, then in order for the story to more than a melancholy study in inevitability, those 'loose ends' have to be MASSIVELY IMPORTANT.

She's going to have to, I dunno, get her best friend off drugs, save the life of her brother, prevent a serial killer striking at the strip club, and preferably all three; change the world in some significant way. Otherwise, the fact that she knows her date of death is near-irrelevant; this might just as well be a 'dying of cancer' story. The intervention of supernatural forces in a story demand big stakes. (Weird comparison, but look at the scale of the stakes, for the whole town, in It's A Wonderful Life...)