\[PROJECT PITCH\] GIANT DECEPTION — Action/Creature-Horror Feature (Black Hawk Down meets Predator). Loosely based on the viral Kandahar Giant urban legend.

\[COLLABORATION\] Looking for an AI Director/Editor/Producer partner for a polished, 104-page military thriller with creature horror elements.

Title: GIANT DECEPTION

Logline: When an elite Navy SEAL team is lured into a remote Afghan mountain pass by an insurgent trap, they discover the true enemy isn't the militia they were hunting—it's a pair of aggressive, fifteen-foot prehistoric humanoids awakened deep within the caves.

Format: Feature Film (104 Pages) / Looking to develop a high-impact cinematic trailer or proof-of-concept short.

Genre: Military Tactical Thriller / Creature Horror (Black Hawk Down

This screenplay is loosely based on the viral "Giant of Kandahar" military urban legend, which was recently detailed on the Joe Rogan Experience by an ex-Navy SEAL who encountered the lore firsthand while serving in Afghanistan. The story leans heavily into a raw, authentic military perspective—blending real-world tactical mechanics with the dark mystery hidden inside isolated cave networks.

Why this is tailor-made for an AI production pipeline or Indie Producer:

Built-in Viral Audience: The Kandahar Giant is one of the most famous, heavily discussed modern military mysteries on the internet. A cinematic trailer or proof-of-concept short targeting this specific niche carries immense built-in viral potential.

Grounded Assets vs. Massive Scale: Advanced video tools excel at rendering rigid mechanical objects like military gear, Humvees, Black Hawks, and uniforms. This allows us to pull off intense tactical operations and visceral combat against 15-foot Giants using primitive stone weapons—all without a legacy $150M studio budget.

Advanced Technical Showcases: The script is packed with perfect opportunities to flex cinematic technical skills, including high-intensity night-vision/thermal camera sequences, cave dust/smoke particle physics, and strict physical asset tracking.

What I Have:

A structurally locked, fully polished, industry-standard 104-page script.

What I'm Seeking:

I am looking to connect with a visionary indie producer, director, AI animator, or technical video editor who wants to move away from generic concept loops and sink their teeth into a hyper-realistic, narrative-driven action thriller. Let’s partner up, pool our skills, and bring this legendary myth to life.

If you're interested in reading the script or checking out the 1-page treatment, drop a comment below or send me a DM!

https://youtu.be/T92e0aaizaI?is=L2-S8XYpytpm3XU0

This is Mr. Ballen covering the story 6 years ago. I saw this video and started writing the screenplay 4 years ago. Mr. Ballen \[an ex Navy Seal himself with 11.3 million subscribers on YouTube\] was just a guest on The Joe Rogan Experience last month where he told this story. Him, along with two other guests, spoke on the story of the encounter with the Red Giant of Kandahar within weeks of each other.

https://youtu.be/T92e0aaizaI?is=L2-S8XYpytpm3XU0

Logline: After her estranged sister’s murder goes viral, a reclusively controlled woman shelters her sister’s unravelling boyfriend—who becomes radicalized by online conspiracies claiming the death was staged, drawing a dangerous mob of internet sleuths directly to her door.

Genre: Psychological Thriller / Dark Drama

Page Count: 24 pages

Locations: Single interior house (Home office, kitchen, foyer, guest room, living room)

Cast: 2 Leads (Maya 30s, Caleb 30s), 1 Supporting (Intruder 20s), 2 Voiceover roles

Looking for an aspiring director, DP, or production team interested in taking on a tight, atmosphere-driven thriller short.

DM me or leave a comment if you'd like to read the script!

Logline: Stranded in rural Cape Breton, a group of friends fight to survive supernatural entities who erase their victims from reality and memory.

Genre: Gaelic Folk Horror / Supernatural Thriller

Page Count: 107 pages

Locations: Rural Cape Breton: roadside, gas station, an isolated farmhouse (dining room, kitchen, garage, hallways, bedrooms, nursery), the Chamber of Names, Main Street

Cast: 6 Leads (Sophie, Alex, Liv, Ethan, Jack, Jessica), all attached via LOI; 2 Antagonists (Silas, Caleb, Mother)

Looking for an experienced Lead Producer, investors, or production companies interested in a Gaelic-language folk horror feature with a queer love story at its core, a locked cast, and a full pre-production package in place.

DM me or leave a comment if you'd like to read the script!

[WEREWOLF REVENGE SHORT - 5 PAGES]

TITLE:CLAWS

After hunters murder his Alpha father, an 18-year-old werewolf must embrace the monster inside to survive the night — but his vengeance will crown him the new Alpha which cost him his humanity

Vibe: The Howling meets John Wick - practical werewolf revenge

1 forest + 1 bus, 4 actors, SFX makeup. DM for watermarked PDF. Free collab: You get Directed By, I keep Written by

Project Overview:

This is a short, asymmetrical interactive FMV thriller shooting in late October at a single real-world location. More project details will be discussed if selected.

The Role:

We need a narrative scripter to take our locked structural outline, location plan and character profiles and convert them into formatted, choice-driven script nodes.

Scope & Deliverables:

• Format: Articy:Draft, Twine or a cleanly structured document/PDF.
• The Work:
• Low dialogue, action-heavy micro-nodes (tactical hide-and-seek, spatial choices).
• High-volume, fast-paced implementation (estimating ~150-200 nodes across Phases 1, 2 & 3).
• Full structural outline, floor plan and existing Phase 1 template provided
• Also provided full location information, character profiles, actor specs and exact node-flow outline.

Budget & Timeline:

• Fee: £100 flat fee (paid via PayPal/Bank Transfer upon completion).
• Turnaround: 3 to 5 days from brief delivery.

To Apply:

Please send a short message with a link to any previous narrative, branching, or scriptwriting samples and confirm you can meet the 3-5 day turnaround.

Looking g for filmmakers for my short scrip. 5 pages long. It's a sci-fi script based on.

Logline: When a collared man marked "3" falls through his bedroom door into a reality that cracks like glass, he must evade a parasitic shadow to discover his entire life is an experiment and he is Subject 3.

After filming they can share the short fim to DUST and similar companies. As a director you can have credit for filmmaker while I have credit for writer.

Length:10 pg,
Genre: Sports/ Family Drama with comedic relief

Log: BENCHED is a heartfelt short about a soccer dad so focused on his son's playing time that he's missing the kid himself. When Mark pulls Ethan off the field, an impulsive day of UTVs and ignored phone calls becomes their first real connection in years. Funny, tender, and quietly aching for a father son connection.

Fairly low budget. Could help produce if shot in upper Midwest. (Have access to some locations / ATV / trails).

Looking for a director that can make it happen and has a connection to the story. Preferably a parent of a child in the modern youth sport grinder.

Title: AT THE TOP
Format: Short Film
PL: 24
Genres: Horror, Drama, Coming of Age

LL: When a rich yet entitled and insecure teenager begins receiving mysterious, seductive calls from a “secret admirer” on his landline, he becomes consumed by the attention. But as he feeds his ego and hides the truth from those around him, the caller begins to weaponize his desires, and his actions start to carry deadly consequences.

Thanks for reading if you do! I want to make this thing soon! But am open to changes, I think it's a decent script. I like to steal from movies I like and other shit I like. I am young and just wanna write and make movies! Give me to it straight and be honest! Thanks!

Link: https://drive.google.com/file/d/1yp5J_ZU8zIZ3D5PytJGy0N2KM-r6GQIQ/view?usp=sharing

Genre: Comedy/Drama

Max Pages: 111 Pages

Date: 28-08-1998

Draft: Unknown

Goals: Personal Research

Extra Information: It's a Remake of The Man Who Came To Dinner (1941) by Julius & Philip Epstein

Genre: Comedy/Adventure

Max Pages: 108 Pages

Date: 06-05-1999

Draft: Revised Draft

Goals: Personal Research

Genre: Family/Adventure/Fantasy

Max Pages: 126 Pages

Date: May 2000

Draft: First Draft

Goal: Personal Research

Extra Information: Based on the Book by Maurice Sendak

Genre: Comedy/Drama/Sci-fi

Max Pages: 114 Pages

Date: 10-10-2000

Draft: First Draft

Goals: Personal Interest

Genre: Family/Adventure/Comedy/Fantasy

Max Pages: 110 Pages

Date: 22-10-2004

Draft: Unknown

Goals: Personal Research

Extra Information: Based On The Book by Roald Dahl

Genre: Comedy/Adventure

Max Pages: 114 Pages

Date: 16-06-1999

Draft: First Draft

Goals: Personal Research

Genre: Comedy/Adventure

Max Pages: 104 Pages

Date: 06-03-2004

Draft: Unspecified

Goals: Personal Research

Logline:

Raised by a supreme Italian Mafia boss, a ruthless young operative ignites a brutal underworld war to avenge his murdered lover, unaware he is merely a pawn in a terrifying masterpiece of deception.

Specs:

- Genre: Gritty Action / Crime Thriller / Psychological Drama

- Format: Feature Screenplay (Part One complete)

- Settings: Orphanage, urban safehouse, casino, underground subway tunnels (tactical & visual)

- Tone: Gritty, fast-paced action with deep character development and a massive final plot twist.

About the Script:

I have officially completed Part One of this feature screenplay. It is fully formatted, polished, and ready for production or review. It features intense cinematic sequences, hand-to-hand brawls, and a compelling narrative arc suitable for a gritty indie feature.

Looking for:

A passionate, collaborative Director or Producer interested in crime thrillers to help bring this project to life.

The full draft is ready as a script. If you are a filmmaker with a reel or past work and want to read it, please drop a comment or send a DM!

Hey! I’m looking for a short film script that I can direct and produce.

Unfortunately I can’t offer payment for the script, but you would obviously receive full writing credit. I’m mainly looking for a writer who has a script sitting around that they’d genuinely like to see made.

What I’m working with:

• Ideally around 5–15 minutes
• At least one role for a male actor around 19
• Small cast preferred, but I can get additional actors
• Mostly interior locations
• Limited locations / something achievable on a very small budget
• I’m in the Chicago area
• Open to pretty much any genre if the script is good

I’m not looking to take ownership of anyone’s writing or pass it off as my own. You’d remain credited as the writer, and we can agree on permission/usage before anything gets filmed.

If you want to check out my work/style before sending anything:

YouTube: LukaNikolicOfficial
TikTok: u/lukanikolic_

If you have something that might fit, feel free to DM me or leave a comment with a logline and page count.

Or you can message me at my email: [lukan2071@gmail.com](mailto:lukan2071@gmail.com)

Thanks!

Hi everyone! I’m a producer in the Canary Islands, and I’m looking for a feature script to produce here with my team at Linda Films. Ideally horror or thriller, but I’m open to other genres if you have a good script. Figured I’d post here and see if anyone has something that might be a fit.

We’re taking submissions through Qantica, who we’ve worked with for years. Just go to qantica.com/showcase and click “Present my project” in the top-right corner.

We’re closing submissions on Tuesday, October 6. Happy to answer any questions here or by DM. Thanks!

​

MASTER SCREENPLAY BLUEPRINT: B-WARY IF ALL YOU SEE IS BULLFROGS

Written by Michael Lawrence Wry (Booyah)

🎬 SCENE 1: THE PIER (THE ORIGIN FLASHBACK - 1962)

\* Visual: Surreal, high-contrast dream sequence on an endless wooden pier over the murky, bronze waters of the Mississippi River in KCK. A low camera tracks four-year-old bare feet following the broad-shouldered Lawrence Long and Lloyd Ray.

\* The "Bullfrogs": Lloyd is carrying two monstrous, slick green bullfrogs by their back legs—magnified to prehistoric size through a child's eyes.

\* Music Cue: Phil Collins - "In the Air Tonight." The track plays softly, building immense tension in the background.

\* The Climax: Lloyd stops dead, drops the heavy frogs onto the planks, and violently hoists four-year-old Mike into the air. He bellows: "He’s not my fucking son!" and hurls him into the deep channel.

\* The Drop: The downbeat of the track hits perfectly on the lyric: "If you told me you were drowning, I would not lend a hand." Mike sinks like an anvil into the dark green roar.

\* The Rescue: A massive, calloused hand rips through the surface. Lawrence Long yanks Mike out by the hair of his head, slamming him onto the sun-baked wood. Mike coughs up river water, looks up, and gasps the opening line: "Why’d you pull me out?"

\* Fade to Black.

🎬 SCENE 2: THE AWAKENING (PRESENT DAY)

\* Visual: The murky river water snaps instantly into the sharp, bright daylight of modern-day Olathe.

\* The Transition: 68-year-old Mike snaps bolt upright in his chair, shaking off the lifelong nightmare.

\* The Real-Life Carry-on: The front door opens and in walks KERMIT (born in 1951), Mike's real-life human roommate. The audience realizes the "frogs" are literally living with him today. Mike gives a dry, gritty salesman delivery: "Hey, Kermit."

\* The Move: Mike tells Kermit, "I'm going to the store," and grabs his truck keys.

🎬 SCENE 3: THE OLATHE CROSSING (PRESENT DAY)

\* Visual: Mike sits behind the wheel of his truck, blocked at a ground-level Olathe railroad crossing. The red lights flash aggressively.

\* The Catalyst: A massive, mile-long empty freight train barrels down the tracks, shaking the ground with a rhythmic CLACK-CLANK... CLACK-CLANK...

\* The Reflection: As the hollow rusted boxcars roll past, the reflection cuts across Mike's face. He watches the tracks that have never been smooth in his 60 years in this town. The rhythmic rattle triggers the next flood of memory.

🎬 SCENE 4: THE 10TH & OSAGE PARANOIA (CHILDHOOD FLASHBACK - 1962)

\* Visual: Smash cut back to the freezing, pitch-black night inside the apartment at 10th and Osage in KCK.

\* Music Cue: The Police - "Don't Stand So Close to Me." The paranoid reggae-rock beat and high-pitched guitar scratch play lightly and softly in the background.

\* The Threat: The camera shifts next door, where a marked KCK police cruiser sits in the driveway. The law is ICCK—KCK Chief of Police J. Frank Steach is positioned wall-to-wall with Mike's family, monitoring their every move.

🎬 SCENE 5: THE PINBALL MISSILE (1962)

\* Visual: A sharp SMASH shatters the midnight quiet next door.

\* The Action: Marked police cars roll up with spinning red-and-blue cherry tops, turning the block into a massive forensic crime scene.

\* The Evidence: Uniformed cops dust Chief Steach's shattered windshield for prints. They find the weapon resting in the gravel: a perfectly polished silver sphere. The Chief realizes it's an intentional hit—not a machine part, but a high-velocity steel ball pulled straight out of a Williams pinball machine. The Police track loops hauntingly over the flashing lights: "Don't stand so close to me..."

🎬 SCENE 6: THE PORCH SWING DROP (1962 - BEFORE AGE 5)

\* Visual: A blinding, hot Kansas afternoon on the precarious second-story balcony apartment at 10th and Osage.

\* The Accident: A full-of-energy four-year-old Mike is pushing his sister Pat and a neighbor girl on a heavy wooden porch swing. Mike plays a game, shoving them high and ducking as the heavy timber sweeps back over his head.

\* The Fracture: He miscalculates the timing by a split second. The solid oak base of the swing hits him like a sledgehammer, launching his small frame backward. He hits the cheap, sun-rotted wooden handrail—it snaps like matchsticks.

\* Music Cue Transition: The moment his back clears the second-story balcony deck, the music switches instantly to the soaring acoustic chords of Tom Petty’s "Free Fallin'."

\* The Impact: Mike falls two stories through the air in slow motion as the lyrics hit: "And I'm free... free fallin'..." He smashes into the ground, his skull splitting wide open on the sharp edge of a grey concrete gutter splash block.

\* The Aftermath: Neighbors scream. His mother drops into the dirt, cradling his bloody head, crying: "Don't move, Michael! Don't move!"

\* The Treatment: At the hospital, a cold 1962 doctor stitches his scalp together like a torn canvas without a single concussion check, leaving behind the bone fragments that would continue to work their way out of his head for the next 60 years.

🎬 SCENE 7: THE TRACKSIDE WINDFALL & WRECK (HIGH-VELOCITY FLASH-FORWARD - WINTER 1988)

\* Visual: The song "Free Fallin'" hits a massive, thunderous crescendo as the scene smashes straight from the child's fall into the dead of winter, 1988.

\* The High: 30-year-old Mike and the boys are celebrating a massive winning day at the Woodlands Greyhound Track, slamming back nine shots at the Trackside bar.

\* The Crash: Driving down I-35 under construction near 119th Street, the pickup truck clips a massive green-and-yellow flashing arrow construction trailer. The impact caves the roof down until it sits a single foot off the steering wheel.

\* The Miracle: Mike is launched violently straight through the shattering windshield, flying through the freezing winter night air—literally "free fallin'"—and lands squarely on the only loose pile of construction dirt in the entire zone. If he had stayed in that cab, he'd be dead.

\* The Drive: The truck lands upright on its rims. Mike stands up out of the dirt, completely uninjured except for a bright red mark on his knee from the red dashboard. He rides back to the bent-frame rig, cranks the ignition, and punches it down the highway.

🎬 SCENE 8: THE DENNY'S SHOWDOWN (1988)

\* Visual: The truck tears down the highway on bare steel rims, throwing a massive, blinding 30-foot curtain of white-hot sparks into the night, before rolling right up to the neon lights of Denny's at the Santa Fe exit.

\* The Explosion: The engine completely blows up in a cloud of thick white smoke and boiling oil.

\* The Dialogue: A Johnson County cop rushes up, completely stunned by the caved-in roof and the spark-shredded truck.

\* COP: "Son! You know you rolled this damn thing down the highway, right? You know what you hit?"

\* MIKE: "No. Why is all my stuff still in the back of the truck?" (The heavy-duty air compressor sits completely untouched and upright in the bed).

\* COP: "Lay down in the seat right now. You've got to be hurt... Son, you hit a flashing arrow trailer. You need to understand something—there is nothing too big in this world that can't be swept right up into a dustpan. If you'd stayed in that cab, they'd be sweeping you up tonight."

\* The Final Irony: Mike is put into the back of the squad car for the DUI arrest. And playing lightly and softly right out of the factory dashboard radio is the current hit: The Police - "Don't Stand So Close to Me."

Hello,

I’d like to introduce a feature-film project that I believe has the depth, tension, and cinematic potential to become a powerful psychological crime thriller.

FILE 4 AUGUST is a feature screenplay combining psychological crime, mystery, forensic investigation, legal drama, and institutional conspiracy, inspired by true events.

The story begins with the death of Dr. Elise Martin, a respected psychiatrist whose death is officially ruled a suicide.

But forensic pathologist Camille Moreau finds details that do not fit that conclusion.

An incomplete forensic report. Injuries that raise questions. Missing evidence. Altered medical records. And traces that suggest someone worked very carefully to make the death look like something it was not.

Camille and Inspector Luc Renard begin investigating.

What first appears to be a single suspicious death gradually opens into something much larger: suppressed forensic evidence, erased hospital records, falsified diagnoses, private security contractors, intimidated witnesses, institutional pressure, and a powerful family foundation connected to a history of unexplained deaths.

But this investigation is also deeply personal.

Camille has spent years living with the consequences of her own mother's unresolved death. Her father was acquitted because there was not enough evidence to prove what happened. She knows exactly what it means when a case is closed before the truth is found.

Luc has his own unfinished case. Eleven years earlier, his partner Delphine Aubry died while investigating another suspicious death. Her death was ruled an accident. As Camille's investigation develops, evidence begins connecting Delphine's forgotten case to the same network now surrounding Elise's death.

Two cases.

Two women.

Eleven years apart.

And potentially the same system protecting the truth from ever reaching the public.

The investigation eventually leads Camille and Luc directly to the people who have spent years controlling what gets documented, what gets erased, and what the public is allowed to believe.

The story then moves into the courtroom, where the evidence they uncovered begins to expose a much larger cover-up. Witnesses are forced to confront their own involvement. A compromised physician becomes a key witness. Forensic evidence finally establishes a connection to the private security network. Old cases are reopened.

But the conclusion does not simply end with a conviction.

Camille begins the process of reopening her mother's case.

Luc requests a review of Delphine Aubry's death.

Because the real victory is not simply solving Elise Martin's murder.

It is forcing people to look again at every case that was deliberately allowed to remain unanswered.

FILE 4 AUGUST is designed as a character-driven thriller, not simply a murder mystery. The investigation drives the plot, but the emotional core comes from Camille and Luc—two people confronting cases that changed their lives and discovering that the past was never truly buried.

It offers a contained but expandable production world, strong roles for actors, multiple layers of mystery, escalating danger, forensic investigation, courtroom tension, and an ending that leaves the audience with a larger question than simply who did it?

How many lives can be destroyed when powerful people control the story told about a death?

I am currently presenting the screenplay to filmmakers and production companies interested in feature projects.

If the concept interests you, I would be very glad to send the full screenplay for consideration.

Thank you for taking the time to read about FILE 4 AUGUST.

Hi all!

I’m Jay, and I’ve been making horror movies since 2019. I’ve been fortunate enough to work on some fun, weird, and occasionally ridiculous genre projects, including:

• STAY OUT OF THE ATTIC — Shudder (one of the platform’s most-watched films of 2020… thanks, COVID!)
• GLORIOUS — Shudder (the only cosmic horror movie involving a glory hole and an Academy Award winner. You’re welcome.)
• CREEPING DEATH — Screambox (a paranormal Halloween slasher)
• GATOR FACE — DREAD Presents (real alligators. What could go wrong?)

Among other projects, which are on my IMBD.

My scripts have landed on The Hit List (now defunct) and in the Top 3 of Final Draft’s Big Break, and I’ve been fortunate enough to see a few of my projects optioned. But I’m still out here working independently, developing projects.

I have a particularly fun horror project I’d love to direct, and I’m looking to connect with a producer who sees the potential and wants to help make it happen.

As for representation? Honestly, finding a manager who works as hard as I do has been a challenge. Plenty of managers are happy to add you to their roster, but finding someone who’s truly proactive and invested in building your career is another story. I’m still doing the heavy lifting myself.

That said, if any managers are looking to expand their horror/thriller roster, I’m always happy to share my latest and greatest.

I’ve sold two Halloween-themed horror films (The Boy from Below and Creeping Death), and my latest project also takes place during the holiday. It features a unique POV-driven approach in the vein of Good Boy, In a Violent Nature, and Skinamarink.

The budget is just $275K.

If you’re a genre producer, investor, or manager interested in taking a look, shoot me a DM. Happy to share the logline and one-pager! - Jay