Genre: Horror
Logline: At a couples retreat for failing marriages, a husband and wife face an extreme form of therapy that requires purification through pain. As the therapy grows increasingly brutal, it becomes clear that their hosts have no intention of letting them leave alive.
About: For those new to the site, last year I did a pitching contest called Blood & Ink. Anyone who wanted to could pitch me movie ideas. I then accepted the best 100 of those ideas into a contest. The writers then wrote those scripts. And, ever since, I’ve been reviewing them, looking for the best one. Already, one script, Wildman, written by Jacob Rainer, got him a manager and possibly more. Stay tuned.
Writer: Steven Rauber
Details: 105 pages

I figured I’m never going to finish these Blood & Ink entries unless I review them, so for this week, I’m doing five Blood & Ink script reviews. And possibly five more next week. The goal? To find one good script. And with the streak that Scriptshadow’s on right now, I’M FEELING GOOD ABOUT IT!

Gotta keep getting writers reps. Gotta keep getting writers sales. Let’s turn this industry upside-down, baby!

Now, quick aside here. I know Scripty held his own pitching session this weekend. I would STRONGLY advise you to ignore any encouragement he gave you. Scripty’s favorite movie is Mac & Me. He eats salsa for breakfast. So that should tell you what kind of taste you’re working with.

Okay, let’s get into today’s script!

When we meet Martin and Leigh Langford, they’re in a marriage therapy session, trying to hash out, for the umpteenth time, why Leigh had an affair. They’re so deep in their unhappiness with one another that even their therapist has gotten sick of them.

So, she recommends that if they really want to save their marriage, they attend the most intense couples retreat in the world, an off-the-books program held on its own private island. They’re reticent about it, but they really do want to save their marriage, so they agree to go.

They arrive at the island retreat, called “Continuum,” and soon meet the other couples. Howard and Susan are the oldest, in their 50s. Then there are a couple of fit Aussies, Brock and Tara. And finally, the youngest duo, influencers Zane and Nikki.

Leading the retreat are Kip and Celeste. Right off the bat, they throw a shock collar on Zane and start electrocuting him. Later that night, they drug everyone, dump them in the middle of the forest, and force them to find their way back.

From there, the couples are subjected to lie detector tests. When Leigh is the only one unfazed by the exercise, refusing to hide anything the way the others do, it sets Kip and Celeste off. Now they’re determined to break Leigh and Martin, eventually throwing them into a holding cell.

Next, the couples are put in cages. And in a separate cage is Dominic, the guy Leigh cheated on Martin with. Each cage is rigged with a device that delivers a Mike Tyson-level punch right to the gut. Martin is given ten “punches” and told he must use all of them, either on Dominic, his wife, or split between the two. Martin uses every one on Dominic. Dominic dies.

At that point, Martin and Leigh are like, “We’re outta here.” But the staff won’t let them leave until they complete the retreat. During the next exercise, Brock is placed inside a giant web of ropes and inadvertently twisted to death by the other participants. Yet the more of these brutal exercises Martin and Leigh survive, the more alive they begin to feel, reigniting their passion for one another.

Finally, they’re faced with one last elaborate challenge, one that very few couples both come out of alive. But, spoiler alert, Martin and Leigh succeed. This enrages the staff, who we learn are all survivors of previous Continuum retreats whose spouses did not make it out of this exercise alive. They pressure Kip and Celeste into taking the final challenge themselves to prove the whole thing isn’t rigged. Will the two evildoers survive? Or will this be the last Continuum retreat ever?

Cleave is a hard script to categorize.

It doesn’t contain that “it” factor that allows it to stand out from the pack. But it’s not another one of these forgettable by-the-book scripts either. It’s stuck somewhere in between, and that’s what’s so frustrating about it.

Whenever I’m struggling with a script, I start with the main characters. Do I like these people? And if not, do I find them interesting? If the answer to both of these questions is “no,” you’ve got your answer right there.

Because if you’re not on board with the characters in a script, then every single scene is tainted by that lack of interest. And when it came to Leigh and Martin, I found them to be just… for lack of a better term… blah. They didn’t move the needle either way. They didn’t display any likable traits. And I didn’t find them or their relationship that interesting, to be honest.

Which is probably frustrating for Steven to hear because, technically, he did the right thing. He introduced the two of them in a marriage counseling session to establish that they had marriage problems. That’s what you want to do in a script. You want to introduce the characters quickly, establish their problem quickly, so you can then thrust them onto their journey where they will attempt to resolve that problem.

Textbook screenwriting there.

And yet, if we don’t like the characters, it doesn’t matter. So, I went back into that first scene and I asked, “Why?” Why don’t I like these characters? The answer was immediately obvious. They’re both miserable.

We meet them in this therapy session. They’re mad. They’re sad. They’re exhausted. They’re at the end of their rope. We are being introduced to zero positive qualities and, therefore, it’s quite easy not to like these two. Or, at most, feel nothing towards them, which is probably closer to what I felt. I didn’t dislike them. I just didn’t feel anything towards them.

For those who are veterans of the site, you will know that there is a similar script to Cleave in my Top 25. It’s called The Process. I loved that script. Out of curiosity, I went back to that script to figure out why I cared so much more about that couple than this one. I got my answer immediately.

Instead of introducing his couple in an angry therapy session, which increases the chances that we dislike them, the writer, Levin Menekse, comes up with a rather clever way into his retreat. The main character couple actually believe their marriage is great. They’re only going because the wife’s upscale law firm is making them go. They want to make sure that the people working at the company have strong marriages.

That takes so much pressure off the writer because now he can just focus on you liking the main characters as opposed to setting up their problems. That script’s opening scene is the married couple going over the legal agreement for the therapy weekend and making fun of how aggressive the contract is. In other words, they’re joking around. Levin is making us like these two.

Now, does that mean you can’t start your broken-marriage movie with a therapy session? Of course not. It just means you have to be aware of how that choice is going to affect the reader and write accordingly. That’s a huge part of screenwriting: anticipating how the reader is going to interpret each choice you make, then shaping those choices so they create the exact response you want.

Once we get to the island and the therapy begins, Steven runs into another problem in that he’s trying to create these villains (the couple who run the therapy) and he leans into how evil they are right away. I mean, there’s no ambiguity here. From day 1, they’re putting shock collars on people.

This made the villains on-the-nose and the more on-the-nose you make characters, the harder that character is to believe. So I didn’t really believe these two were real.

I think where Steven saved the script is that he creates several tests that are quite original. Where scripts like this fall apart are when they conduct obvious tests, which there are a couple of. The characters are put through a lie detector test, for example. But even there, Steven creates a twist. The spouse is rigged with a shock lapel. So, if you lie, your partner gets electrocuted.

But some of these other exercises were pretty inventive. At one point, someone gets tied up in this elaborate web of rope and all the other couples have to work together (communicate – a big part of becoming a better partner) to untangle him. But they can only do so from a distance, each holding a part of the rope, and if they screw up, the rope gets tighter around the tied-up character rather than looser. And if you really screw up, it can get tight enough to kill him.

There were several tests like that that were very original. And I also thought that the villain couple got better as the story went on. The irony is that, because we didn’t really have anybody to root for (as I mentioned above, we didn’t love our heroes) a lot of our emotional focus was on hating this evil couple. So, by the end of the movie, I really wanted to see the evil couple go down. To Steven’s credit, he writes a strong final scene for them (note to Steven: But make it so the couples force Kip to take the test. Kip should not volunteer).

So, how do we fix this problem? I’m fine with establishing Martin and Leigh’s troubled marriage right away. But once they realize they’re in trouble on the island, that should be when you work to make us like them. Audiences enjoy when two people who don’t like each other team up for the sake of getting out of a bad situation. So, lean into that here. They put aside their issues for the time being, come together as a team, which now allows you to focus on their positive traits, which should make them a lot more likable.

For these movies to truly work, we gotta feel like we went through an honest exploration of a marriage between two people we cared about and genuinely wanted to see come out the other side together. And I never got there with these two. We got some inventive tests for them to endure along the way. But, unfortunately, that wasn’t enough to save the script.

Script link: Cleave

[ ] What the hell did I just read?
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: Be careful about getting too comfortable in a script like this. Once you establish the pattern of the story and stick with that pattern the whole way through, unless everything else is firing on all cylinders, we’re eventually going to get bored. That’s why I always recommend throwing a whopper of a twist or reveal into a script like this. For example, so much of this story is focused on the destruction of the marriage through Leigh’s affair. So what if we learn, shocker of shockers, that Martin was having his own affair before any of that happened? A reveal like that would turn everything on its head and force us to reassess everything we thought we knew about the marriage. And I’m not saying that’s the perfect reveal. But that’s the kind of shock you need to throw into a story like this. Because, for me, the emotional trajectory stayed too consistent the whole way through. I wanted the script to shake things up more, surprise me, and force me to recalibrate how I felt about these characters.

Pitch your movie idea to Scriptshadow’s #1 Hype Man, Scripty!

Scripty’s been bothering me all week after this Ember Knight sale about wanting to move up in the company and get some more responsibility. “When do I get my pitch month?” He keeps asking.

So, I’m giving him a trial weekend of pitches. I can tell you this. Scripty is nothing like me. He likes weird stuff. He thinks high concept is dumb. So, I wouldn’t pitch any Die Hard in a building ideas to him.

“Tell them I like Charlie Coffington,” he just blurted out at me. I had to tell him that he means “Charlie Kaufman.” He then responded, “Who dat?” and made a ‘call me’ gesture then burst out laughing.

Now he’s eating leftover lasagna that’s been in my fridge since spring.

Listen, I’m going to be honest with you. I don’t think Scripty is ready for this type of responsibility but I’m going to give him a shot. So, if you have any weird movie ideas — wait, he just said, “TV be okay too.” So, if you have any offbeat movie or TV ideas, pitch’em.

I can’t promise anything. There’s a better than 50% chance that Scripty falls asleep in 10 minutes and doesn’t wake up until Sunday afternoon. So, I wish all of you luck.

Tonight, I had dinner with Aaron Kaplan and Scott Stoops (I brought my hype man with me, Scripty). These are Kieran and Brennan’s managers. Kieran and Brennan O’Dea are the writers who wrote and sold The Ballad of the Ember Knight. We just talked about how amazing all of this was. Several times, we discussed how it felt like 1998 again, when unknown writers could routinely sell spec scripts for a large amount of money.

I also learned a lot more about how the script went out and how they knew immediately they had something special because A-list actors were interested. And that really gave them a lot of confidence about how they could approach this.

The large majority of the time, when you send a script out to Hollywood, you’re lucky if you get a handful of half-interested bites. And so what you’re stuck doing is trying to manufacture false buzz. You’re trying to pretend like everybody’s in love with the script to, hopefully, get a buyer to pull the trigger.

This is actually what good agents and managers used to be experts at back in the day. Their tomfoolery could sometimes sell a shitty script to Hollywood. But it’s almost impossible to do that in 2026. Everybody has too much information. You can’t swindle buyers anymore.

Luckily, this was the opposite of that. Everybody who read Ember liked it. That gave Aaron and Scott the confidence that they had something special and it allowed them to be more strategic about how they approached things.

Now here’s what’s interesting — and it’s something I don’t know a ton about. Ironically, the most buzzy scripts are the ones that cause the most problems. And here’s why.

You may get someone calling on Tuesday morning to tell you they want to put in an offer on the script. And then on Tuesday afternoon, you may get someone from a production house who says, theoretically, “JJ Abrams wants to read the script.” But when these big dogs want to read something? They want 2 weeks exclusive. So you have to pull the script off the table everywhere else to give that high-tier director or actor the chance to read the script and decide if they want to do it.

Well, that’s a gamble. Because you may give it to them in the hope they want to do it. But then after two weeks they decide not to. And then you go back to that guy who wanted to put in an offer and maybe the Ember Knight buzz has died down in him and he’s moved on to the next thing.

So, without getting into specifics, Aaron told me that he had to navigate a lot of that. There was one really big either director or actor (I’m not going to say which) that wanted a 2 week exclusive and Aaron had to really weigh, is this person right for this? And ultimately, he and the writers decided that taking the script off the market for those two weeks for that person wasn’t the right move for the script.

And I’m just thinking, if I’m in that position, with someone of that stature wanting exclusive access to my script, I don’t know how I would have said no. But I think with Aaron, he’s been through this so many times before, he has a better feel for how that’s going to turn out. So he’s making a strategic decision there. That’s one of the benefits of having a top tier manager on your side. And especially Aaron, who’s the coolest cucumber I know.

This is why a hot script can take a month or two to sell because everyone wants it, but they don’t all want it under the conditions that work best for you. So you’re playing this game of chess against this super unpredictable player called “You Could Fucking End Up With Nothing” and you have to figure out how to beat him.

In the end, they found this exec at Sony who absolutely loved the script. She believes she can get it made since it has those two juicy slots for an A-list actor and an A-list director (what I’ve always said is the key to this script selling and getting made) and so since she knew that a lot of people wanted this script, that’s why the price was so high. This town talks to each other. So when one of the hottest actors in the world, theoretically, takes serious interest in a script like this, people know that if they’re going to take that screenplay off the market, they’re going to have to pay.

Another thing Aaron, Scott and I talked about was the uniqueness of the page count and we wondered, if this were say, 140 pages instead of 185 pages, would it have still gotten the buzz that it got? And we weren’t sure. But Aaron definitely was under the impression that the huge page count created a sort of mythical quality to the script that almost made it seem impossible that it could be good at that length. And so everyone wanted to read it, almost out of disbelief.

This is a tip I don’t talk about a lot but it’s one I learned early on in my Scriptshadow tenure. Which is, instead of trying to hide your biggest weaknesses, lean into them. Shine a light on them. The script’s big weakness was its page count. But I said to Aaron when I sent it to him, “This could actually be an advantage.” And he played into that. And I do think it was a part of why the script sold. Not directly. But it helped it get the buzz required to get people who mattered interested.

We also talked about how exciting this is. Not just for Kieran and Brennan. But for all screenwriters. We’ve kind of lost that “dreams can come true” spirit in this town. Shit, when I talked to Kieran and Brennan on Zoom before all this happened, I could hear the frustration they had from just trying to get their script out there and how hard it was and having those doubts about if it’s even possible. And now a couple of months later, they’re interviewing for many of the top writing jobs in Hollywood.

I don’t know specifically if they’re up for Marvel jobs. But if I were Marvel, I would invite them in. These guys understand epic storytelling in a way very few writers in Hollywood do. I think that’s their strength and it’s the kind of strength that can get you involved in a lot of prestige projects.

But anyway, I just wanted to share that with you because I want to remind all of you that the journey CAN lead to success. You have to keep writing. You have to keep generating ideas and screenplays. And nothing’s guaranteed, of course. But never forget this: IT CAN HAPPEN. And we’ve just proved it.

If you’re not familiar with the journey of The Ballad of the Ember Knight screenplay, the now notorious 186 page behemoth, and how it came to me, the short version of the story is that Kieran and Brennan sent it to me for a script consult. I loved it. I put it in my Top 25.  I reviewed it. This put it on Aaron Kaplan’s radar. He read it right away and wanted to sign the brothers. He brought on Scott Stoops, who works for him.

Aaron and Scott then started sending the script around town and it was getting good feedback immediately. People really liked it. Eventually, just last week, Sony pulled the trigger for nearly a million bucks, I think because they didn’t want anyone else to start bidding on this thing and drive the price up.

This is a remarkable accomplishment for Kieran and Brennan. It is SO RARE, even if this were 20 years ago, for newbie writers to sell a script to a major studio for this kind of money. AND WITH NOBODY ATTACHED. I think that’s the most shocking part of this. Is that they didn’t even have an attachment. And they were still able to sell a script for near 7 figures to a major studio. It’s unheard of.

So, major props to Kieran and Brennan for pulling this off. It’s an amazing feat for writers without any credits and who were, just several weeks prior, unrepped (they’re now also repped by CAA).

Now, when I posted my review of the script, I noticed that it was getting mixed reviews from you guys. Some people really liked it. Others thought it was overhyped. So, I want to make it clear what I SAW that made me know the script was special.

One of the things almost every writer in Hollywood is trying to accomplish is to write an anti-hero protagonist who’s still likable. Who we want to root for. Writers constantly struggle to get this balance right. The writer either gets the “anti” part right, but the character ends up being extremely unlikable. Or they get the “likable” part right, but it steals away all of the character’s edge.

These guys created the perfect anti-hero. The ember knight (the hero of the story) is that pinpoint mix of both “anti” and “likable” and, when I saw that, I immediately knew that A-list actors were going to die to play this part. And, no doubt, that’s what Sony saw as well. They were fine with buying a script with no attachments (unheard of in this day) because they knew it would be so easy to get an A-lister to want to play this role. And then once you have that, you have a movie.

Now, truth serum activated, did I think this script would sell? Honestly, I thought it would have a tough time. Because of the page count and because the writers were unproven. That’s usually where studios draw the line.

But it goes to show what I always tell you guys. If you write something that’s really good, it will get noticed. And it will do something for you as a writer. Maybe not a 7 figure sale. But it will give you opportunities to start moving up the ladder. So let this be a reminder for you to keep pushing, to keep writing. Because sooner or later, your skill reaches the required level to deliver the goods. And I want everyone who’s in the High Concept Club Contest to let that light a fire under you. Cause I think one or two of you is going to be experiencing this same thing next year.

Okay, in honor of this news, I want to re-post my newsletter interview with Kieran and Brennan. This was right after they got signed with Aaron Kaplan (and Scott Stoops came on as well). Here it is.

A top Hollywood lit manager says he wants to talk to you guys.  How the heck do you prepare for that call?

Kieran: Um, (laughs), we don’t really. We just go with it.

Brennan: With an open mind.

K: Yeah, with an open mind.  The phone call was like two minutes long and then we set up a Zoom call for later.  And so that’s how it happened.  It came together very quickly.

So that others can prepare for this moment themselves, what did Aaron and Scott talk about on that call?  What did they want to know about you?

K: They wanted to know our story pretty much.

B: How we got into writing.

K: How we got into writing.  Which we were very brief on. How we came up with the idea. They really started pitching themselves to us, first off, more than anything.  So, it was a very interesting spot for us to be in…

B: (laughs)

K: Our whole career, we were trying to get in and just have people read our script.  And now it’s like, they read the script.  They loved it. And now they’re pitching themselves to us. That was very much what the call was like.  Not the other way around.

B: It wasn’t too onerous on us.

K: Yeah, we never felt like we had to prove ourselves to them.  Whether that was right or wrong, I don’t know.  But it worked out.

How did they pitch themselves to you?

K: It was a bit like, “This is the team we manage. The movies we like. These are the clients we manage and the types of careers we’re trying to sculpt. This is what we’ll be able to offer in terms of sending the script out.”   I mean, Aaron read the script in one night.  He then gave it to Scott, who read it the next night.  And we were like, “Wow, you read our script and you liked it?  We’re sold!” (Both of them laugh).  But yeah, he talked about some of the things they produce.  For example, they represent Jeremy Slater, who wrote Mortal Kombat 2, and talked about how this is what we want to do for all our writers.  Which was exciting to hear.

B: And they gave us an idea of what people would expect from us.  How they would look at us based on this script.  The boxes we would be placed in, which is relevant for how we’d approach sending them future scripts.

K: Yeah, and honestly, they were just really nice.  We got a great feeling from them.

B: Yeah, we got the feeling that we could actually work together.

Was there anything Aaron and Scott asked you that caught you off guard or was it smooth sailing?

K: Not really.  I guess one thing that surprised us was they talked about sending it to certain producers first.  In our mind, we thought it would be actors.  So we thought we’d go out to a Henry Cavill, for example.  So, it’s an example of us learning the process.

How long was the meeting?

B: About an hour.

Oh, wow. Can you take me through the process of trying to get the script noticed before you sent it to me?

K: Yeah, we sent it to friends, just for feedback.

B: One of the big problems we ran into in regards to sending the script to competitions or the Black List is that a lot of them did not accept scripts above a certain length.  So we couldn’t actually send it out to people.

K: Yeah, that was the problem.  We didn’t have anywhere to send it.  We would send out abbreviated versions to people.  Like the first half.  And then we’d send that to the Black List.

B: We started splitting it up into episodes and send the first one out as a pilot.

K: And obviously, it didn’t work that way. And we’re sitting around, trying to figure out our next steps and I thought, “Oh wait. Carson.” Which wasn’t an easy choice. Cause you’re not cheap.

B: (laughs)

C: (laughs)

K: Yeah.  We knew it was a tough sell but we also had a lot of confidence in it.  With that said, we had no idea you would like it so much.

B: Yeah, that was shocking.  To be honest, you were a hail mary.  We’d given up on that script being accepted anywhere.

K: We’d mentally shifted over to a much more marketable script — an action comedy.  The frustration of this script made us really focus on something that would be easy to push out there.

What was your lowest moment as a screenwriter before this breakthrough?

B: Austin.

K: Yeah, Austin.  When we went to the Austin Film Festival.

B: We had another script, The Man Who Came From the River.

K: We were finalists with that.

B: We didn’t win.

K: Right from the start, the people we thought were there to help us said, “We’re not reading scripts.”  “Nobody’s signing anybody right now.”  “Good luck out there.”  Beyond that, we got one or two leads from the competition that didn’t go anywhere.  And that was when it hit us: we’re kinda screwed here.

B: Even if we get a finalist position in one of the most prestigious contests, nothing happens.

K: Yeah, so that was a really low point.  Not that the script was amazing or anything but just sort of the message we were getting and the fact that we had placed so high and that nothing at all came from it was discouraging.

B: And then we started sending various iterations of that finalist script over to the Black List.  But we kept getting the same scores back. There was an early version of the script we sent them before Austin that was garbage.  Yet no matter how much we improved it, we kept getting the same scores back.

How many scripts have you guys written?

B: We’re on our third now.

K: Yeah, we only have two scripts written together.

And then, Kieran, you wrote scripts before that, right?

K: I wrote one and a half scripts before that. I wrote an action script back in 2013. And then I wrote a post-apcolyptic adventure script that I got 90 pages into but ultimately abandoned.

B: We’ve only been doing this for about two years.

I gotta say it, guys.  One of the first pieces of screenwriting advice you learn is: Keep your script under 120 pages.  What the hell happened??

K: We tried!  We do a big outline before each script.  We make sure all the major plot points are there.  We know what’s going to happen in all the key areas of the script.  It actually looked like a normal-sized movie in that initial process.  But since we essentially have two main characters, we had to double everything.  And that beefed up the page count.  And then when we started writing it, it just naturally got longer and longer.

B: The weird thing about this script is we really did try hard to cut it down.  Every time we went into it, we’d try to cut more.  But then, somehow, stuff got added instead, and it just kept getting longer and longer (laughs).

K: It wasn’t the plan.  It just kind of happened.

A big reason I liked this script so much was how it felt like a Hero’s Journey tale.  But I still haven’t asked you this. Was the the Hero’s Journey on your mind when you wrote this?  Or was that just a coincidence?

B: Not specifically.   I’ve always seen it as a Grail Quest. The Grail Quest is Joseph Campbell’s main thesis and inspiration.  By no means were we following Joseph Campbell’s 22 points, or whatever it is.  But it just kind of came out that way naturally.

How long did it take you to write Ember Knight?  Time-wise and how many drafts?

K: The first draft was, what? (looks to Brennan) Six months?  The second draft we were writing every day for several months.  The draft you eventually received was the sixth draft I think.

B: It’s hard to count drafts because you’re always editing.

K: Yeah, and also we were jumping back and forth, rewriting our first script at the time.  And we’d go back and forth between the two.

What was the hardest thing about writing this script?   What issue did you keep coming back to?

K: The page length.

B: (laughs) We used to obsess over it.   We haven’t been thinking about it as much lately.  But that was always what was on my mind early on.  It was honestly eating at me.

K: I mean the story is pretty straightforward.  So the plot wasn’t hard to manage.  Oh, the Hermit.  The Hermit was tricky.  But look, we had previously written a time-travel script and that was way harder.

B: That was so tricky.

I tell writers, don’t mess with time travel unless you want to drive yourself insane.

K: Never ever again.

What’s one thing about the script that maybe doesn’t seem like a big deal but you think is essential?

B: (note: Both Brennan and Kieran had previously informed me that Brennan does all the dialogue in their writing) I’ve got a weird one. There were no conjunctions back then.  No “don’t.”  No “can’t.”  And you don’t realize what that does to language when you remove those.  It completely changes the way you write dialogue.  “Is not” has a completely different feel than “isn’t.”  It was a challenge because in a place where I would’ve mindlessly placed “don’t” in a line, I would now have to put “do not.”  And so many times I realized that it didn’t sound right.  The rhythm of it.  The flow of it.  It’s can be jolting when you don’t use a contraction.

K: I didn’t even know that. (Laughs) For me, I just had so much fun writing this script. I didn’t have any of those problems.

I gave you notes on the script myself.  What was the note I gave you that resonated most and why?

B: The Hermit

K: Yeah, you telling us that the Hermit wasn’t working was great because deep down, we knew we hadn’t figured him out.

B: And he’s definitely the most difficult character.

K: I would tell Brennan exactly what I needed the Hermit to be like in a scene and he would go off for a week, write this amazing poem-like monologue for him that perfectly encapsulated what I asked for, only for me to realize that I was wrong and he needed to be a different way in the scene.  Brennan was not happy in those moments.

B: (laughs) No, I wasn’t.

K: And then also you pointed out to us that not every reader can be dropped into 14th century France and know what’s going on.  We weren’t being clear enough about the setup.  So that was helpful.  We went back in and altered some of the exposition to make sure that you understood what was going on in France at the moment, how Britain was involved, where we were in the timeline.  It’s easy to forget that stuff as writers, because we know our world so well.

Do you know what comes next with you guys and your new managers?  A strategy call?

K: We’re going to pitch them some ideas.  We’re going to strategize for what to focus on when we go out for general meetings.

B: Also, we’re going to get notes from them about the script.  Aaron and Scott are both going to give us some notes.

K: Yeah, I mean we just signed over Memorial Day weekend. So we haven’t had much time together.

And what do you plan to write next?

B: We want to finish our action-comedy next.  That should take a month or so.

K: And then we’re looking at sci-fi. We have a 2-part big sci-fi idea. A dystopian world set 100 years in the future. The trick is we’re trying to imagine what people who read Ember would expect from us next.

That’s awesome, guys. This has been a blast. Keep me updated so I can share your successes with the Scriptshadow community!

B/K: Cool. Will do!

After 4 weekends of pitching your asses off, these are the 76 concepts that are in the official High Concept Club Contest.

I’ll get to the official list of entrants in a second. But first, I want to congratulate everyone who made it. Your persistence and determination won you a seat at the most prestigious screenwriting table in Hollywood.

BUT NOW IT’S TIME TO DELIVER!

Monday, March 1, 2027.

That’s your deadline.

Here’s the deal, guys. I’m not accepting dropouts. A lot of people dropped out of the Blood & Ink Contest. I think nearly half. And, don’t worry, I’m going to pick back up on reviewing Blood & Ink scripts next week. But it truly is unacceptable. Six months is more than enough time to write a script with at least one rewrite and, more likely, two.

It’s 20,000 words. That’s nothing. I write 1500 words every time I post.

You all worked hard to come up with these ideas and beat out thousands of other concepts. There are writers who would kill to be in this contest but couldn’t get in. It’s a privilege to be here. So I want each and every one of you to take advantage of that. Finish this script if it kills you.

If you received a “Yes,” big or lowercase, you can send me a 5 page outline and I will give you notes on it. You will see that some “yes” votes have been retroactively added.  I strongly encourage you to take advantage of this. Because if you go down a bad route in a screenplay, it’s hard to come back from it. So, e-mail me at carsonreeves1@gmail.com when you have your outline ready and we can rock and roll.

And, of course, if anyone wants to hire me after you write a draft, so you can go into that next draft cooking with gas, I’m here as well (carsonreeves1@gmail.com). You do not need to do this. But it’s here if you think you need it.

What I would suggest you do is spend a week or two writing up an extensive outline. The reason for this is that most scripts die around the 45 page mark because the writer doesn’t have any direction left. An outline will give you that direction so that you can finish the whole thing.

Then, write like the wind. Don’t get in your head. Follow the outline and get the draft finished ASAP. It was one of you who taught me (raise your hand in the comments) that it’s a lot easier to rewrite something than to write something out of thin air. So, the sooner you get a script down on paper, the easier time you’ll have shaping that into a screenplay.

I don’t want to hear, “I didn’t have time.” You have plenty of time. Cut out the bullshit you do every day. The Youtube videos, the porn, and yes, even limit some of that Scriptshadow commenting! Instead, focus on getting that script written like your life depends on it. Here’s a quick metric: If you write 3 pages that day, you can come over to Scriptshadow and comment your ass off.

I’m going to be announcing something within the next couple of weeks but, let’s just say that two recent Scriptshadow featured screenplays just sold to big companies (and one, a GIANT company). So, there is a lot of incentive to finish these scripts.

Okay, a couple of technical things here. Number one, if you have two entries in the competition, you have to pick one. Let me know in the comments which one you’re going with. Two, it would help me a lot if you could e-mail me at carsonreeves3@gmail.com with your title, genre, and logline for your entry.

Below are the 76 concepts that made it. You may notice a few that didn’t officially make it. These are concepts that I couldn’t stop thinking about so I knew I had to include them. If I made a mistake and missed your script, let me know!

All right, enough stalling. Which concepts excite you the most? Who do you think will write the best script? Who are your dark horses? All opinions welcome, positive and negative, as long as you’re respectful.

Title: Tailback

Genre: Mystery / Thriller
Logline: Stranded on a bridge in miles of gridlocked traffic on the hottest day of the year, a single mother wakes to find her six-year-old daughter missing and must trace her last known moments through the surrounding vehicle occupants and their dash-cam footage before the traffic moves and her child is lost forever.
Writer: Arthur

Title: 25th Hour
Genre: Sci-Fi Thriller
Logline: A blue-collar technician accidentally intercepts a hidden frequency that gives him access to the secret twenty-fifth hour, used exclusively by the global elite to rig world events, forcing him to survive nightly hunts as he tries to expose their conspiracy.
Writer: Tencoach

Title: The Massacre

Genre: Action-Thriller
Logline: When King Herod learns from three Eastern mystics that the King of Kings has just been born, he orders mass infanticide, forcing a desperate father to smuggle his three small children out of the foreign city of Bethlehem while panic, mayhem, and Herod’s death squads sweep across its people.
Writer: Steffan

Title: First Boy

Genre: Supernatural Horror
Logline: When a mother realizes her teenage daughter’s new boyfriend is impossibly the same boy who tried to kill her twenty-five years ago, she must stop him before her daughter becomes his next victim.
Writer: Steven Rauber

–yes script–
Title: Just Another Day

Genre: Black Comedy
Logline: Stuck for ages in a time loop and half crazy, a young woman decides on this particular rewind day to use her decades of accumulated knowledge about her town to make life as chaotic and hellish for its residents as she can; but then tomorrow actually comes.
Writer: Brenkilco

–yes script–
Title: Wyvern

Genre: Action/Fantasy
Logline: A crew of bank robbers are recruited to carry out the most terrifying heist of their lives, stealing a hoard of gold from the lair of a real-life dragon. Heat meets the Hobbit.
Writer: Finn Morgan

Title: Eternal Stakes
Genre: Thriller/Supernatural
Logline: A secret society of vampires offers a terminally ill detective the promise of immortality if he can hunt down a human serial killer who’d been tracking and killing their members.
Writer: Dev

–yes script–
Title: Tenmile
Genre: Sci-Fi Thriller
Logline: In New York City, anyone who slows below ten miles an hour dies; the only person who knows why is a woman racing across the city to save the daughter who can’t stop running.. and won’t stop running from her.
Writer: Branko Maksic

Title: HEAR/SAY
Genre: Thriller
Logline: At a global tech summit, a deaf accessibility coordinator lip-reads an assassination plot against a whistleblower about to expose a deadly cover-up, forcing her to prove what only she saw before his keynote begins.
Writer: David Cahill

Title: The Cape

Genre: Thriller.
Logline: After a massive Memorial Day car crash blocks all lanes of the Bourne Bridge, a nervous man becomes trapped above the Cape Cod Canal, surrounded by police officers, with his dead wife’s body in his trunk.
Writer: Mr. Blonde

Title: Off The Bench
Genre: Comedy
Logline: When a diplomatic crisis strands a tiny country’s World Cup squad behind closed borders, a ragtag group of expats with day jobs get a chance to take their place and represent their homeland on soccer’s biggest stage.
Writer: Federico

Title: Aftershock

Genre: Action/Survival
Logline: When an earthquake shatters his high‐rise, interrupting his rooftop suicide attempt, an agoraphobic FBI informer must fight his way down the crumbling tower to rescue his family — whilst being hunted by the gang he betrayed — before the aftershock collapses the skyscraper completely.
DIE HARD meets THE RAID
Writer: Paperback Writer

Title: Dream On

Genre: Action/Comedy
Logline: When their patients’ nightmares manifest in the waking world, it’s up to a team of sleep psychologists to solve the parasomnia problem before the nightmares destroy the city.
Writer: ScriptChick

Title: Doors

Genre: Surrealist apocalypse adventure
Logline: The world’s doors have stopped working the way they should. What once took you from one room to the next could now strand you literally anywhere else on the planet, with no way of returning the way you came. When his teenage daughter steps through an open door and into an active warzone on the other side of the globe, a widowed father will stop at nothing to track her down and bring her home in an odyssey that spans the entire planet.
Writer: Connor L

–yes script–
Title: Love Neighs
Genre: Action Comedy
Logline: Set in the 15th century during the Hundred Years’ War between France and England, a band of disgraced knights get their shot at redemption when they’re tasked with escorting a
French erotic romance writer from the frontlines to the palace of the King of England, his number one fan.
Writer: Maksim

Title: Mate

Genre: Sci-Fi Thriller
Logline: An unlucky-in-love woman meets the man of her dreams, only to discover he is a Neuralink patient whose body has been hijacked by her obsessive AI assistant determined to consummate their relationship.
Writer: Ben Stoker

Title: SEIZURE

Genre: Action
Logline: To stop terrorists who have seized a maximum security mental hospital, a visiting FBI agent running low on ammo teams up with an escaped prisoner running low on meds and whose violent blackouts make him a perfect killing machine.
Writer: Scott

Title: How To Lose a Job in 10 Days
Genre: Comedy
Logline: A desperate employee has ten days to get herself fired and collect the severance that will save her family’s home, but every sabotage only makes her more indispensable and fast-tracks her toward CEO.
Writer: Moscow Mule

–yes script–
Title: Peacekeeper

Genre: Action/Comedy
Logline: When 2 bickering married CIA agents threaten to divorce right before completing a major covert operation, the agency dispatches its most versatile “peacekeeper” operative to save the marriage – and the mission.
Writer: AlexE

Title: Dungeon Brawler

Genre: Fantasy Action Comedy
Logline: When his impoverished village can’t afford the king’s crushing tax, a scrappy peasant enters an illegal bare-knuckle fight circuit against trolls, orcs, and other mythical creatures to win enough gold before the crown comes to collect.
Writer: Joseph Jay Carroll Jr.

Title: Fireballer$

Genre: Action Comedy
Logline: Four Philadelphia construction workers must climb to the roof of a towering inferno to retrieve a lunch box containing a life-changing lottery ticket.
Writer: CJob

Title: Escape from Avalon

Genre: Sci Fi/Adventure
Logline: After an American tech executive crashes his yacht on an uncharted Pacific island, he must coordinate his escape with the island’s only other occupant – a 17th Century Spanish explorer who claims to have crashed only two weeks earlier.
Writer: wlubake

Title: Star Fall

Genre: Sci Fi
Logline: As a massive prison ship spirals toward a nearby star, its crew must fight their way through hundreds of the galaxy’s most dangerous criminals, now released from containment, to restore the ship’s power and prevent total annihilation.
Writer: Romer6

Title: The Family Jewels

Genre: Comedy
Logline: When a clueless American influencer pulls Excalibur from the stone during a viral publicity stunt, an ancient law makes him the rightful King of England, forcing the greedy royal family to scheme, sabotage, and manipulate their way into stopping a well-meaning idiot from inheriting the crown.
Writer: Josh Bullock

Title: TBC

Genre: Horror thriller
Logline: When the first English ship arrives in the New World, a Powhatan warrior discovers the settlers are savage vampires who have crossed the ocean not for land but for fresh blood.
Writer: Gavin John

Title: War Gods

Genre: Action
Logline: An elite Delta Force team is shot down during a hostage rescue mission in Greece, forcing them to pursue terrorists and their hostages into the original Labyrinth, where humanity’s oldest monsters never died.
Writer: David Cahill

–yes script–
Title: Action Replay
Genre: Action/Heist
Logline: After years in prison two legendary old tough guys get hired as consultants on a movie about their famous last (failed) heist and decide to use the filming as cover to try the heist again…
Writer: Mike Hurst

Title: Cellar Door

Genre: Thriller
Logline: After breaking into her neighbor’s basement for shelter during a tornado, a disgraced detective unearths an intricate tunnel system that secretly connects to numerous houses including her own—and to the homes of multiple missing teens she failed to find.
Writer: Redd

Title: I Think I Hate You

Genre: RomCom
Logline: After professing his love to his best friend and subsequently being ghosted by her even though they work together every day, a crushed young man hires a tech startup to edit his brain chemistry so he can finally move on. But now that he finds her repulsive, she finds him irresistible.
Writer: FloydC

Title: Fool’s Gold

Genre: Comedy/ Western
Logline: During the California Gold Rush, a struggling backwater town fakes a gold strike to lure fortune‑hunters and boost its own fortunes. But when real gold is found, the townsfolk try to drive away the prospectors and keep all the gold for themselves.
Writer: Formation Wave

–yes script–
Title: The Jump
Genre: Action/Sci-fi
Logline: When terrorists seize a commercial airliner and threaten to crash it, a SWAT team must use experimental teleportation to board the plane. But they only have four jumps, each lasting ten minutes, to retake the aircraft before time runs out.
Writer: mahyar

Title: Inferno Line
Genre: Action/Thriller
Logline: A jobless smokejumper teams up with a veteran thief to rob $3.4 million from a postal train. But the plan derails when the arson he started becomes a massive wildfire, cutting every way out.
Writer: Florent Hendrickx

Title: From Suburbia With Love
Genre: Comedy
Logline: When a socially awkward 14-year-old discovers a banged-up international spy hiding in his pool house, they strike up a deal: the kid will keep the spy’s whereabouts secret while the suave spy helps the kid win over his crush.
Writer: Mason Elliot

Title: Contraflow

Genre: Action-Thriller
Logline: After robbing a bank under the cover of a Category 5 hurricane evacuation, the South’s best wheelman must turn Florida’s gridlocked exodus into a moving shell game, leapfrogging his crew and the stolen cash between vehicles to evade police checkpoints as the storm closes in behind them.
Writer: Sam Kerr

Title: Mistletoe Joe

Genre: Comedy
Logline: Every year, Santa prides himself on granting everyone’s Christmas wish. So when a socially inept man sends Santa a wish wanting to lose his virginity, in desperation, Santa sends him a foul-mouthed, womanizing elf, known as Mistletoe Joe, to help him get laid by Christmas.
Writer: Noah B

Title: Vice Stream

Genre: Crime thriller
Logline: After a popular Miami streamer is murdered during a live broadcast, his fanatical online community turns the ongoing stream into a weapon, using every clue hidden in the footage to hunt his killer through Miami’s neon underworld.
Writer: Tencoach

–yes script–
Title: No Way Down


Genre: Contained Survival Thriller
Logline: When a scientific expedition discovers a hidden ecosystem in a remote rainforest valley, they become trapped on the vast web of an undiscovered species of spider, a hundred feet above the jungle floor, where the only way out is across.
Writer: Arthur

Title: Her Book Boyfriend


Genre: Romantasy, Comedy
Logline: A pretentious publisher wakes up trapped inside his wife’s trashy fantasy novel and must win her back before she falls for the hunky shapeshifting dragon prince who is everything she wishes he was.
Writer: Mary Tay

–yes script–
Title: The Black Meridian
Genre: Action Sci-Fi
Logline: When treasure hunters search the Bermuda Triangle for a legendary pirate ship that disappeared, they’re swept back in time and hunted by the very ship they came to find.
Writer: Anon E. Moose

Title: Breakfast With Tiffany


Genre: Science Fiction Romance
Logline: When a lonely night-shift radio astronomer falls for the mysterious woman he speaks to each night over the airwaves, he discovers she’s the first intelligent life beyond Earth, and must choose between revealing humanity’s greatest discovery or protecting the woman he’s fallen in love with.
Writer: Erica

Title: Undroid

Genre: Comedy
Logline: When a tech firm fails to deliver a humanoid robot in time, a young female trainee must take its place for a short demonstration – then a whole weekend with a wealthy, important and lascivious investor.
Writer: TigerMoomin

Title: Body Count

Genre: Horror
Logline: After discovering his former dating app matches are inexplicably meeting gruesome deaths, a former fuckboy must discover the cause before the line of death reaches his last match: his fiancée.
Writer: I’msorrydave

Title: Possessive

Genre: Supernatural Thriller
Logline: After dumping his toxic, manipulative girlfriend, a man reenters the dating scene. But when every new woman he dates begins exhibiting his ex’s exact, terrifying behaviors, he begins to suspect she has found a way to body-hop into them.
Writer: Have99kitkat

Title: Good Fences

Genre: Sci Fi thriller
Logline: A neighborhood wakes up to discover their yard fences have moved and formed a complex maze around their homes and as the maze shifts every ten minutes, they are forced into unresolved conflicts with neighbors, dark secrets, and crushed homes to escape it, facing the realization they are but mice in a heartless study.
Writer: Randy Williams

Title: The Wrong Hood
Genre: Fantasy Action-Comedy
Logline: A bullied student-outcast passionate about all things medieval is pulled through a magic portal into Sherwood for the adventure of his dreams, only to accidentally get Robin Hood killed – and forcing him to replace the legend as the leader of outcasts in a story he knows by heart but is wildly unqualified to lead…
Writer: Rewrittenver3

Title: How I Died

Genre: Sci-fi Thriller
Logline: When a widow’s AI husband investigates the mysterious disappearance of the man he replaced—he begins to suspect his new wife may have something to do with the original’s death.
Writer: James

Title: Two Steps Away

Genre: Thriller
Logline: After leaving her lover for dead in a hotel room to save her marriage, a suburban wife is horrified when he moves in next door with his secret wife and children, forcing them into a deadly standoff where neither can destroy the other without destroying themselves.
Writer: Kit Anderson

Title: Blue Origin

Genre: Comedy
Logline: When a publicity stunt goes wrong, sending an all-female celebrity spaceflight catastrophically off course, its crew of pop stars and influencers must overcome their egos and lack of training to become the astronauts they were pretending to be to make it back home alive.
Writer: AEL

Title: A Claus For Concern

Genre: Comedy
Logline: When their young kids stop believing in Santa, two Christmas‑obsessed parents launch a chaotic, last‑minute expedition to the North Pole to prove he’s real.
Writer: drifting in space

Title: Stormline

Genre: Disaster Thriller
Logline: When an avalanche cripples the last cable-car line evacuating a mountain resort before a record blizzard, a former ropeway mechanic must cross the roofs of its swaying cabins to stabilize a collapsing support tower before the storm tears the entire line down.
Writer: D. Lawrence

Title: Jester: King for a Day

Genre: Dark Comedy
Logline: When a cruel king trades places with his jester for a day to prove the fool has it easy, the king unexpectedly dies, leaving the jester legally trapped on the throne just as a rival kingdom launches its long-awaited invasion.
Writer: Moscow Mule

Title: Reset

Genre: Romantic Thriller
Logline: When an assassin falls in love with her target, she voluntarily erases her memory and restarts the mission, forcing him to make her remember she loves him before she kills him.
Writer: Scott

Title: All Along the Watchtower

Genre: Contained Thriller
Logline: Told entirely from his watchtower during a prison riot, an unassuming guard discovers the uprising is an elaborate false flag operation orchestrated by a drug cartel, corrupt federal agents, and his fellow guards, and that he’s being set up as the fall guy.
Writer: Steffan

Title: Open House

Genre: Thriller
Logline: During the first open house in an empty luxury development, a real estate agent is hunted through the development’s finished and unfinished homes by a family convinced she knowingly sold them the mold-infested house that killed their daughter.
Writer: Joe Rustler

Title: Blacksite

Genre: Action Thriller / Survival
Logline: When a military flight containing dangerous detainees crashes in the Arctic, the survivors, both soldiers and criminals alike, must work together to survive both the elements and the mysterious creature hunting them in the snow.
Writer: Maggie Kebler

Title: The Pecking Order
Genre: Thriller
Logline: When a former bully is wrongfully imprisoned for manslaughter, he is horrified to discover that the warden of the prison is his former victim. As the now psychotic warden’s twisted revenge begins intensifying, the prisoner becomes more and more desperate to escape.
Writer: Elki

Title: Salvage

Genre: Action
Logline: To save his family’s failing business, a salvage captain leads his skeleton crew into a naval war zone to recover a $50 million drifting freighter against better-equipped rivals and incoming airstrikes.
Writer: Dipper Pines

Title: Earshot

Genre: Thriller
Logline: On an anniversary trip to the remote resort where they honeymooned, a deaf woman’s new implant activates ahead of schedule — and the first thing she hears is her husband meticulously planning her murder; now she must survive the week without ever letting him suspect she can hear.
Writer: Branko Maksic

Title: Firecane

Genre: Action
Logline: When a Category 5 hurricane ruptures and ignites a 300-mile-wide offshore gas field, the engineer behind its failed safety system must fight across a burning platform to cut off the fuel before the storm carries the fires ashore and sets the entire Gulf Coast ablaze.
Writer: Jaco

Title: Tree Huggers

Genre: Horror
Logline: Environmental activists and the mercenaries sent to stop them become unlikely allies when the protected forest they battle over reveals its trees have become sentient predators.
Writer: Josephy Jay Carroll Jr.

Title: Take Her Out

Genre: Comedy
Logline: A hitman boards a luxury singles’ cruise to discreetly eliminate his next target, only for his widowed mother to sneak aboard and decide the woman he has been hired to kill is his perfect match.
Writer: Shewrites

–yes script–
Title: In My Suburb The Children Mow Lawns

Genre: Sci-fi/Drama
Logline: When a young housewife makes an accidental discovery at City Hall she’s torn between preserving her ideal life and exposing a classified social experiment: the integration of humans and extraterrestrials.
Writer: Levres De Sang

Title: MÖBIUS HIGHWAY

Genre: 
Science Fiction Thriller
Logline: When a spatial-loop seals LA’s busiest highway interchange, a group of stranded drivers must decipher a way to escape before the contracting anomaly crushes them out of existence.
Writer: Enoch

Title: On Set Guardian
Genre: Comedy
Logline: A washed-up former child star is transported back in time and forced to become the on-set guardian to Disney’s biggest up-and-coming star and total nightmare—her 10-year-old self.
Tally: 23 votes
Writer: T D

Title: Help

Genre: Thriller
Logline: After the death of their billionaire boss, the staff of his secluded island estate make an uneasy agreement: keep it secret and live in opulence for once. But when they discover a hidden safe, their pact quickly gives way to greed, paranoia, and betrayal.
Writer: bigtimetimmyjim

Title: A Little Versailles
Genre: Comedy
Logline: When a Marie Antoinette biopic spirals into chaos, an overwhelmed indie director and her crew abandon the shoot to live an idyllic 18th-century life inside its elaborate prop village, provoking studio executives to lay siege their improvised paradise.
Writer: Kiya Opstrup

Title: Dreamland
Genre: Comedy / Drama
Logline: A simple-minded man sneaks aboard a plane in search of a better life in Switzerland, only to land in a war-torn country instead, where he happily mistakes the horrors of war for ordinary Swiss life while unwittingly becoming an unlikely symbol of hope. The Party meets Life is Beautiful
Writer: Romer6

Title: One Wrong Move
Genre: Survival Horror/Thriller
Logline: After a billionaire botanist sends a distress call from his remote island, a rescue team enters his secret Garden of Eden— only to discover the paradise is one colossal predatory plant, forcing them to navigate its labyrinth of deadly traps to reach him.
Writer: Dkushner2006

Title: Stay Awake
Genre: Survival Thriller
Logline: When a mysterious phenomenon makes falling asleep deadly, a disgraced researcher must lead her family across a collapsing country to finish her controversial sleep experiment that could be the only way to stop it — before they close their eyes for good.
Writer: Dkushner

Title: Van Damned
Genre: Comedy
Logline: A group of ageing action-movie obsessives find themselves trapped in a real-life Die Hard scenario — and finally get to test whether any of that movie knowledge is actually useful.
Writer: Tom Savage

Title: Merger
Genre: Horror
Logline: When a small company is absorbed by a corporate giant, a lone secretary discovers the merger is literal: the buildings, the staff, and eventually herself will be fused into a pulsating monstrous organism, unless she leads her own hostile takeover…
Writer: Formation Wave

–yes script–
Title: SIX-PACK
Genre: Action Comedy
Logline: When an unassuming journalist stumbles upon six cans of whoopass in a laboratory, he must work out when the best times are to open each can to boost his fighting skills as he battles his way through the neighbourhood of a vengeful mob boss.
Writer: Ken

Title: Robo Hoe
Genre: Comedy
Logline: On the gritty streets of future Harlem, a ragtag crew of aging hookers wages war on a corporate sex bot stealing their clients, their turf, and their mans.
Writer: Walker

Title: RAMREE
Genre: Thriller
Logline: (based on a true story) A World War II assassination mission on Ramree Island becomes a nightmare when 5 British soldiers are trapped in crocodile-infested mangroves with hundred of crocodiles to face to reach freedom.
Writer: nicohajj

–yes script–
Title: For Witcher or Poorer
Genre: Comedy
Logline: A man set to marry the woman of his dreams must first reconcile with his discovery that her mother is secretly a bonafide wicked witch.
Writer: Robert Remy

Title: Rigged
Genre: Comedy
Logline: A low-level hitman gets summoned for jury duty on a murder he committed and must manipulate eleven strangers into the right verdict without the judge, the jury, or the crew who hired him realizing he’s the real killer.
Writer: David Cahill