Completed feature screenplays available for representation, option, and production consideration. Full scripts available upon request.
A couple raises twins without ever knowing which child is which. When the world finds out, judgment is swift. Proof was never required.
Two children. Same home, same parents, same upbringing. The only difference is one the world was never meant to know. When it finds out anyway, the machinery of judgment moves faster than the machinery of proof; and by the time anyone thinks to ask whether the certainty was earned, the damage is already done. Synthetic Genesis is a prestige drama about the specific, ordinary violence of a world that moves fast, assumes confidently, and never checks its work. The truth is in the room the entire time. Nobody thought to look.
Ex Machina, Never Let Me Go.
I've been judged by my appearance my entire life; sorted, categorized, and assigned a story before anyone asked me a question. Synthetic Genesis is built from that experience. The future setting isn't science fiction for its own sake. It's distance. The same distance that lets you see a thing clearly when you're too close to look at it directly.
The twins aren't symbols; they're children. The harm done to them isn't malicious; it's the specific, ordinary harm of a world that moves fast, assumes confidently, and rarely checks its work. That's the story I needed to tell. - Jeffery Reed
When Kaitlyn wakes in a sealed pod with a countdown she never agreed to - chosen at random by a system that trades human lives in the name of moral balance - she finds the only thing the machine cannot process: a woman who refuses to stop moving.
Kaitlyn wakes up in a sealed pod with a countdown she didn't start and no memory of how she got there. A calm, genderless voice explains that a moral exchange was activated on her behalf, by a stranger, voluntarily. The system considers the matter settled. She is not alone; Bruce is with her. Ninety minutes. No good options. Silver is a contained philosophical thriller about what it looks like when a system built on moral logic meets someone who refuses to accept the math.
The Platform, Cube, Exam (2009), Would You Rather.
Silver began as a simple question: what happens when morality is outsourced to a system? If we reduce ethics to math; to balance sheets and percentages; who gets counted, and who gets sacrificed?
The world of Silver isn't loud or explosive. It's sterile. Administrative. Calm. That was intentional. I wanted the horror to feel procedural; not chaotic, but justified. The kind of justification that sounds reasonable until you realize it requires someone else to pay. Kaitlyn isn't a hero. She isn't chosen. She's random. That's the point. - Jeffery Reed
When a man survives a devastating accident and wakes up with no memory past his twenties, his family faces an impossible question; how do you love someone who doesn't remember you?
He is alive. That's what everyone keeps saying; he survived, he's going to be okay, he's still him. What nobody says out loud is that the man in the hospital bed has no idea who they are. His wife. His children. The life they built together. Gone. Not tragically, not dramatically; just absent, the way a word disappears when you reach for it. What remains is a man in his forties who remembers his twenties, surrounded by people who love him with everything they have and have to start over from nothing. The Man I Left Behind is not a recovery story. It is the story of what love looks like when it has to be chosen again; by a man who doesn't remember choosing it the first time, and by a family that never stopped.
The Vow, Regarding Henry, The Notebook, 50 First Dates.
Michael's video recordings aren't a plot device. They're a lifeline; a man trying to leave breadcrumbs for a future version of himself. Not instructions. Not ego. Just evidence.
The story isn't really about memory loss. It's about identity without memory. If you lose the narrative of who you were, what remains? Is love something you remember... or something you choose again? Michael doesn't "get fixed." He has to decide whether the man on the screen is someone he wants to become again. That choice matters more than recall. - Jeffery Reed