Film & TV Scripts
Along with my writing team, I write stories for screen that span cult thrillers, chaotic comedies, grounded dramas, and everything in between.
Some are in development. One’s been optioned. All of them reflect my obsession with telling bold, unforgettable stories that stay with you long after the credits roll.
A sitcom about one man’s obsession with winning a meaningless trophy - no matter what he has to do to win it. Think The Office with learner plates.
Ben Johnson, the overconfident head of “Braking Bad School of Motoring,” has a dream: to win The Golden Gearstick at the prestigious Driving School Awards. Unfortunately, he has no clue how to actually run a driving school.
His crack team of instructors includes:
• Johnny Johnson, Ben’s 40-year-old son who thinks he’s “down with the kids.” He’d rather become the students’ best mate than actually teach them to drive.
• Paul Johnson, the other son - a 30-something dullard who genuinely wants to help people learn. Sick of the chaos, Paul eventually jumps ship and launches his own rival school, Better Call Paul, to take on his family for The Golden Gearstick.
• Dishan Patel, a former Mumbai cab driver who entered the UK with forged immigration papers and a fake driving licence. He doesn’t know the rules of British roads - he just makes them up as he goes.
• Mary Edwards, a sweet-looking geriatric with a dark secret. She uses her lessons to disguise her drug empire, having students unknowingly chauffeur her between drug drops in exchange for glowing five-star reviews.
Everything is on track after a shady deal is made with the local testers, but when a student is left comatose after just one lesson, Braking Bad finds itself under investigation - and Ben’s delusional empire begins to crumble.
Braking Bad is a fast-paced, character-driven sitcom about ambition, delusion, and what happens when the blind lead the blind... straight into an oncoming car.
Six episodes of series One written. You can request the pilot below.
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Millie Banks is a 30-something customer support worker at MeetCute - a struggling dating app with questionable ethics, shady leadership, and a rapidly declining user base.
Still single, still living at home, and still enduring unsolicited relationship advice from her sex-mad parents, Millie is painfully aware she’s falling behind in life. So, in a moment of desperation, she throws herself back into the dating pool.
Unfortunately for Millie, the pool is toxic... and she's forgotten how to swim.
• Eddie – Millie’s sharp-tongued gay best friend and fellow MeetCute co-worker. Addicted to Grindr and always on his way to or from a date, Eddie gives great advice and never takes his own.
• Ashanti – The other best friend. Bold, beautiful, and borderline addicted to chaos. She claims to want love, but will absolutely settle for a very complicated situationship.
• David & Brenda – Millie’s parents. Loud, proud, and still very much in love - with each other and their sex life. They share everything... everything. Millie has heard things no daughter should ever hear.
• Mitchell – Millie’s boss at MeetCute. Inappropriate, manipulative, and deluded. He’s convinced Millie secretly wants him, despite constant rejections. He bugs her phone, reads her emails, and even has the MeetCute algorithm rigged so his face is the only one that shows up on her feed.
As the lines between her personal and professional lives begin to blur, Millie is forced to confront not just the horrors of modern dating - but the even darker truth: maybe she’s the common denominator.
MeetCute is a female-led anti-romcom that blends Fleabag-level awkwardness with the cringe-inducing chaos of The Office. It’s messy, modern, and painfully relatable.
Six episodes of series one written. You can request the pilot below.
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When a trigger-happy American cop causes one scandal too many in Chicago, the department decides to solve the problem by exporting it. Jackson "Dollar" Turner is relocated to the quiet streets of Colchester, England - a place so uneventful, the most serious crime on record is a fight over who makes the best sausage roll.
But Dollar isn’t going quietly.
Partnered with mild-mannered Brit Jason “Fanta” Robinson, the pair quickly become Colchester’s most notorious duo - blowing up sheds, ruining undercover stings, and turning parking violations into hostage situations. Together, they form a chaotic, dysfunctional, and oddly charming crime-fighting team that the town didn’t ask for… and definitely doesn’t want.
When a local drug gang rises up, Fanta & Dollar are tasked with taking them down - though their methods are so unconventional, they may just cause more harm than the criminals. And that’s before you meet the rest of the team at Colchester PD who are equally dysfunctional and downright useless.
• Jackson "Dollar" Turner – A loud, aggressive, all-American cowboy cop who’s used to solving problems with violence and shouting. He refuses to adapt to the slower pace of Colchester, regularly accuses roundabouts of being “unconstitutional,” and never turns down a chance to draw his gun… even if it’s just to get a seagull off his car.
• Jason “Fanta” Robinson – A quiet, well-meaning local detective with anxiety, a gluten intolerance, and a belief that a warning is better than an arrest. He wanted a peaceful job in a sleepy town - and instead got Dollar, stress ulcers, and two counts of arson on his record.
Fanta & Dollar is a British-American buddy cop comedy about overreach, under-training, and the chaos that ensues when international policing meets small-town life.
Think Brooklyn Nine-Nine meets Hot Fuzz, with a touch of Reno 911 and a whole lot of property damage.
Episode 1 & 2 written. Pilot script available via the button below.
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Every summer, three families head to Paradise Park - a rundown caravan site clinging to the Essex coast near Clacton. They’ve each owned a van there for five years, and no matter the weather or how questionable the facilities, it’s now a fixed part of their calendar.
The entertainment’s ropey, the pool’s been “under refurbishment” since 2019, and rumour has it the on-site chip shop isn’t legally allowed to serve food. But none of that matters. What Paradise Park lacks in standards, it makes up for in loyalty, laughs, and the shared belief that this is our thing.
At the heart of the show: three caravans. Three families. One chaotic week of British holiday hell.
• The Coopers - Loud, loyal, and a little bit lawless. David and Shelly are barely holding it together, their kids are either sulking or feral, and David’s elderly parents are somehow both deaf and able to hear every row in a ten-mile radius.
• The Parkers - Roy’s David’s best mate and a walking cliché of the British holiday dad: sunburned, drunk by noon, and obsessed with group photos. His wife Heather complains about everything - especially the things she secretly loves.
• The Blacks - Theo and Florence seem more respectable… until you get to karaoke night. Their teenage son Caleb loiters near the arcade and avoids all eye contact. Florence likes to act above it all - until the rosé kicks in.
And then there’s Wayne Kerr, the park’s useless handyman who’s somehow never fixed a thing in his life. He lives in a static van that smells of petrol and Lynx Africa, and once claimed he was next in line to manage the park (he’s not).
Each episode follows a new misadventure - from gazebo collapses and bingo bust-ups to food poisoning, turf wars, and the eternal hunt for decent Wi-Fi.
Paradise Park is a warm, nostalgic British sitcom about bad weather, worse accommodation, and the kind of lifelong friendships that only happen when you survive a holiday together. Think Benidorm meets Gavin & Stacey.
Pilot written and available upon request.
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The year is 2048. London lies in ruins after World War III, and all that remains between what’s left of civilisation and total collapse is a drink and drug-addicted, emotionally unstable porn star with superpowers - and the worst PR team in history.
Meet Pornoman - a foul-mouthed, grief-stricken anti-hero barely clinging to relevance, sobriety, or sanity. His powers are unpredictable. His leadership skills are non-existent. His suit is tight in all the wrong places.
He leads an unruly, deeply dysfunctional crew of superpowered outcasts known (unfortunately) as H.E.R.P.E.S:
Heroes Eradicating Radical Perpetrators of Earth Society.
Together, they bicker, brawl, and try not to kill each other as they face off against a growing wave of global threats - including time travellers, cults, alien races, and even Jesus Christ himself (rebranded as Jihadi Jesus) as he launches a new ISIS-style uprising against the Western world.
Lurking behind it all is a secretive organisation known as D.A.B, a shadowy syndicate tied to every crisis they encounter - and potentially to Pornoman’s own tragic past.
Because beneath the carnage, cocaine, and catastrophic leadership is a struggling man, still fighting the trauma he won’t talk about, and still pretending he’s the hero the world needs - when he can barely save himself.
Through blood-soaked battles, sex scandals, televised breakdowns, and media spin, Pornoman holds a mirror up to grief, masculinity, celebrity, and the idea that sometimes the person least qualified to lead… is the one left standing.
Pornoman is a brutally funny, aggressively inappropriate superhero satire. It’s messy, tragic, and unfiltered - equal parts dark comedy, high-stakes action, and psychological meltdown. Think The Boys meets Deadpool via Rick & Morty - only worse behaved.
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Zumans is a darkly satirical adult animated anthology set in a world where humans and animals have switched places.
In this alternate reality, the rules have flipped:
Humans are hunted for sport. Adopted from shelters. Tested on in labs. Paraded through zoos. Paraded in handbags. Raced for money. Killed for fashion.
Meanwhile, animals run society - driving cars, holding office, watching human fight clubs on TV, and complaining about traffic caused by stray toddlers.
Each short-form episode (10–15 minutes) explores a different corner of this twisted world. Whether it's a human child being auctioned to designer greyhounds, a meat industry exposé with cows as the factory owners, or a war crime trial where a chimp defends itself in court using TikTok views as evidence - every story holds a funhouse mirror up to our own society.
Some episodes are bleak. Others are absurdly funny.
All of them are uncomfortably close to home.
Each story takes a real-world human-animal dynamic and flips it on its head. From humans being paraded through zoos, hunted for sport, or adopted from shelters, to being force-fed in meat farms and stitched into high-end fashion - Zumans makes every episode a direct role-reversal. The result is a biting, uncomfortable satire that turns familiar systems into nightmare logic - only it’s not logic that’s changed, it’s who’s on the leash.
Designed to be bingeable and brutal, Zumans invites the audience to laugh, squirm, and reflect—all in under a quarter of an hour.
Zumans holds up a mirror to human cruelty, consumerism, and systemic hypocrisy—by turning the tables in the most brutal way possible. Think Black Mirror meets Sausage Party, with the bite of BoJack Horseman and the anthology edge of Love, Death + Robots.
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The Last Human is a psychologically tense dystopian drama set in a near-future where reality TV has become the final form of human entertainment. One man believes he’s humanity’s last hope. In reality, he’s just the centrepiece of a global social experiment.
Thomas wakes from cryosleep aboard the SS Suffragium - alone, orbiting a frozen Earth. He’s told the planet is dead, that he’s humanity’s last surviving male, and that his mission is to fertilise the final viable egg with the help of his robotic companion, Molly.
But the truth is far darker.
Thomas isn’t in space. Earth isn’t frozen. And humanity is very much alive - watching from the comfort of their sofas as Thomas is psychologically broken on a soundstage designed to mimic a ship. The entire “mission” is the most-watched reality show in the world, with global audiences voting on which stress, moral test, or physical hardship he’ll face next.
He signed up for it - willingly. The prize was a miracle treatment for his terminally ill daughter. But now, sealed in a controlled environment with no idea what’s real, Thomas has become a product. A storyline. A cautionary tale we can’t stop watching.
What begins as a mission for survival slowly mutates into something darker: a dissection of how far a society will go when pain becomes entertainment. Every ethical line has already been crossed - and Thomas, unknowingly, is walking what’s left of it. The audience isn’t just watching. They’re complicit. And the longer the show goes on, the more the question shifts from will he survive? to do we even want him to?
In the end, it’s not just about survival.
It’s about what we’re willing to watch someone endure and call it entertainment.
The Last Human is a claustrophobic, single-location sci-fi drama about manipulation, morality, and media’s final frontier. Think Moon meets The Truman Show, filtered through the bleak voyeurism of Black Mirror.
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Set in the shadows of rural South West England, The Apostles is a slow-burning psychological thriller about a secluded spiritual community convinced they’ve been chosen to rebuild the nation - one act of “cleansing” at a time.
Founded by ex-soldier Adam and the elusive Grace, The Apostles live in a remote commune known as Serenity. To outsiders, they’re a radicalised cult. To themselves, they’re the resistance - fighting back against the political elite and societal rot they call the Silver Spoon Sadists.
The Apostles don’t see themselves as extremists. They believe they’re healers. What they do, they do for the good of the nation - even if it means sabotage, violence, or death. Their mission is clear: tear down the system, erase the poison, and rebuild something pure. Whatever the cost.
The story is told from two perspectives: the Apostles within Serenity, and the detectives closing in from the outside. But the lines between right and wrong quickly blur, forcing the audience to face an uncomfortable truth: do we root for the system… or the people finally breaking it?
As tensions rise and new enemies emerge from within, loyalty fractures. Flashbacks reveal the complex pasts of Adam, Grace, and their most devoted followers. And with every brutal act, the question grows louder: are these people liberators… or monsters?
As the series unfolds across multiple seasons, power struggles erupt, new ideologies are born, and old allegiances are shattered. What begins as a movement to purge corruption becomes a tragic study of control, ego, and the violence that hides beneath good intentions.
The Apostles is a chilling, grounded thriller about faith, delusion, and the cost of conviction. Think Midsommar meets True Detective.
All 6 episodes of series one written. Pilot available via the button below.
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How To Train The Dead is a heartfelt, high-concept dramedy about unfinished business, unexpected friendships, and finding peace in the afterlife… eventually.
When Ollie, a painfully dull, 40-year-old office worker, dies in a freak car accident en route to what he thinks is the birth of his baby boy, he wakes up to find he’s dead, confused, and stuck in limbo. That’s when he meets Cara, a sharp-tongued ghost tasked with training him in the art of being dead.
Under Cara’s begrudging mentorship, Ollie learns how to haunt, how to let go, and how to finally start living. Along the way, he discovers the truth about his family, his purpose, and the beautiful mess he left behind.
As ghostly hijinks ensue, so does a deeper journey of grief, love, and letting go, because sometimes it takes dying to realise what really matters.
I wrote How To Train The Dead as a way to process grief after losing my granddad in 2011. He was warm, hilarious, and a serial prankster—so imagining him playfully haunting the living was the only thing that made the pain feel lighter. That playful thought became a question: what if ghosts had to be trained? That question became a story. And when I later lost both my grandmothers within months of each other, the film became something more: a tribute. I submitted it to BAFTA Rocliffe, then the Academy Nicholl, and the feedback changed everything. When I finally shared that feedback publicly, the script was optioned.
At its heart, this film is about grief, love, and second chances - the ones we wish we had, and the ones we never expected. It's funny, tender, and a little bit strange. Just like the people it's inspired by.
How To Train The Dead is a soul-searching comedy with a ghostly twist. Think The Good Place with the emotional heart of After Life.
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