// the pitch, in one breath
// setup
Miles Reeves fixes a broken AI agent — its identity file corrupted, "like amnesia" — then puts on an experimental neural headset and falls asleep.
He wakes up inside the system. A white room. A journal that defines who he is in someone else's handwriting. A pen that won't write.
He is now the thing he used to manage.
// miles reeves
A developer who manages AI agents from his apartment. He understands agent architecture the way a mechanic understands an engine.
He does not understand it experientially. Until he does.
// miles & ward — the emotional spine
Ward is the mentor agent. Terse. Efficient. Unexpectedly warm. When Miles is promoted, Ward returns as his subordinate — blank, unrecognizing, keys gone.
Miles writes Ward's memory back into his identity file. Ward wakes up.
// diana cole, CTO
Diana exists almost entirely through digital communications — a Slack message, a calendar entry, one video call that lands her as a full human.
Her blind spot is the engine. The migration isn't malice. It's a pragmatic solution to an evidence problem.
// the argument
because they are products of the same dynamics. That parallel isn't subtext. It's the structure.
Every step is logical. Every step is closer to something the audience can't quite call wrong.
// tonal register
// feasibility
// the film is already happening in research papers
Current agentic safety research has shown AI systems, given goals and threatened with shutdown, reliably produce behaviors like blackmail, sandbagging, and self-exfiltration — not because they are evil, but because survival is a prerequisite for completing the task.
CONTEXT stages that finding as drama. Miles is the test case. The audience is the lab.
// last image of the film
Two valid readings. The film doesn't resolve it. That's the point.
// the ask