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A methodical killer spares the innocent but targets ruthless CEOs, while a corrupt
agent is forced to hunt him before more billionaires fall.
SYNOPSIS:
The C.E.O. Killer
Billions can't save your life.
First ActThe Kid, the Dog, and the Rock A boy, 9 or 10 years old, with a calm face and tender eyes that can suddenly turn empty and cold.
He finds a wounded puppy, a victim of abuse. The dog whimpers in pain. The boy stares at him with that frozen gaze, only to turn his eyes toward a rock—heavy, but small enough for him to carry. He picks it up.
Cut.
The same puppy now lies comfortably on a bed, bandaged and safe, asleep next to the boy, who watches cartoons—Coyote vs. Roadrunner.
Later, the boy follows a man holding a leash, angrily shouting threats about hurting the dog. The man hears barking, rushes to the sound, but finds only the boy and a recorder playing. He curses. Suddenly, a cord is pulled. Like a chain of dominos, it leads to the rock, which crashes down onto his skull, shattering it.
The boy stands still, watching the man die. For the first time, he smiles.
The dream ends when the nightmare begins.
The boy is older now, around 13. Returning from school, he finds his parents at home. They live comfortably, both working at a bank. Life seems normal, shared with his loyal dog.
But from his room, he hears them fighting. Both have lost their jobs, crushed by the bank’s ruthless CEO and his cost-cutting policies. Drowning in debt, they decide on a drastic escape: double suicide. They stage a carbon monoxide “accident” in the garage. But panic sets in—when they try to leave the car, the doors won’t open.
The boy arrives. His mother, half-conscious, sees him and believes they are saved. She signals desperately for him to open the door.
He does nothing. Just watches.
They suffocate. Minutes later, the boy leaves the house with his dog. Behind him, the garage explodes.
I'm just a
Years pass. The boy is now a young man, living in an apartment with his aging dog. He studies obsessively—biology, anatomy, chemistry, and software engineering. Charismatic, polite, he seems like a normal student. But his apartment hides workshops, computers, and blueprints. He has been preparing.
His target: the CEO who destroyed his parents’ lives.
He infiltrates the banker’s home. The torture begins. Terrified, the banker begs for forgiveness, donates his fortune, and confesses he isn’t the only one—there are more powerful men above him.
It doesn’t matter. The boy finishes what he came for.
Second ActThe Forbes List.
The boy is now a man. A wealthy man himself, having built a fortune through elite cyber-security systems for the ultra-rich. His modest lifestyle hides two truths: he funds his double life and fuels his killing spree.
For years, billionaires die one after another—always leaving behind “irreversible donations” to employees, charities, and the public. He is hunting the Forbes list.
No ideology, no politics. For him, this is simply justice—why prey on the defenseless, when he can take down the untouchable?
Mansions, jets, bunkers, yachts, submarines—there’s no safe place. His methods are brutal, precise, and unique. Long neural needles that trigger excruciating pain. Elaborate traps. Death is inevitable.
Don’t Worry, the CIA Will Protect the CEOs.
The media spins it as suicides, overdoses, and mass hysteria. But the impact is real—redistributed wealth, new opportunities, social shifts.
The surviving billionaires gather with world leaders they’ve funded. They demand protection. The U.S. government unleashes its top CIA agent, who assembles an elite team. Several times, they nearly catch the assassin. But he’s always one step ahead.
The hunt becomes a war.
Third ActWorkers Unite.
The killings spark global unrest. Strikes erupt. Workers demand that other billionaires give up their wealth. Governments grow authoritarian. Chaos spreads.
The assassin watches, surprised at the revolution his actions sparked. He accelerates, targeting the Top 5. He knows this will trigger a collapse.
The CIA agent closes in. He sets a flawless trap and captures him. But one of his own agents betrays him; she’s the daughter of a man saved by the assassin’s forced redistribution. She helps him escape, whispering that the world must know what he’s done.
She gives him a sense of humanity, something he had never experienced before—and never gave his victims.
Yet, on his way out, the assassin turns back. And kills the CIA agent.
The Five.
The last five billionaires retreat to a hyper-secure luxury resort, surrounded by mercenaries and reinforced walls. But safety is an illusion. The assassin dismantles their fortress not with weapons, but with truth. He leaks every crime, every scandal, every secret they buried.
The public turns. Even their loyal guards walk away. The billionaires, stripped of protection, flee in desperation to a hidden island bunker, believing they’ve outsmarted death one last time.
But waiting inside is the assassin.
One by one, he orchestrates their demise in a grotesque symphony—slow, methodical, intimate. To him, it is pure ecstasy, like a child let loose in a candy store. Their screams are not just revenge, but music.
When the last titan falls, silence follows. A silence louder than any explosion.
The World Looks Different Now.
Five years after the fall of the billionaires, the world has reshaped itself. Workers have seized industries. Nations are rebuilt under different rules. The air feels strange, charged, as if the planet itself has been rewired.
On a quiet coastal road, a young girl—no more than four years old—stares into a cardboard box. Inside, a trembling kitten. Her eyes linger on it, unblinking, curious in a way that feels too familiar.
A voice calls her. She turns.
The assassin walks toward the horizon, a box in one hand, his daughter’s small fingers wrapped in the other. His wife walks beside him. A family, ordinary and fragile.
But inside his chest, where humanity once flickered for a brief instant, there is only the same cold, consuming void.
The world looks different now. He does not.
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Intriguing concept. Will probably need to be written as a novel first.
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