
He flipped for the FBI.
Then he turned the wire on them.
A fast, nasty, funny true-crime thriller about an offshore brokerage hustler who becomes the FBI's inside man on Wall Street — until prosecutors try to make him plead and he weaponizes the very recordings they taught him to make.
Who is
using whom?

The story world already has the elements producers look for.






The reporting, the court record, the on-camera persona — all of it is already out there. We are not inventing a subject; we are dramatising one the press has been circling for years.

This is the actual frame — pulled from his own office cameras — of the meeting that turned the whole story. Guy on one side of the desk, two FBI agents on the other, the Atlantic glinting out the window behind them.
Every scene that follows — the wire, the diner, the courtroom reversal — starts in this room.
Nassau penthouse. SureTrader empire. Private jet on call. The boat, the club table, the bottle service. A Miss Universe contestant girlfriend. A Playmate ex. A rotating model entourage that knows him by first name at every door. The informant work happens inside this life — that contradiction is what the camera lives on.





Real headline. Real Mercedes. Real pool. He's barefoot in the photo. The kind of detail you cannot write — and the kind a trailer ends on.
The lifestyle isn't decoration. It's the cover story.

Working-class kid. Day-trader. Offshore broker. Wannabe lawman. FBI cooperator. Defendant. Bahamas playboy running SureTrader from a Nassau penthouse — Miss Universe contestant on one arm, Playmate ex on the other, Page Six on speed dial — with a recorder in his pocket and a grievance that never shuts off.
The audience never fully trusts him. That is the point.
The story is a pressure system. Informant, handlers, prosecutors, targets and the tapes all pulling in different directions.
The drama is not whodunit.
It is who is using whom.



The procedural becomes personal. Each sting forces the audience to ask whether Guy is exposing crime or manufacturing it.
By the end, the informant is investigating the investigators.








No invented spectacle required. The truth is cinematic.
The movie should move like a caper and land like a betrayal.
Not a biopic. A pressure-cooker antihero thriller.
Post-FTX, post-Madoff, post-GameStop — viewers have been trained to want financial villains who break the fourth wall. This is that movie, with a built-in second act no one sees coming.
The provided 2019 letter shows an extended option period running from June 15, 2019 through December 15, 2020. Current rights status, renewals, article rights, photos, audio and life-story clearances should be confirmed before producers rely on the package.
Production company, financier and writer-director conversations to develop the screenplay, verify chain-of-title and attach talent.
30-minute creative call + rights/materials review.