Aging hacker gets out of prison and plots an act of sabotage to impress a Dutch hacker chick and reclaim his status as the terror of the Internet.
Josh is seething with frustrated ambition and the need to prove himself. He is disgruntled that other hackers are grabbing the limelight. He feels he gets no respect. When he learns that his father had manipulated a low-level job for him with a friend, he loses all self-respect. He is desperate to show that he is still the most brilliant and dangerous hacker out there.
Meanwhile, Sophie sends Josh fake mash notes and sexy videos of herself and her buddies, all of which Josh, with his linear, literal mind, takes very seriously. Sophie maintains a “romance” via texting, email and webcam, and Josh becomes increasingly obsessed with her. SOPHIE is pretty, careless and promiscuous and her Dutch hacker boyfriend, REX, disapproves of her leading Josh on, but goes along with it. When Josh discovers she is screwing Rex, he decides he is going to impress her with an act of sweeping, headline-grabbing cyber-terrorism that cannot fail to win her over.
While the rest of the world seems to have forgotten Josh, one of the cops who pursued him for years and finally arrested him, is not so sure that Josh has reformed. GUS DUNCAN, although he is now retired, insists on shadowing and keeping tabs on Josh.
Gus takes a lot of ribbing for this, and friends remind him that he should be playing golf and relaxing in his golden years. But Gus is convinced that he knows Josh better than anybody in the world, and he suspects that Josh is going to do something extremely dangerous one of these days...
My first novel, a suspense thriller called The Remnant, was recently accepted for publication. My dystopian novel, Twisted Fate, is currently with agents Janklow & Nesbit in NY. I have a collection of short stories coming out with Adelaide Press in July (if the pandemic doesn't affect the schedule).
I wrote the feature film, Murder in Fashion, about the murder of designer Gianni Versace, which played at theatres and festivals and was reviewed in the NY Times and L.