Category: Screenplays

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Cell Phones in the Congo

MOVIE TREATMENT
Title: Cell Phones in the Congo
Genre: Political Action Drama / Humanitarian Thriller
Tagline: “The war behind your screen is about to go global.”
Starring: Joe Jukic, Nelly Furtado, Angelina Jolie, Kanye West
Based on true events—twisted by courage.

LOGLINE

Three rogue UN Peacekeepers—Joe Jukic, Nelly Furtado, and Angelina Jolie—defy orders and race against time to rally an African-led peacekeeping army, with Kanye West as their unpredictable commander, to stop the blood-mineral trade exploiting Congolese children and fueling the world’s cell phone addiction.

ACT ONE: THE FALLEN SIGNAL

Eastern Congo, near Bukavu – UN Peacekeepers Joe Jukic, Nelly Furtado, and Angelina Jolie operate a small, underfunded detachment meant to observe only. But when a drone captures footage of armed rebels forcing children into mineral mines, the team breaks protocol and intervenes, saving a small group of boys.

Instead of medals, they’re reprimanded. The UN command warns: “We’re peacekeepers, not saviors.”

Joe, a Croatian-Canadian ex-journalist turned peacekeeper, is furious. Nelly, who left her music career to fight for justice after visiting Congo with UNICEF, is emotionally devastated by the children’s trauma. Angelina, hardened from years of diplomatic failure, coldly declares:
“If the system won’t save them, we’ll build one that can.”

ACT TWO: A GENERAL WITH A BEAT

The trio sets off on a rogue mission to expose the dirty pipeline of coltan and cobalt—from the mines to the smartphone factories in Asia, to tech giants in Silicon Valley.

But to stop the flow, they need an army. Not mercenaries. Not more Western soldiers. Africa must protect Africa.

They turn to a controversial figure: Kanye West, recently gone dark after a political breakdown and spiritual retreat in Ghana. Joe finds him preaching to a crowd of youth in Dakar, dressed in a cloak, calling himself “Yēsū X”.

Kanye agrees—but only if the army is African-owned, tech-powered, and uncorrupted by the UN or IMF. He wants to livestream justice. “We don’t need donors. We need a revolution… and a signal.”

ACT THREE: OPERATION BLOODLINE

Kanye assembles a legion of Congolese volunteers, ex-child soldiers, Pan-African veterans, and hackers. Nelly composes a haunting anthem—“Echoes from the Mine”—that becomes the soundtrack of resistance. Angelina uses her old contacts to smuggle in medical aid and solar-powered comms. Joe gathers whistleblowers inside tech companies willing to go public.

The enemy is powerful:

  • Multinational companies
  • Corrupt militia generals
  • A private Western PMC guarding the biggest mine, Operation Vulcan, where thousands of children dig in darkness.

The climactic battle takes place deep in the jungle, where Kanye’s legion, backed by grassroots activists, drone swarms, and guerrilla comms, storms the compound. Children are freed. Data is dumped to the world in real time.

As bullets fly and signals rise, a voice echoes over speakers:
“You wanted cheap phones. This is the real cost.”

EPILOGUE: A NEW PROTOCOL

The UN is forced to act. The Congo Child Labor Ban Treaty is signed. African Peacekeeping Forces are permanently established with full autonomy.

Joe returns to writing, penning a memoir: “Blood in the Circuit.”
Nelly opens schools throughout Central Africa, funded by her comeback world tour.
Angelina trains new peacekeepers for the African Union.
Kanye disappears—rumored to be building a solar-powered city-state in Senegal.

TONE & STYLE

Cell Phones in the Congo is a gritty, cinematic exposé with raw realism and mythic rebellion. Inspired by Black Hawk Down, Beasts of No Nation, and The Battle of Algiers, with a modern digital war overlay—where live feeds, viral music, and hacked satellites shape global conscience.

DIRECTED BY

Denis Villeneuve or Kathryn Bigelow

SCORE BY
Hans Zimmer x Burna Boy x Kanye West remixing Billy Joel’s “We didn’t start the fire”.

PRODUCED BY
Participant Media, Plan B, and Netflix Africa

RATING: R (intense thematic content, war violence, child endangerment)

“Cell Phones in the Congo”
You hold the war in your hand. Now watch them fight to stop it.

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1901 The Movie: Tower Power

Title: 1901
Genre: Historical Drama / Tech Thriller
Starring:

  • Goran Visnjic as Nikola Tesla
  • Tom Cruise as Thomas Edison
  • Anthony Hopkins as J.P. Morgan

TREATMENT:

LOGLINE:
In the dawn of the 20th century, as the world braces for a new era of electricity, innovation, and empire, visionary inventor Nikola Tesla battles powerful rival Thomas Edison and financier J.P. Morgan in a high-stakes war of technology, control, and legacy.

ACT I – THE CURRENT WAR

The film opens in New York City, 1901, amidst the clanging steel and electric hum of a rapidly industrializing world. Serbian-born genius Nikola Tesla (Goran Visnjic) is isolated, eccentric, and destitute — living in a hotel room with pigeons and unfinished blueprints. Flashbacks show his rise: the immigrant prodigy who once lit up the Chicago World’s Fair, now a forgotten man.

Meanwhile, Thomas Edison (Tom Cruise) is in his prime — rich, famous, and ruthless. He’s using Direct Current (DC) to power cities, even as Tesla’s Alternating Current (AC) system proves superior. Yet Edison refuses to yield, launching public smear campaigns and electrocutions of animals to sway opinion.

Enter J.P. Morgan (Anthony Hopkins) — the titanic banker and industrialist. Cold, cunning, and with a towering presence, Morgan finances Tesla’s early innovations, only to turn on him when Tesla proposes free wireless energy from his Wardenclyffe Tower. Morgan scoffs: “If anyone can draw power from the air, where do we put the meter?”

ACT II – WARDENCLYFFE AND THE WIRELESS DREAM

Tesla races to complete his Wardenclyffe facility on Long Island — a futuristic tower meant to transmit energy and information across the globe. He dreams of a world with no borders, no wires, and no war. Goran Visnjic brings emotional depth to Tesla’s quiet madness and genius.

Edison and Morgan, threatened by this utopian vision, ally to sabotage Tesla. A secret committee of industrialists calls Tesla’s project “the greatest threat to capitalism.” Newspapers publish stories of Tesla as a dangerous madman.

Tesla’s experiments grow stranger: death rays, earthquake machines, and cryptic claims of signals from Mars. He is either on the brink of world-shaping discovery — or insanity.

ACT III – THE COLLAPSE AND THE LEGACY

Morgan pulls funding. Edison secures government contracts. The tower is dismantled. Tesla is evicted from his lab and reduced to speaking at clubs about “vibrational frequencies” and “invisible waves.” He feeds pigeons, ignored by the world he helped create.

But something remains. In a secret final experiment, Tesla transmits a brief pulse of power across the Atlantic — lighting a bulb in Morocco. The scene is mythic, near-spiritual. He smiles. He’s proven it can be done.

The final scenes flash-forward to the 21st century — wireless tech, drones, satellites, clean energy — Tesla’s dreams made real. A child opens a physics textbook. The name “Tesla” is on the cover.

FINAL IMAGE:

A long shot of the Eiffel Tower, lit at night. Lightning strikes. Somewhere, unseen, the current still flows.

Tone & Style:

A blend of The Prestige, There Will Be Blood, and Oppenheimer. Real science. Real rivalry. Real madness. Moody cinematography, dark Tesla coil visuals, and industrial-age dread. The moral question: who owns the future — visionaries, businessmen, or no one?

Tagline:
“He lit the world… but couldn’t pay his own light bill.”

Let me know if you’d like a poster, screenplay pages, or dialogue samples.

FINAL SCENE: 1901 – Epilogue

INT. DARKENED HOTEL ROOM – NEW YORK CITY – NIGHT

Nikola Tesla (Goran Visnjic), gaunt and alone, stares at the last of his pigeons out the window. On the desk, blueprints of machines decades ahead of their time — wireless energy, antigravity ships, particle beams — scatter like abandoned dreams.

A single bulb flickers above. Then dies.

Tesla closes his eyes.

TESLA (V.O.)
The present is theirs. The future, for which I really worked, is mine.

A deep rumble builds…

EXT. PARIS – NIGHT – 2025

The Eiffel Tower stands glowing in the distance, but a storm is brewing overhead.

Suddenly — a bolt of lightning crashes into the top of the tower.

The entire skyline of Paris surges with electricity — a city powered by Tesla’s forgotten vision.

Standing at the base of the Eiffel Tower, smiling in awe, are:

  • Joe Jukic, in a black leather jacket
  • Nelly Furtado, in a futuristic emerald dress
  • Justin Trudeau, in a navy blue suit
  • Katy Perry, radiant in a velvet gown
  • Emmanuel Macron, proud, and
  • Brigitte Macron, elegant and calm

They look up as the tower surges with power — not just electricity, but hope.

In this moment, the world realizes Tesla’s dream wasn’t madness — it was prophecy.

A caption fades in:

“Dedicated to Nikola Tesla — the man who saw the future.”

CLOSING CREDITS

As the credits roll, the soundtrack features an original song by Nelly Furtado and Joe Jukic called “Lightning for the People” — a blend of classical strings, pulsing synths, and poetic lyrics about free energy, stolen dreams, and a future reclaimed.

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Bismarck

This is the theme music of a naval battle movie script i am writing. Holst – The Planets (Mars) God of war.

Title: Battleship Bismarck

Genre: Historical Drama / War
Tagline: “The sea has its legends, and Bismarck was its titan.”

Opening Scene

(May 18, 1941 – Kiel, Germany)
The scene opens with the mighty battleship Bismarck being prepared for her maiden voyage. Crew members hustle aboard, their faces a mix of pride and determination. Admiral Günther Lütjens stands on the bridge, gazing out as dock workers cheer.

ADMIRAL LÜTJENS (stoic): “Today, the Reich unveils its vengeance upon the seas.”

Bismarck sails under the cover of night, joined by the cruiser Prinz Eugen.

Act 1: The Hunt Begins

(May 21, 1941 – Bergen, Norway)
After refueling, the Bismarck and Prinz Eugen enter the North Atlantic. British intelligence intercepts reports of their movement.

Cut to Admiral John Tovey in a British naval command room:
TOVEY (firm): “We cannot let this monster run free. All ships are to intercept—no exceptions.”

HMS Hood and HMS Prince of Wales are dispatched to intercept Bismarck, setting the stage for confrontation.

Act 2: The Battle of Denmark Strait

(May 24, 1941)
Bismarck encounters Hood and Prince of Wales. The battle is ferocious, with fire raining down on all sides. The crew aboard the Bismarck cheers as a direct hit detonates Hood’s magazine, splitting her in two.

CAPTAIN ERNST LINDENMANN (shocked but resolute): “One battle, one victory. But the war is far from over.”

Prince of Wales escapes under heavy damage. Admiral Lütjens orders Bismarck to head toward France for repairs. However, a critical fuel tank has been damaged during the fight.

Act 3: The Chase

British ships and planes relentlessly pursue Bismarck. Scenes of the crew working tirelessly to keep the ship afloat are intercut with British forces coordinating attacks.

ADMIRAL LÜTJENS (to the crew): “We may not return, but we will be remembered. Stand your ground!”

A dramatic airstrike by British Swordfish torpedo bombers cripples Bismarck’s rudder. With her steering compromised, she is forced to circle in the Atlantic.

Act 4: The Final Battle

(May 27, 1941)
The Royal Navy surrounds Bismarck. HMS King George V and HMS Rodney unleash their firepower. Bismarck’s crew fights valiantly, but the onslaught is overwhelming.

CAPTAIN LINDENMANN (to the crew): “Scuttle the ship. She will not fall intact into enemy hands.”

The Bismarck sinks into the depths. Survivors cling to debris, watching as British ships approach. Admiral Lütjens is seen saluting as the water engulfs him.

Closing Scene

(Flashforward – 1989)
The wreck of the Bismarck is discovered on the ocean floor. A deep-sea submersible explores the remains.

DR. ROBERT BALLARD (voiceover): “Bismarck’s legacy is a reminder of the human cost of war—a story of courage, hubris, and tragedy.”

The camera pans across the wreckage, fading into archival footage of the battleship in her prime. The screen fades to black with the words:
“Dedicated to the men on both sides who fought and died in the Atlantic War.”

END CREDITS roll over somber orchestral music.