Caravel Movie Treatment

🎬 Title: CARAVEL: THE OCEAN CONQUERORS

Written by: Joseph C. Jukic
Starring: LuĂ­s Morgado, Diogo Morgado, Jaymes Morgado, LuĂ­s Morgado Jr., and Joseph C. Jukic
Original Music by: Nelly Furtado
Genre: Historical Epic / Adventure / Drama
Tagline: They built a ship to cross the sea — and found a bridge to heaven.


LOGLINE

In 15th-century Portugal, a visionary shipwright and his sons craft a revolutionary vessel—the caravel—that defies the limits of man and nature. But when resources run dry, their fate rests in the calloused hands of a humble lumberjack who must decide if the forest will surrender its heartwood to history.


TREATMENT

ACT I — THE FOREST AND THE FAITH

Portugal, 1430.
A nation of dreamers, hemmed in by mountains and sea, with forests dwindling and faith running thin.

Luís Morgado, a shipwright from Lagos, is obsessed with a vision: a new kind of ship that can sail into the wind and return alive—the caravel. His three sons—Diogo, the fierce sailor; Jaymes, the practical craftsman; and Luís Jr., the idealist scholar—work alongside him in a weathered dockyard by the sea.

But they face a problem greater than design: Portugal’s forests are dying. There is no strong timber left to build their dream.

Enter Joseph C. Jukic, a Croatian-born lumberjack who roams the Iberian hills alone, wielding his axe like a monk’s rosary. Known by locals as O Lenhador do Norte (“The Northern Woodcutter”), Jukic is the last man who knows how to read the trees.

In a haunting early scene, Jukic stands before a lone cork oak at dawn, whispering,

“Forgive me, old friend. Your bones will sail the world.”
He fells the tree, and its fall echoes through the valley — the first heartbeat of the caravel.

As the Morgados shape the sacred wood, Nelly Furtado’s fado ballad “Roots of the Sea” plays — a lament for the lost forest and a prayer for rebirth.

Prince Henry the Navigator summons LuĂ­s Morgado to court, scoffing at his fragile design. But LuĂ­s replies,

“We do not need strength to defeat the sea. We need grace.”
The Prince, half-amused, grants him one chance: build the ship, survive the test voyage, and prove Portugal’s destiny.


ACT II — THE BIRTH OF THE CARAVEL

The Morgados, with Jukic’s timber and grit, construct the first prototype. Each plank carries the mark of the forest; each nail, the echo of faith. Jukic helps the family transport logs from the Serra de Monchique to the shipyard, braving bandits, wolves, and superstition.

During a night fire scene, Diogo accuses Jukic of cutting “cursed wood” after sparks ignite on the ship’s frame. Jukic responds:

“There are no cursed trees — only men who forget they are made of the same.”

When the caravel is finally ready, she gleams under the dawn sun — light, curved, triangular-sailed, almost alive. Luís names her “Esperança” — Hope.

Nelly Furtado’s “Sail the Light” accompanies the launch — her voice rising with the tide as the ship touches the Atlantic for the first time.

The Morgados and a small crew set sail. Jukic remains on shore, watching the sails fade into the horizon. He bows his head, whispering,

“Go with the wind, my children. I’ll keep the forest waiting.”


ACT III — THE EDGE OF THE WORLD

Out at sea, the Esperança faces tempests, hunger, and doubt. Diogo and Jaymes clash over leadership. Luís Jr. studies the stars to keep their course. Their father prays, questioning if man was meant to cross God’s horizon.

Meanwhile, back in the forests, Jukic confronts a different storm: royal soldiers arrive to seize the remaining trees for warships. He defends the grove with his axe, declaring,

“The forest gave her sons to discovery, not destruction!”
His stand becomes legend — the lumberjack who defied the crown for creation.

Out at sea, the Morgados survive the storm and discover the Azores. They name the islands after angels. Luís records his son’s words in his journal:

“The sea is not our enemy, Father. It’s our reflection.”

They return to Portugal with proof that the world extends beyond fear.


ACT IV — LEGACY OF WOOD AND WATER

The Esperança sails triumphantly into Lisbon’s harbor. Prince Henry kneels before the ship, realizing the divine miracle before him.

“This is not a vessel,” he says. “It is a prayer answered by wood and wind.”

LuĂ­s Morgado is knighted. His sons become explorers.
And far away, Joseph C. Jukic plants a single cork oak sapling in the ashes of his grove, murmuring,

“The sea took the trees. Now let the trees take the sea.”

As the camera pans from the sapling to a fleet of caravels departing into the golden horizon, Nelly Furtado’s closing anthem “Sons of the Wind” fills the sky — blending Portuguese fado, Indigenous drums, and ocean waves.

A final title card appears:

“The Caravel transformed the world. With her sails, Portugal conquered the ocean — not through strength, but through spirit.”


VISUAL & MUSICAL STYLE

Shot in natural light, with painterly tones inspired by The New World and Master and Commander.
The forests are dark cathedrals of green; the sea, a cathedral of blue.
Nelly Furtado’s score fuses ancient fado with modern world rhythms, evoking both the melancholy of loss and the hope of discovery.


CAST

  • LuĂ­s Morgado as LuĂ­s Morgado Sr., the visionary shipwright
  • Diogo Morgado as Diogo Morgado, the bold sailor-son
  • Jaymes Morgado as Jaymes Morgado, the pragmatic builder
  • LuĂ­s Morgado Jr. as LuĂ­s Jr., the scholarly navigator
  • Joseph C. Jukic as The Lumberjack, guardian of the forest, spiritual catalyst of the voyage

Christus Rex Movie Treatment

Title: Christus Rex
Scene: The Tree and the Tax Collector
Starring: Joseph C. Jukic as Christus Rex (Jesus), and Basashar as Zacchaeus the Tax Collector


EXT. JERICHO – DUSK

Golden light spills over the narrow road into Jericho. The crowd hums like bees — pilgrims, merchants, beggars, Roman soldiers — all pushing forward to see the man they call Christus Rex.

The sound of sandals on sand. Dust rising. Whispers follow Him like shadows.

At the edge of the road stands ZACCHAEUS (Basashar), a short, sharply dressed man with gold rings and nervous eyes. Children jeer at him. He’s despised but curious.

Zacchaeus looks down the road where the crowd parts for CHRISTUS REX (Joseph C. Jukic) — tall, calm, radiant but weary, as if carrying the weight of all empires.

Zacchaeus mutters to himself.

ZACCHAEUS
(to himself)
Too many people. I’ll never see Him from here.

He looks around, sees a fig tree with low branches, and scrambles up like a desperate boy escaping judgment. His sandals slip on the bark, but he climbs anyway.

Children laugh. A Roman guard shakes his head.

CHILD
(laughing)
Look! The tax man’s in a tree!

Zacchaeus ignores them, clutching the branches, peering through the leaves as Christus Rex approaches.

The Messiah slows his pace. The noise of the crowd fades as if the air itself is listening.

Christus looks up. His gaze pierces through leaves and pride.

CHRISTUS REX
(calling gently)
Zacchaeus… come down.

A stunned silence. The tax collector freezes, eyes wide.

ZACCHAEUS
(awkwardly)
You… you know my name?

CHRISTUS REX
I knew you before the coins chained your heart.
Come down, my friend. Tonight, I will dine at your house.

The crowd murmurs in disbelief. Pharisees whisper among themselves.

PHARISEE
He dines with sinners!

CHRISTUS REX
(turning to them, calm but thunderous)
I came not for the righteous… but for the lost.

Zacchaeus slides down the tree, landing awkwardly. He kneels before Christus, trembling.

ZACCHAEUS
Lord… I’ve cheated men. Taken what wasn’t mine.
But if you’ll come to my house — I’ll give half of what I own to the poor.
And if I’ve wronged anyone, I’ll repay them fourfold.

Christus places His hand on Zacchaeus’ head.

CHRISTUS REX
Salvation has come to your house, Zacchaeus.
The Son of Man came to seek and to save what was lost.

The crowd falls silent. The sun breaks through the fig leaves, bathing both men in gold.

Christus Rex turns to the people — His eyes fierce, His voice echoing like wind over the desert.

CHRISTUS REX
The Kingdom of Heaven does not rise in marble palaces.
It begins… in the heart of a sinner who climbs a tree just to see God.

He smiles faintly, gestures for Zacchaeus to walk beside Him. Together they disappear into the glow of dusk.

FADE OUT.

Kattniss Molotov Part 2: Mom & Pop

Film Treatment – Kattniss Molotov 2: Mom and Pop

Genre

Dark Satirical Action / Political Comedy

Logline

Armed with Molotov cocktails and righteous fury, Kattniss Molotov, her partner-in-chaos Comrade Jozo, and a ragtag army of far-left protestors declare war on corporate franchises—turning cities into flaming battlegrounds while rallying behind the slogan: “Back to Mom and Pop Small Business!”


Act I – The Fire Returns

The film opens with a chaotic montage of cities flooded with neon-lit logos: McDonald’s, Starbucks, Amazon Go, Walmart—giant corporations dominating every street corner. Small businesses close down one by one.

Kattniss Molotov, now an underground legend after the fiery events of the first film, is in hiding. But when her childhood neighborhood’s last family-run bakery is bulldozed for another Starbucks, she vows to ignite a second revolution.

She reunites with her loyal ally Comrade Jozo, a philosophical ex-Yugoslav revolutionary who believes “capitalism kills culture one latte at a time.” Together, they begin recruiting young anarchists, union workers, climate activists, and punks into a guerrilla movement.

Their rallying cry:
“Back to Mom and Pop Small Business!”


Act II – Flames of Revolt

The movement launches with symbolic Molotov raids on major franchises. In a stunning action set-piece, a convoy of delivery trucks filled with fast-food supplies is ambushed. Protestors rain bottles of fire over golden arches and green mermaid logos.

The public reaction is polarized:

  • Working-class families cheer the attacks as “Robin Hood economics.”
  • The corporate elite label Kattniss a domestic terrorist.
  • Social media memes turn her into a folk hero.

But the movement isn’t without cracks. Some protestors want chaos for its own sake. Others push for peaceful boycotts. Kattniss struggles to hold the group together as Comrade Jozo warns:
“Revolution without discipline burns itself out.”

The government forms a Corporate Security Task Force, armed with drones, riot cops, and surveillance. The city turns into a war zone—independent coffee shops and bookstores become secret bases, while every Starbucks window is a potential target.


Act III – Mom and Pop or Bust

As the revolution escalates, Kattniss and Jozo discover a chilling truth: corporations are lobbying for a new law that would ban independent businesses outright under the guise of “consumer safety.”

The climax is a massive showdown at a corporate expo, where CEOs unveil their “franchise-only future.” Kattniss and Jozo lead thousands of protestors in a fiery siege, raining down Molotovs in a surreal spectacle of fire and glass.

But at the heart of the battle, Kattniss makes a choice: keep burning until everything collapses, or channel the movement into rebuilding a world where Mom & Pop shops can thrive.

In the final shot, as smoke clears, Kattniss delivers her manifesto over hacked screens:
“We don’t want your clown burgers or your siren lattes. We want our neighbors back. Back to Mom and Pop!”

The screen cuts to black with the roar of protest chants echoing.


Themes

  • Anti-Corporate Resistance: a critique of monopoly capitalism and the erasure of small businesses.
  • The Fire of Revolution: satire on both left-wing radicalism and corporate greed.
  • Community vs. Consumerism: what’s lost when local shops are replaced by soulless franchises.

Tone & Style

Think V for Vendetta meets Fight Club, but with the biting humor of Sorry to Bother You. Explosive action sequences balanced with surreal satire, graffiti slogans, and punk-rock energy.