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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.

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THE BRUCE BROTHERS

Film Treatment: THE BRUCE BROTHERS

Logline: The brutal fight for Scottish independence fractures the bond between the brilliant but pragmatic King Robert the Bruce and his fiercely loyal but increasingly unhinged younger brother, Edward, forcing them to confront whether the ends of freedom can ever justify their monstrous means.

Tone: A gritty, visceral, and psychological historical drama in the vein of The Outlaw King and The King, focusing on the complex cost of leadership and the corrosive nature of war on family.

Characters:

  • ROBERT THE BRUCE (CHRIS ARMSTRONG): In his 40s. The King of Scots. A strategic genius and a natural leader, but weighed down by the immense moral and political burden of kingship. He is pragmatic to a fault, often making cold calculations for the greater good. His goal is a stable, independent Scotland, but the path to it is staining his soul.
  • EDWARD BRUCE (JOE JUKIC): Late 20s/Early 30s. Robert’s younger brother. A formidable, fearless, and terrifyingly effective warrior. His loyalty to Robert and the cause is absolute, but it is fueled by a deep-seated rage and a thirst for glory that borders on the berserk. He is the unleashed id to Robert’s calculating ego.
  • ELIZABETH DE BURGH (to be cast): Robert’s wife. His emotional anchor and moral compass. Her captivity by the English is a constant source of pain and strategic weakness for Robert.
  • SIR JAMES DOUGLAS (to be cast): The “Black Douglas.” A loyal lieutenant to Robert. He shares Edward’s ferocity in battle but channels it with more control, serving as a contrast to Edward’s descent.
  • AYMER DE VALENCE (to be cast): The ruthless English commander, representing the relentless pressure of the opposition.

SYNOPSIS

ACT I: THE FRACTURED CROWN

Opening: 1306. The aftermath of Methven. Robert’s army is shattered, his family and allies captured or killed. He and a handful of survivors, including a bloodied but defiant Edward, flee into the wilderness. This is not a glorious beginning but a desperate, humiliating scramble for survival. We see the core dynamic: Robert is already thinking three moves ahead, despairing at the cost. Edward sees only the insult and burns for immediate, brutal retaliation.

As Robert rebuilds his campaign through guerrilla tactics (showing the famous spider scene not as inspiration, but as a moment of grim perseverance), Edward is his most effective weapon. He takes castles with audacious, reckless assaults that Robert’s more cautious commanders would never attempt. Edward’s bravery is legendary, but Robert begins to see the warning signs: a relish for violence that goes beyond necessity, a contempt for prisoners, a belief that fear is the only true currency.

The central conflict is established: Robert needs to win the peace, to be a king who can rule. Edward only knows how to win the war.

ACT II: THE HAMMER AND THE ANVIL

  1. The stunning victory at Bannockburn is the brothers’ apex. Robert’s masterful strategy sets the trap, and Edward’s ferocious command of a schiltron or the cavalry charge is the hammer that breaks the English army. They are heroes, united in triumph. Scotland is, for the moment, free.

But victory exposes their rift. Robert, now a true king, must court diplomacy. He seeks recognition from the Pope and a lasting treaty with England. Edward sees this as weakness. To him, the enemy is humiliated but not destroyed. He argues for invading England itself, for carving out a kingdom of fire and blood.

Frustrated and sidelined by Robert’s politics, Edward’s violent impulses find a new outlet. He leads punitive raids into England that are so savage—massacring civilians, burning crops to the bedrock—that they become counterproductive, hardening English resistance and embarrassing Robert’s attempts to appear a legitimate sovereign. Their arguments become explosive. Robert is trying to build a nation; Edward is only interested in destroying an enemy.

ACT III: A KINGDOM OF ASH

  1. To channel Edward’s destructive energy away from undermining his diplomacy, Robert makes a fateful decision. He supports Edward’s ambition to open a second front by invading Ireland, to forge a Gaelic alliance and squeeze the English from the west. Robert gives his brother an army and a title: High King of Ireland.

At first, it works. Edward is in his element: conquest. He wins stunning victories against overwhelming odds. But his rule is one of terror. He alienates the very Irish allies he was sent to secure through his brutality and arrogance. Reports filter back to Robert of massacres and impaled bodies lining the roads. Robert is horrified, but he is too far away and too busy securing his own borders to intervene effectively. He is complicit.

The film culminates in the Battle of Faughart (1318). Edward, outnumbered and refusing to wait for reinforcements, charges headlong into the English/Irish army. It’s not a tactical decision; it’s a suicidal act of hubris. He is killed, his body hacked to pieces.

Final Scene: Robert receives the news. There is no grand eulogy. The silence in his council chamber is deafening. He looks not like a king who has lost a troublesome general, but like a brother who has lost his other half—the brutal, monstrous, but undeniably loyal part of himself that he first unleashed and then failed to control. He won his kingdom, but the cost is etched permanently on his face. The final shot is of Robert alone on a cliff, staring out at the sea towards Ireland, the weight of his crown, and his grief, finally and utterly crushing.

KEY THEMES

  • The Duality of Freedom: Is freedom won through statesmanship or savagery? The film argues it requires both, and that the latter inevitably corrupts the former.
  • Fraternal Bond vs. National Duty: The intense love and rivalry between brothers, and the tragedy when one’s duty to a nation requires the sacrifice of his brother’s soul and life.
  • The Cost of Kingship: Robert’s arc is about the terrible loneliness of leadership and the morally compromising decisions required to build something lasting.

VISUAL STYLE

  • Gritty and Naturalistic: No polished armour. Mud, blood, rain, and the harsh beauty of the Scottish and Irish landscapes.
  • Intimate Battle Choreography: Focus on the chaotic, personal, and terrifying nature of medieval combat. The camera stays close to Robert and Edward, contrasting Robert’s tactical awareness with Edward’s brutal, efficient killing.
  • Contrasting Palettes: Scotland is all muted greens, greys, and browns. The Irish campaign is shot with a bleaker, more desaturated palette, reflecting the doomed nature of the enterprise.
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Operation Storm

MOVIE TITLE: OPERATION STORM
Written by: Joseph C. Jukic
Starring: Mike Jukic, Bruno Jukic, Joe Jukic

GENRE: Techno-thriller / Conspiracy Drama / Historical Sci-fi
TONE: Dark, intellectual, triumphant
SETTING: Post-War Croatia, 1995–1996, with scenes in Yale University, Vatican archives, and underground bunkers

NEW LOGLINE:

Three Canadian brothers of Croatian descent—Mike, Bruno, and Joe Jukic—return to their ancestral homeland after Operation Storm, only to uncover a sinister truth: the endless Balkan wars were engineered by the Skull and Bones secret society as part of an ancient “divide and conquer” campaign inherited from the Roman Empire. Armed with laptops, folklore, and a deep sense of justice, the brothers launch a revolutionary psyops campaign to crash the Skull’s imperial agenda and bring lasting unity to the Balkans.

TREATMENT:

ACT I: SHADOWS AFTER THE STORM

August 1995. Croatia celebrates its dramatic victory in Operation Oluja (Storm), a sweeping military offensive that reclaimed territory and forced the end of the Serbian occupation.

Into this chaos return Mike, a Canadian Forces veteran and amateur historian, Bruno, a cryptographer with a fascination for ancient codes, and Joe, a rebellious hacker-activist with a sense that “something deeper” is happening.

They find their homeland wounded—not just physically, but spiritually. Ethnic tension still festers. Propaganda runs wild. NATO troops keep watch, but the people feel more like subjects than survivors.

Then, in a monastery’s ruins near Knin, Bruno finds something buried in the stone—a scroll in Latin. It’s a lost Vatican document that speaks of a Balkan prophecy—that whoever controls the Balkans, controls the future of global empires. The scroll ends with a chilling symbol: the Skull and Bones.

ACT II: THE TRUE ENEMY

Research leads them to Yale University, where the Skull and Bones society has influenced global power for over a century. Joe uncovers that Bonesmen such as George H. W. Bush and Bill Clinton have been orchestrating chaos in Yugoslavia under the guise of diplomacy.

Through leaked CIA cables and Vatican archives, the brothers uncover a chilling plot: the “Empire Algorithm”—a digital model, derived from Roman playbooks, used to fragment cultures, exploit fault lines, and dominate through perpetual conflict.

The Balkans, due to their linguistic, religious, and tribal complexity, are the beta test for global division. The goal: fracture unity, maintain resource control, and experiment with mass trauma programming.

The brothers realize: Operation Storm wasn’t the end of war—it was the beginning of a new phase.

ACT III: OPERATION STORM 2.0

Retreating to a secret base under their great-grandfather’s abandoned wine cellar, the Jukic brothers mount a digital counter-attack:

  • Mike starts crafting counter-history podcasts, narrated in Croatian, Serbian, Bosnian, and English, that reveal hidden truths about unity before empire.
  • Bruno decodes a Bones cipher, revealing planned future Balkan destabilizations and NATO false flags.
  • Joe builds an AI psyops engine that floods social media with viral Balkan myths of unity: forgotten saints, pan-Slavic heroes, and tales of brotherhood between enemies.

They dub the operation: “Pax Illyrica.” The rebirth of a united, sovereign Balkans free from imperial strings.

ACT IV: THE BONESMEN STRIKE BACK

The Skull and Bones respond.

A CIA-trained ex-Yugoslav general, General Vjeko Rezić, secretly a Bones initiate, is deployed to stop them. He leads an elite NATO-backed psywar unit called The Red Dogs, tasked with discrediting and destroying the brothers.

The brothers go dark—living off the grid, moving through forests, monasteries, hacker collectives in Sarajevo.

The Red Dogs start assassinating peace activists. Journalists vanish. US Embassy computers in Zagreb go haywire.

In a final gambit, the brothers hack the Empire Algorithm itself, replacing the predictive model with one rooted in Slavic myth, Christian forgiveness, and decentralized sovereignty.

On Orthodox Christmas Eve, their modified algorithm is broadcast through hacked satellites and cellular towers. Millions across the Balkans see the same vision: a deepfake of their national heroes shaking hands and swearing peace.

The people believe. Peace breaks out—not because it’s ordered, but because it’s chosen.

ACT V: THE SKULL IS BROKEN

Back at Yale, the Skull and Bones inner circle watches the Balkans slip from their grasp. One Bonesman whispers, “We underestimated them. They weren’t tourists. They were revolutionaries.”

As Mike, Bruno, and Joe stand atop a rebuilt bridge in Mostar—destroyed in the war but rebuilt by the people—they vow to spread the formula globally. Unity through code. Peace through myth. Warfare reversed.

In the final shot, the brothers plant a USB drive beneath a statue of Tito, inscribed:
“Truth is the ultimate weapon.”

EPILOGUE:

Twenty years later, in a new Balkan Confederacy parliament in Sarajevo, children learn about the Jukic Protocol, now used in peace-building AI around the world.

In the shadows of Yale, Skull and Bones initiates read a warning on a hacked screen:
“The Balkans will never be Rome again.”

Fade to black.

THEMES:

  • Decolonizing narrative and memory
  • The real enemy is manipulation of perception
  • Tech as both a tool of tyranny and liberation
  • Reclaiming cultural roots from imperial hands
  • The diaspora as unexpected liberators