Tag: tony

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Scarface 3: The Diaz Brothers

A Film by Joe Jukic

Starring: Tony Demelo as MARCO DIAZ & Joe Jukic as LUIS DIAZ

LOGLINE: Two ruthlessly ambitious brothers, Marco and Luis Diaz, arrive in Miami in the wake of the ’80s cartel collapse, determined to carve out a new empire from the ashes of the old, only to find that blood ties are the first casualty in the pursuit of absolute power.

🎭 Characters

  • MARCO DIAZ (30s): Played by Tony Demelo. The older, more measured, and strategically ambitious brother. He’s the brains, focused on legitimacy, money laundering, and building a sophisticated front. He idolizes the power, not the madness, of the ’80s era.
  • LUIS DIAZ (Late 20s): Played by Joe Jukic. The hot-headed, street-level enforcer. He is impulsive, violent, and driven by a primal need for respect and immediate dominance. He is the muscle and the liability.
  • ELENA (30s): A shrewd Miami real estate broker with connections to the old-money Cuban-American establishment. Marco’s eventual business/romantic partner.
  • DETECTIVE CRUZ (40s): A seasoned, cynical Miami-Dade narcotics detective who has seen this cycle before and is determined to stop it.

💵 Scene 1: Arrival

FADE IN:

EXT. MIAMI INTERNATIONAL AIRPORT – SUNRISE (2006)

The air is already thick with heat and humidity. The rising sun casts a lurid orange glow over the skyline of Miami, visible in the distance.

A late-model, but slightly scuffed, black sedan pulls up to the curb.

MARCO DIAZ (TONY DEMELO) steps out. He is wearing an impeccably tailored, light grey linen suit, slightly rumpled from the overnight flight. He takes a slow, deep breath, savoring the smell of salt and jet fuel. He looks like a businessman, not a thug.

LUIS DIAZ (JOE JUKIC) emerges from the driver’s side. He’s wearing a black designer t-shirt, expensive jeans, and a heavy silver chain. His eyes dart everywhere, restless and aggressive. He takes a cigarette from a pack and lights it with a gold lighter.

LUIS

(Exhaling a plume of smoke)

So, this is it. The promised land. Looks like every other goddamn airport to me.

Marco adjusts his cufflink, his gaze fixed on the towering downtown buildings.

MARCO

It’s not the airport, Luis. It’s the foundation. Look at it. All that glass, all that money. Twenty years since the war. All the loudmouths and the cowboys shot each other up and left the field clear.

(He gestures towards the skyline)

They built this city on blood and snow, brother. We just arrived to claim the inheritance.

Luis flicks his cigarette onto the pristine pavement, earning a sharp look from a passing Skycap.

LUIS

Inheritance is slow. I like taking things. We got two duffel bags of pure in the trunk and five numbers in my phone. I want to move this weight before the sun is high.

MARCO

Patience. That’s why you are the muscle, and I am the architect. We are not selling bags on a street corner, Luis. We are going straight to the top. No middle men. No noise.

(He pulls a sleek, silver smartphone from his jacket pocket—a new device for the time)

I arranged a meeting. A little investment opportunity. You are going to be quiet, you are going to smile, and you are going to let me talk.

Luis leans against the car, unconvinced.

LUIS

Investment? We’re traffickers, Marco. Let’s call it what it is.

MARCO

No. We are capitalists. We offer a service, and we demand a return. The difference between a gangster and a legitimate businessman is only the paperwork. And I’m a man who likes his paper clean.

Luis pushes off the car, a flicker of genuine resentment in his eyes. He speaks with a low, dangerous intensity.

LUIS

Just remember who put the first scar on his face to get us here, Marco. When the time comes to be a gangster, you point the way, and I’ll clean the mess. But don’t you ever forget the mess needs to be made.

Marco finally turns to his brother, a cool, calculating look in his own eyes.

MARCO

I won’t. Now, get the bags. The future doesn’t wait for us to argue about the past.

Luis nods slowly, a grim smile creeping onto his face. He opens the trunk and pulls out two identical, heavy black duffel bags.

As they walk toward the terminal entrance, their silhouettes—one sharp and controlled, the other wide and brutal—are framed against the magnificent, glittering promise of Miami.

FADE OUT.

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Lord Nelson Movie Treatment

Title: Lord Nelson
Written by: Joe Jukic

Genre: Historical Epic / Action-Drama
Tone: Heroic, gritty, and inspiring — with flashes of camaraderie and dark humor.

Logline

In a sweeping reimagining of the Napoleonic Wars, the legendary sailor Lord Nelson is brought to life by Nelson Bulhoes, who, alongside a ragtag crew of fierce and loyal comrades, faces treacherous seas, cunning enemies, and the ultimate sacrifice to secure Britain’s destiny on the high seas.

Main Cast & Roles

  • Nelson Bulhoes — Lord Horatio Nelson, Britain’s most daring naval commander, brilliant yet haunted by the toll of endless war.
  • Joe Jukic — First Mate Elias Vargo, a cunning strategist and Nelson’s most trusted friend, known for bending rules to achieve victory.
  • Tony Demelo — Master Gunner Marcus Da Costa, a tough-as-iron artillery master whose cannons speak louder than his words.
  • Tony Meideiros — Bosun Rodrigo “Ironhook” Faria, a rough-edged deck boss with a sharp tongue and unmatched skill with ropes and rigging.
  • Luis Morgado — Navigator Raphael Silva, the ship’s brilliant cartographer and moral compass, driven by a code of honor.
  • Joe Morgado — Quartermaster Tomas Morgado, a shrewd supplier who can find—or smuggle—anything the crew needs.

Synopsis

ACT ONE
The year is 1798. The British Empire teeters on the edge as Napoleon’s forces dominate Europe. Lord Horatio Nelson (Bulhoes) returns from a costly battle, missing an arm and an eye, but with an unshakable will to fight. At the Admiralty, he’s given a desperate mission: cut off Napoleon’s fleet in the Mediterranean before it can resupply in Egypt.

Nelson assembles his crew — men forged by storms and gunpowder. Vargo (Jukic), the only man who dares challenge Nelson’s ideas, becomes his sounding board. Da Costa (Demelo) tests experimental cannon firing patterns. Ironhook (Meideiros) recruits fearless young sailors from dockside taverns. Silva (Luis Morgado) plots daring routes through uncharted waters. Tomas Morgado uses his quartermaster’s cunning to stock the ship with secret reserves of food, rum, and even black-market gunpowder.

ACT TWO
The HMS Vanguard sails into hostile waters. Nelson’s leadership inspires fierce loyalty, but the French fleet outnumbers them three to one. In a tense night battle off the coast of Aboukir Bay, the crew fights ship-to-ship in bloody chaos. Nelson, shot through the forehead, refuses to leave the deck.

Bonds deepen as the crew narrowly escapes disaster after a powder magazine ignites, nearly taking the ship down. Vargo risks his life to douse the flames. Tomas Morgado barters with Egyptian locals for supplies, revealing his past as a smuggler. Ironhook saves a young sailor from drowning in a storm, while Silva navigates a deadly reef under moonlight.

ACT THREE
As news arrives that Napoleon’s army is stranded, the Vanguard returns to Britain a hero’s ship. But Nelson’s destiny is not yet complete — the French navy regroups for one final, decisive battle at Trafalgar. Knowing the odds and the cost, Nelson gives his famous signal: “England expects that every man will do his duty.”

The Battle of Trafalgar is a symphony of thunder, smoke, and steel. The crew fights like lions, holding the line against overwhelming force. Nelson is mortally wounded by a sniper, but not before ensuring complete victory. In his final moments, he whispers to Vargo, “Thank God I have done my duty.”

The surviving crew, battered but unbroken, sail home — knowing the world will never forget the name Lord Nelson.

Style & Themes

  • Brotherhood in War — The bond between men who know they might not see another sunrise.
  • Sacrifice for the Greater Good — The cost of duty versus the price of survival.
  • Myth vs. Man — The human flaws and private doubts behind the legendary hero.

Visuals: Wind-lashed decks, cannons roaring against a blood-red sunset, close-quarters sword fights in smoke-filled corridors, maps and sextants illuminated by lantern-light.

Score: A sweeping orchestral theme with drums that mimic the pounding of cannon fire, blended with Portuguese folk guitar to reflect the diverse crew.

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Four Days to Freedom

Title: Four Days to Freedom

Genre: Social Drama / Workplace Comedy / Political Underdog Story

Logline:
When stubborn but big-hearted city employee Tony Demelo takes on his profit-obsessed bosses to win a four-day work week for municipal workers, he sparks a citywide movement that pits him against corporate lobbyists, political power brokers, and even his own friends—until his fight becomes a battle for the soul of the working class.

ACT ONE – THE SPARK
Tony Demelo, 48, a long-serving maintenance supervisor in Metroville’s Public Works Department, is beloved by his crew for always fighting for their rights. He’s a lunch-pail philosopher—equal parts charm, street smarts, and bulldog determination.

When budget cuts threaten overtime pay, morale in the department plummets. Tony notices that his co-workers are exhausted, their family lives strained. One afternoon, after seeing his crew too tired to attend their kids’ school events, Tony hatches an idea: a 4-day work week for all city employees.

He calculates (in an unpolished but passionate pitch) that by reducing hours, they’d need to hire more people—creating 20% more jobs, slashing unemployment, and boosting wages due to increased demand for skilled labor. He calls it “Four Days to Freedom.”

The idea gets laughs from his boss, Frank Costigan, a jaded bureaucrat who calls it “socialist daydreaming.” But Tony’s stubborn streak ignites—he’s going to prove Frank wrong.

ACT TWO – THE MOVEMENT
Tony begins collecting signatures from city workers, but his campaign quickly grows beyond the maintenance yard—teachers, nurses, bus drivers, and sanitation workers start rallying behind him. The media catches wind, painting him as a working-class folk hero.

Tony faces fierce resistance from:

  • Frank Costigan, who’s under pressure from the Mayor to shut Tony down.
  • Corporate lobbyists, who fear the 4-day week will set a national precedent and cut into profits.
  • Even some skeptical workers, afraid of losing overtime or job security.

Tony’s personal life gets tangled—his wife, Maria, is supportive but worries the fight will cost them their house if he loses his job. His best friend and coworker, Louie, warns him, “Tony, you can’t fight City Hall… they’ve got better lawyers.”

But Tony has a weapon: his ability to connect with regular people. He organizes public “Long Weekend Rallies” in the city square every Friday—symbolizing the extra day off. Attendance explodes.

ACT THREE – THE SHOWDOWN
The Mayor calls for a televised city council hearing, hoping to publicly humiliate Tony. Frank is ordered to be the star witness against him.

In a fiery, unscripted speech, Tony demolishes the economic scare tactics. He paints a vision of a happier, healthier city, with more parents at home for their kids, less burnout, and a fairer job market. He ends with:

“A city’s not made of buildings. It’s made of people. And people need time to live, not just survive.”

The speech goes viral, sparking national attention. Under immense public pressure, the council votes YES—a trial run for the 4-day work week.

EPILOGUE – THE NEW NORMAL
Months later, Tony walks through the park on a Friday afternoon, watching families enjoy the extra day off. He runs into Louie, who’s working as a supervisor for the new hires created by the policy. Wages are up, unemployment is down, and morale is sky-high.

Frank, now retired, admits to Tony over a coffee: “You were right, kid. Don’t tell anyone I said that.”

Tony grins: “Four days to freedom, Frank. And now we’ve got three days to barbecue.”

Fade out on Tony joining his family for a long weekend picnic.

Tone & Style:
Think Norma Rae meets Mr. Smith Goes to Washington, but with touches of Parks and Recreation humor. Blue-collar warmth meets political urgency, grounded in economic arguments that real audiences can latch onto.

Themes:

  • The dignity of labor
  • The fight against systemic inertia
  • Family time as a right, not a luxury
  • The power of one person’s conviction to start a movement

SPEECH 1 – Opening Statement

(Tony stands at the podium, sleeves rolled up, voice steady but charged with energy)

“Madam Chair, members of the council… My name’s Tony Demelo. I’ve been fixing this city’s streets, sewers, and sidewalks for over twenty years. I’ve patched potholes in hundred-degree heat, cleared snow at three in the morning, and I’ve done it with the best crew a guy could ask for. But I’m here today to say: we’re running on empty. Not just my crew—all of us. The bus drivers, the nurses, the teachers… We’re tired. And a tired worker ain’t a safe worker, or a happy one.

I’m proposing something simple. Four days on, three days off. A 4-day work week for all city workers. You think it’s a radical idea? I think it’s common sense. Because if we cut hours, we gotta hire more people—20 percent more jobs, right here in Metroville. That means full employment. That means fewer folks on unemployment benefits and more folks paying taxes. And when demand for labor goes up? Wages follow. That’s not socialism, that’s math.”

SPEECH 2 – Destroying the Fear Tactics

(Responding to Frank Costigan’s claim that the policy will “bankrupt” the city)

“Bankrupt the city? Let me tell you what’s bankrupting us: burnout, sick days, workers’ comp claims, low morale. You think endless overtime is free? It’s killing our people and draining the budget.

If you shorten the week, you cut stress. That means fewer accidents, fewer medical bills, less turnover. And guess what? Happier workers get more done in less time. There’s studies on this—companies in Europe tried it, productivity went up. People aren’t machines. We don’t just run forever. We need time to recharge so we can come back and give our best. This ain’t just good for workers—it’s good business.”

SPEECH 3 – The Vision for the City

(Tony leans forward, speaking directly to the council, but also to the TV cameras)

“Picture this city a year from now. On Fridays, parents are taking their kids fishing. Folks are fixing up their homes, volunteering, learning new skills. Local restaurants are packed all weekend because people got the time to actually enjoy themselves. And every one of those smiling faces? They’re also employees who are sharper, healthier, and more loyal to this city.

We don’t just build roads and run buses—we build lives. Let’s give people the time to live them. We can be the first city in the nation to prove that a shorter week makes a stronger economy. We can be the spark that lights a fire across the country. All it takes is the courage to vote yes.”

SPEECH 4 – The Closer

(Tony’s final words before the vote, voice cracking slightly with emotion)

“You can pass this, or you can send me home empty-handed. But when I walk out of here, I gotta look my crew in the eye. I gotta tell the single mom who hasn’t had a Saturday with her kids in months that I tried my best.

But I’m telling you—deep down, you know I’m right. A city’s not its budget, or its contracts, or its buildings. A city is people. And people need more than just a paycheck—they need time. Time with family. Time to rest. Time to be human.

Give them that gift. Give them the four-day week. Let’s make VANCOUVER the city that said: ‘We work to live, not live to work.’”