A Hollywood film trailer portrays dramatic moments from the life of a famous British inventor, played by actor Domhnall Gleeson. Spanning the whole of his life and career we see him equip Ernest Shackleton (played by Dominic West) and his entire expedition to the South Pole, design protective clothing for young soldiers in the WW1 trenches, whilst glimpsing his homelife with wife Sienna Miller and a dangerous romantic interest with one of the first ever British female aviators (played by Lily James). Based on the true life story of this historic Briton, the pace and glamour of the production lets audiences glimpse the influence he had on exploration, war, and British society, leaving them hoping to see the full film.

1. EXT. FIELD OF SHEEP (S.C. PARKLAND FIELD) - DAY, RAIN

150 years ago...

TOM (10), a Farmer’s son with a thatch of auburn hair, is wrapping wool and scraps of material around a wooden stick man that he’s carved out of wood.

Just then he looks up to hear his Dad coughing as he tends a flock of sheep in the rain. The coughing grows worse and he’s suddenly bent double, clearly unwell. Just then he collapses. Tom looks panicked, and races across the field --

TOM: Dad!

As the rain continues to fall, Tom tries with all his strength to stand his father up, in a series of jagged cuts we see Tom pull help him towards some trees in the distance --

2. INT. WOOD (S.C. PARKLAND FIELD) - DAY, RAIN

Tom’s old man is shivering as Tom stays by his side, terrified to leave him to go and get help. He’s dying. He looks up at Tom, full of love for his son before he spots the tiny doll in his pocket, wearing the coat Tom’s made for it out of wool and scraps.

TOM’S FATHER: No one sees the world like my Tom.

Tom’s Dad ruffle’s his hair, he gives him a brave smile...

3. EXT. FIELD OF SHEEP (S.C. PARKLAND FIELD) - DAY, RAIN

Tom, in farm clothes now, tries to take his father’s place, tending the sheep. He slips and falls in the mud. His eyes are red, pricked with hot tears as he sits on the sodden ground, covered in dirt.

Just then one of the animals rubs against his smock. He looks down at the worn cloth and how the patch that touched the wool is suddenly water proofed. His mind is suddenly racing.

4. INT. WORKSHOP (SAW MILL OR WORKSHOP) - DAY

Tom (mid 20s) now –- the same thatch of auburn hair, the same intense stare. Only now he’s an apprentice draper, cutting a strange fabric called gabardine. A FOREMAN (50s, grizzled) steps over and watches him, intrigued.

FOREMAN: What you got there Burberry?

TOM: (steely) I made it.

The Foremen peers down, he looks amazed. We’re close on Tom’s eyes as he inspects the fabric he made --

6. EXT. TRACK BETWEEN FIELDS (S.C. FARM - RAPESEED FIELD) - DAY

Tom has used the same fabric to make trench coats that he is now helping to dress a group of burly FARM WORKERS in. They look surprised by the coats that are keeping them bone dry.

As he adjusts the hem of one of the coats, the farmer ruffle’s Tom’s hair, like his father used too. A shy smile spreads across Tom’s face. He knows what he has created here.

5. INT. LOOM (STOCK) - DAY

A loom intricately weaves and transforms strands of cotton into Tom’s new fabric.

7. EXT. COUNTRY TRACK/VILLAGE (S.C. OFFICE YARD) - DAY, RAIN

SARA (20s), beautiful and spirited, is caught in a downpour on a country track as she returns from the village. She’s exquisitely dressed.

Tom rounds the corner and spots her. She locks eyes on him. He smiles. She smiles back. Remembering himself, he removes his cloak. We cut to them both sheltering from the rain, under his cloak, their bodies close, an immediate chemistry as they’re gazes remain fixed.

7B. EXT. FOREST (?) - DAY, SUNNY

Tom pulls Sara towards him and they kiss passionately. Pollen eddies on the summer breeze, caught in the sunlight.

7C. EXT. GRAND HOUSE - NIGHT

Candles float on a lake. There’s a grand house in the distance lit up inside. We hear distant music --

8. INT. BALLROOM (S.C. DRAWING ROOM) - NIGHT

Musicians play. We see close up swirls of dresses and luxurious fabric. The fashion of the time and yet different, given a twist – more a dream or a golden memory of what was, rather than a copy of it.

9. INT. BALLROOM (S.C. DRAWING ROOM) - NIGHT

Someone showers the room in champagne.

10. INT. BALLROOM (S.C. DRAWING ROOM) - NIGHT

Tom and Sara dance, a whirl of golden candlelight around them as they spin, delirious with happiness.

SARA: (V.O.) This is our life now.

11. INT. TOM & SARA'S BEDROOM (S.C. BEDROOM)

A newborn baby is swaddled in a cashmere blanket by Sara. She looks overwhelmed with love.

12. INT. BATHROOM (S.C. RED ROOM) - DAY

Sara reads in the bath. Her hair tied up. Tom kisses the back of her bare neck. She can see he’s restless as he heads out.

13. EXT. FIELD OF SHEEP (S.C. PARKLAND) - EVENING

Sheep stand in a beautiful English field, a mackerel sky above them.

14A. EXT. TOM’S WORKSHOP (S.C. WORKSHOP) - NIGHT

A hand painted sign hangs outside the workshop: ‘Burberry’.

14. INT. TOM’S WORKSHOP (S.C. WORKSHOP) - NIGHT

Tom is lit in a pool of lamp light, surrounded by hundreds of books he’s devoured and then cast aside before moving on. He looks feverish as he reads, searching for new ideas, for understanding.

15. INT. TOM'S WORKSHOP (S.C. WORKSHOP) - DAY

Tom measures a 17-year-old boy who is trying to look brave.

We wipe across a line of other men young men, waiting --

16. EXT. WWI TRENCH (S.C. FARM. RAPESEED FIELD) - DAY

-- Boots splash through the sodden mud at the bottom of a trench where that same young man is a soldier now. He steps away and joins his unit of soldiers all wearing the clothing Tom made. It’s keeping them dry, allowing them to fight. Tom is in amongst them.

Just then as a General blows a whistle, and the men roar out of the trench, into the milky chaos with a fierce battle cry -

- an explosion throws a soldier to the ground.

17. INT/EXT. TOM & SARA’S BEDROOM (S.C. BEDROOM) - DAY

Sara holds her young son. They’re watching Tom staring out across a golden field of corn. He seems changed, haunted by war. Sara can tell her son is worried about his father.

SARA: Your father can imagine whole worlds in his head...

18. INT. TOM’S WORKSHOP (S.C. WORKSHOP) - DAY

Tom and a man with a hungry look in his eye, ERNEST SHACKLETON (30s), pour over some of Tom’s designs.

SHACKLETON: I intend to lead a group of men to the Antarctic. I’m looking for someone to supply the entire expedition with overalls and tents.

(intrigued) What are these?

TOM: I created them...

19. INT. TOM'S DRESSING ROOM (S.C. BREAKFAST ROOM) - DAY

Tom dresses Shackleton for his expedition. Shackleton can’t help watching Tom – amazed by this modest man kitting him out for the most arduous place on earth.

We pan down Shackleton’s body and arrive at his boots, now standing on a frozen icy surface. We hold on the boots as Shackleton steps forward, his coat wipes past the camera...

20. EXT. ANTARCTICA (STUDIO) - DAY

... Snow covered boots head across an endless sheet of ice. A Union Jack flaps from the back of a three-masted sailing vessel locked in the ice (the Endurance). A flickering fire in the distance. A group of men are huddled around it.

Tom, staring impossibly across the ice and dressed just as he was when he was measuring Shackleton, looks closer as one of the men turns and stares back at him – it’s Shackleton himself, his face kissed with frostbite, his eyes red and swollen. He looks at Tom who stares back at him.

21. EXT. STEAM TRAIN STATION (WATER-TOWER COURTYARD) - DAY

1930 now. A high angle crane shot of a old car as Tom jumps out and heads through the steam of a departing train. BETTY (20s) comes through the smoke, looking lost.

TOM: Ms. Dawson?

Betty turns and spots Tom. They’re cloaked in steam for a moment. She smiles. He smiles back shyly. It’s like they’re the only people in the whole world.

TOM: (CONT’D) (PRE-LAP) (CONT’D) People come to me with their dreams

and I help bring them to life.

22. INT. TOM'S DRESSING ROOM (S.C. BREAKFAST ROOM) - DAY

Betty stands in front of a set of mirrors as Tom pins a flight suit to make it a perfect fit for her. She watches him in the reflection of the mirror.

BETTY: And what about your own dreams?

23. INT. CORRIDOR / TOM'S DRESSING ROOM (DINING ROOM) - DAY

Sara steps past the door to Tom’s studio. She glances in to see Tom and Betty, just as he moves some hair away from her neck while her measures her collar. She smiles shyly.

Sara’s startled to have witnessed this. She can see the way Tom feels about this woman. From nowhere it’s like the foundations of her entire world are suddenly crumbling.

24. INT. HALLWAY (S.C. HANGING STAIRCASE) - DAY

Tom is bent over a radio, listening to an excited announcer --

RADIO ANNOUNCER: We should make sight of her any minute now in Khartoum, where she’ll touch down just long enough to refuel on her way to Cape Town. London to Cape Town in 45 hours, then back again, that’s her goal...

25: INT/EXT. DH88 COMET IN FLIGHT (STOCK) - DAY

Betty is flying the plane with the stick between her knees, doing her make-up as the landmass of the Sudan rushes in beneath her.

26. EXT. FOREST (S.C. PARKLAND) - DAY

Under the canopy of a huge tree. Hazy light. Sara looks incensed. Tom can barely meet her eye.

SARA: Do you love her? Answer me!

TOM: I don’t know...

Sara backs away from him, devastated.

SARA: I wish I knew what you were searching for.

27. INT. TOM’S WORKSHOP (S.C. WORKSHOP) - NIGHT

Tom is consumed by the thoughts in his head, surrounded by pages and hand drawn notions and designs. A man possessed.

As we move around him we see his thoughts projected onto the walls, impossible visions of the future: a beautiful young woman, Emma Watson, is being photographed by Mario Testino. Her clothes and style reach years ahead. Tom is grasping to comprehend where his mind is straining to lead him.

28A. EXT. HOUSE (?) - NIGHT

With tears in her eyes Sarah rushes out of the house pulling a riding cloak over her shoulders --

28. EXT. FIELD (S.C. GROUNDS) - DAY

Sara riding away from the house wearing the cloak with the

long Burberry scarf trailing behind.

29. INT. TOM’S WORKSHOP (S.C. WORKSHOP) - NIGHT

Tom sweeps a pile of papers off his desk. He can't work. He seems in torment.

30. EXT. ANTARCTICA (STOCK/STUDIO) - DAY

Windswept ice plain as Shackleton battles the elements. He's lost, at the point of collapse.

31. INT. DINING ROOM (S.C. DINING ROOM) - DAY

Tom is sat at the end of the long dining table, reading a headline: “SHACKLETON MISSING.”

Boiling with rage, Tom slams his fist onto the large banquet table, the china, silverware and crockery rattle.

Sara, sitting at the other end jumps with shock. She can see how devastated Tom looks. She touches his face and he looks up at her, tears hang in his eyes.

32. INT. TOM’S WORKSHOP (S.C. WORKSHOP) - EVENING

Tom looks lost, unable to work, when he feels a presence behind him. He turns to find Shackleton standing in his studio. He looks older now, beaten but not broken. Both men embrace -- relieved, overjoyed to see each other alive.

33. INT. PARLOUR (S.C. BARONIAL HALL) - NIGHT

A large present tied with a bow slides out from underneath a beautifully lit Christmas tree.

Suddenly Tom’s daughter emerges from underneath the tree with a mischievous smile.

34. INT. PARLOUR (S.C. BARONIAL HALL) - NIGHT

Sara and Tom sit around a roaring fire as their son and daughter play with the toys they’ve just unwrapped.

Tom looks up to see Sara studying him. We’re not sure how these two feel about each other until she smiles and he smiles back – a deep, rekindled love, in the midst of the family they’ve made.

35. INT. CORRIDOR (S.C. SERVANTS CORRIDOR) - NIGHT

Tom heads down a corridor with a gas lamp.

36. EXT. ROOFTOP - NIGHT

A beautiful 1940’s diva belts into a vintage microphone lit by a shaft of light.

A different kind of creation is taking shape in the voice of this amazing young woman. A new story is being told...

THE END