Land of hope and Glory V8 (1)

L A N D o f H O P E a n d G L O R Y
T o n e b o o k
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D a v i d L e o n

S Y N O P S I S
A future that looks and feels like the present day. England
has descended into an alt-right autocracy.
Europe has closed its borders.
A conflicted fisherman (Mal) questions his unthinking
allegiance to the right when he is forced to sign up to a
state sponsored vigilante gang.
Encouraged to detain anyone considered to be “other” or
below the poverty line, Mal has his world view turned on
its head when he is made to detain a young African girl
(Karma).
Brought together through a growing co-dependence, the
refugee-hunter becomes the hunted in a race to escape the
regime and save both their lives.

A C T O N E
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N ORTHEAST ENGLAND 2025
North east England 2025. Mal a fisherman working within a broken society and brutal
conditions for little reward, is convinced by a friend (Little John) to align with him and work
for the state sponsored immigration police, a vigilante group responsible for ethnically
cleansing the country of those perceived to be “other” or below the poverty line.
As Europe has closed its borders to those entering from outside the EU, the recently formed
English Alt right government has decided in order to create a state of utopia, the country must
be returned to its most “pure” form, with those who do not fit that remit detained and forced
to work in labour camps.
Reluctantly, Mal is tasked with the inhuman role of rounding up those without valid
identification allowing them residency in this so called ‘Land of hope and glory’.
The work takes its toll upon his spirit, as the culture of nationalism that has taken hold of
the country is something he will never truly align with, but is too weary to really question.
On one such mission he comes across a family of three: Father (George) Mother(Elizabeth)
and Daughter (Karma) of African descent.
George is able to escape the gang’s clutches but Elizabeth and Karma are detained. When
Karma desperately throws herself into the arms of Mal in the hope he will save her from a
brutal fate, Mal has a moment of clarity whereby his world view is turned on its head.
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T h e A R R E S T
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Mal acts on instinct and breaks out of the detention
centre taking Elizabeth and Karma with him. A
spontaneous move which leaves him confused about
where his allegiances lie, but, too late to undo, he
himself has become hunted.
As the three desperately escape the clutches of the
immigration police, each reluctantly understands their
future is from this point entwined.
Karma is ill and suffering from symptoms similar to
pneumonia. Mal knows he must take her to a hospital
but is reluctant to be seen in public alongside these
conspicuous figures, dark skinned in an increasingly
white environment.
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T h e B R E A K O U T
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A C T T W O
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In hospital Karma gets special attention because of both her age and her condition. It
rouses resentment from others in line and while Karma is treated, another patient raises
the alarm with the immigration police.
The trio make a swift exit through the overcrowded hospital, conscious of the depravity,
they manage to get out just before the Immigration police arrive.
They arrest doctors patients and nurses for treating the refugees trio and anyone
who does not have valid papers.
Mal, Elizabeth and Karma arrive at a safe house. They are offered a bed for the night by
an older man (Jacob), kind hearted and a friend of Mal’s ex-wife Julianne. Their
relationship broke down because she could no longer tolerate the political landscape
whereas Mal felt an obligation to remain loyal.
After a few hours it becomes clear that Karma is on the mend and Mal and Elizabeth
are beginning to become better acquainted.
Unknown to Jacob, the immigration police have been watching his property through
the video screens in his house. They arrive silently and without warning, but Mal
acts quickly and gets Victoria and Karma out in time, taking Jacobs car.
The IP turns up minutes later as Jacob, wracked with guilt refuses to give them any
information. He is shot by Little John under instruction from his superior showing little
remorse.

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Mal, Elizabeth and Karma stop for petrol. as the mother and
daughter use the facilities, Mal considers leaving them, starts the
engine, but something stops him. As Karma comes round the corner,
their eyes meet, a knowing look between them.
They carry on their journey, it becoming clear that not only can
they no longer remain in this land but that their shared desire to be
re-acquainted with their respective partners on the “other side” is
bringing them together in a way they could have never have
foreseen.
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As they drive they’re pulled over by a
group of bandits. far right Neo nazi
types who threaten to kill Mal for his
lack of patriotism and badly injure
Elizabeth in the process.
Just in time, the trio are rescued by a
resistance group, the two competing
bands retreat as they hear the sound of a
siren in the distance.
The resistance led by ‘ELIAS’ take the three
to their commune; a place where
immigrants are protected, whilst always
remaining on high alert.
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As Elias rushes the trio through the commune
desperately looking for treatment for Elizabeth, Mal
is regarded with the ultimate suspicion.
Soon after they arrive and before she can get
medical help - Elizabeth dies. Karma is distraught
and Mal is more devastated by it than he ever
expected. He and Karma are bound in their grief.
But he is not ready to accept responsibility for her,
he thinks she’ll be safe here.
G R O W I N G T H R O U G H
O N E A N O T H E R
Karma overhears one of the resistance talking
about disposing of Mal and keeping Karma for their
own. Elias agrees to help Mal escape from the
commune to continue to the border, and Mal
realises Karma has no intention of letting him go
without her.
As they journey on, the loss of Elizabeth is
palpable. It’s a long time since Mal has embraced
his empathy in the way this child, expects from him.
Mal and Karma happen across an abandoned house which
seems to have signs of life but no one is home. After their
initial nervousness they find a moment of peace within
the four walls and shower, feed and rest themselves. A
surrogate paternal relationship is developing, one of
mutual love and respect.
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A C T T H R E E
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Mal watches over Karma, conscious of the obvious
boundaries he is reluctant to get into bed as she
sleeps. Feeling more at ease and yet uncomfortable
all at once. She is oblivious and is grateful for the
feeling of safety that he provides.
Mal sleeps with one eye open. Gun by his side.
In the morning both are woken by the sounds of a
group approaching the premises made up of all
ethnicities.
What initially seems a threat, eventually is clear to
be a group equally in search of a way out of the
country. They decide to form an allegiance and at
dusk, march together towards a meeting point where
a known smuggler has agreed to get them to the
coast.
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They walk through the dead of night eventually arriving at a
rural car park where each of the group is forced to get into
the boot of a car.
Mal and Karma, both terrified sit, still. Both reminding one
another of their presence. Mal safeguarding Karma against
the brutal reality they face.
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After some miles, the car comes to a standstill where a
commotion can be heard from outside. Eventually the boot lid
opens and Mal and Karma are dragged from the car by two
members of the Immigration Police and handed to Arkle (the
head of the IP) and John.
John immediately recognises Mal and Mal John, whilst no words
are uttered between them John carries on loading the deserters
into a large van.
John clearly affected by the chance meeting sits in the front
of the cab alongside Arkle and the driver.
He looks at Mal and Karma in the back, his conscience playing
on his mind. The van swerves as John takes out his gun
demanding that Arkle pull over to the side of the road.
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John releases the remaining deserters and pulls
away having insisted that Karma and Mal stay.
John seems a bit unhinged and the duo fear for
their safety. After some time John reaches a
lay-by and pulls over to the side of the road.
It becomes clear this is a short distance from
their destination.
Mal thanks John, no more words are spoken.
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He and Karma flee towards the shore.
They are met by a flurry of other immigrants hoping to desert
the country they had originally sought out as a safe haven.
They walk through the desolate wasteland before reaching the
coastline where they find as promised by the trafficker, a
number of rubber dinghies.
They are able to scramble aboard the over crowded boats and
make their way out.
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T h e C R O S S I N G
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The crossing is at first straightforward, they near their destination. However not far from the coast the boat begins to let
in water and the less strong swimmers begin to struggle. Mal tries to help another but when Karma loses her grip his
sights are set firmly on her.
They make their way to the shore thankful for their safe arrival. They were the lucky ones.
As they arrive they are met by people from all different ethnicities offering forms of aid. Mal feels somewhat
uncomfortable for accepting that help given he had previously been part of a regime responsible for such depravity.
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He and Karma arrive at a makeshift refugee centre where they are
able to rest. As they finally are allowed some respite a figure
appears, which Mal recognises. Karma runs toward the man, it is
George her biological father. He remembers Mal for the man who
hunted them down in the first place and flies at him full of
accusation and aggression.
It is Karma who separates the men, rushing into her father’s
punches to protect Mal.
George abandoned Karma, she doesn’t know who she belongs to
any more. For Mal giving Karma up to this man will be the
hardest thing he’s ever had to do but he knows he is not her
father, he has no choice. He promises Karma she is safe now, and
walks away, welling with his own tears as he listens to her cry.
Mal leaves the refugee camp and walks towards the city, in search of
his ex wife. Safe from the regime, hopeful of a new beginning. The
desire that one day he too may be re-aquainted with the person he
loves.
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D I R E C T O R S V I S I O N
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Growing up in the North East of England, I
experienced a place with great heart and soul, a
part of the country renowned for it’s warmth and
generosity, its strength and spirit. In recent years
it has been troubling to watch the way vast
swathes of the region have been somewhat
neglected, resulting in a sense of disengagement
from the so-called elite, the “power makers” in
Westminster, it has become “us” and “them”.
This story is a direct result of that chain reaction;
economic, social and geo- political circumstances
that have resulted in the place that I called home
feeling in some respects unrecognisable, with
values and a world view that I no longer find
empathy with. Whilst at the same time I am able to
see through the facade and cheap media to
perceive a greater proportion of deeply valued and
tolerant communities with the generosity of spirit
and moral fibre that has always defined this proud
region.
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I want to investigate the way in which the conflict of emotion
can affect the human spirit and how ultimately regardless of
circumstance that spirit will triumph in finding a way through
with a sense of hope and dignity.
I want to get under the skin of Nationalism; a myopic view
driven by fear and a lack of education, to the core of what really
drives peoples humanity once a face can be put to a name and a
realisation that we are all flesh and blood, regardless of the
environment that we have been born into.
A raw character study with a deep emotional core. It’s a film
about taking responsibility, about belonging, about what price, if
any, can be put on a human life.
It is at times brutal and hard hitting, at times innocent and life
affirming. Tense and observational with moments to breathe and
live inside these complicated, authentic, flawed characters.
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I'm fascinated by those who exist on the fringes of society. Characters who have slipped through the net. Those
for whom, had life dealt its cards differently their lives may have taken another path. I'm interested in how the
decisions we make and the education and information that we receive in order to make those decisions, shape our
lives.
It’s my belief not enough has been done to listen to the reasons behind why, within these affected areas, people
feel so strongly about their disengagement. Where this is the case, more can be done to treat the cause rather
than the symptoms.
We live in a globalised world. Many consider that to be a good thing, but for others it has led to resentment due
to the vast changes in their circumstances. For many families a job for life no longer exists and so for those
who have followed in the footsteps of their forefathers throughout generations, post industry causes great
disenfranchisement.
I'm interested how that affects the individual and how it shapes the way they see the world. I've witnessed the
affect of this at first hand in terms of what it has done to communities, the loss of jobs and the widening of the
gap between rich and poor and the way the North East in particular has changed and become polarised within
the last ten years.
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The film will grip and entertain. It should find beauty and poetry, rather than kitchen
sink social realism, making use of symbolism to elevate the form.
The tone of the film is tough, but with an underpinning sense of hope. Bleak but
beautiful, poetic and life affirming. Never more prominent than when demonstrated
through the central characters. The landscape, the design, the palette and
photographic language will all compliment this feeling.
Using textures to make associations to things we think we recognise, although in this
world nothing can be taken for granted.
Each element should represent something more than surface value, subtext bubbling
underneath.
I want to find a location that embodies the themes. A playground for the characters
to inhabit, which encourages them to live and breathe their world.
They will be authentic to fully utilise the industrial heritage of the North East.
Specifically around Redcar Steelworks which embodies this perfectly. Location will
be an overbearing character as the actors and camera move from interior to exterior
during long single shot sequences, giving a visceral and integral sense of place.
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I'd like to use the camera in a way which, driven by the needs of the
narrative, brings an elevated twist to the tone. Working hard through a
rehearsal period with the actors and the DP to establish a connection and
trust, in order to be free to improvise during the shoot.
I will use the characters perspective to determine what is important in the
scene. A perspective which will also inform the editing process.
The visual style would be predominantly hand-held, composed but
observational. Using available light but shooting in beautifully designed
locations or those which offer that quality naturally.
Using long takes which develop through a choreography, planned over a
detailed rehearsal process, but which offers flexibility to change when the
scene demands it.
I want the film to have moments of energy building on the ticking clock
structure whilst allowing enough space for moments of intimacy between the
characters of Mal and Karma as the man and young girl navigate a
complicated and nuanced relationship.
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It's a dynamic which is central to the premise of the story and one which starts
out with a reluctance on both sides, but ends up bonding in the most beautiful
but tragic of ways. It's something which needs real attention to detail and
subtlety in execution. I plan to do that through workshops with the actors,
finding both the beats and the layers of character through trust and
collaboration, working and reworking until the actors’ instinct for the character
becomes seamless.
Ultimately I'd like to make a film, which is an intelligent exploration of
immigration and social circumstance in modern Britain within the strong
narrative setting of a poetic thriller. Told from the perspective of the human
condition where two people are able to better understand themselves and their
lives as a result of high stakes, and learning to tolerate different values and
view of the world.
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T H E M E S a n d R E F E R E N C E S
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None of the clips are meant as prescriptive references. Each adds a little to the discussion about how to get the most out
of the material.
Their aim is to aid a better collective understanding of the world of the film and the language it will inhabit. What our
rules are going to be with regard to the key elements: design, performance, palette, tone etc. Naturally things will evolve
throughout the process
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On the surface we're making a visceral thriller and need to deliver some of the beats of the genre
to make it exciting, but at its core this is a character study of two people from entirely contrasting
backgrounds with an entirely different view of the world.
There are themes and layers which are important to discuss with regard to why I feel compelled to tell
the story:
1 ) A s e n s e o f s o c i a l p r e s s u r e , d r i v e n b y t h e r i g h t w i n g n a r r a t i v e t h a t h a s t a k e n h o l d a n d t h e c u l t u r e
that emanates.
2 ) A f i n a n c i a l n e e d , h i t b y g l o b a l i s a t i o n a n d w o r k t h a t i s n o l o n g e r a c h i e v a b l e , t h e d e p t h s t o w h i c h
people will stoop in order to protect themselves and their family.
Finding ways to bring them to the fore and layer the film as much as we can will set the piece apart.
Mal is following the crowd. His understanding of the world around him and what it has become is
blurred to say the least. He is coerced through social pressure into working for the immigration Police
(Sons of Woden)
Video reference: World, language, visceral feel
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A RREST and BREAKOUT
Video Reference: The Immigration police
1st person view of the chaos. Differing perspectives of the world
depending on social class and circumstance.
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Mal is lost, looking for a sense of purpose and identity. Initially he finds that in the work but quickly realises this
does not sit well with his belief system and he can play no further part.
When he meets Elizabeth and Karma, suddenly his sense of purpose and their mutual desire to leave this barren land,
is defined in a way which he could never have imagined. By putting a face to the label he is to better able to
comprehend those different to himself and as a consequence build a beautiful if unlikely bond.
Karma and Elizabeth have become pawns in a political landscape they don’t remotely understand.
Ultimately Mal will come to realise that he has more in common with those he has been pitted against than those he is
taking orders from.
This theme is ever present. Ultimately Mal must sacrifice the one thing in his life that has come to have real meaning
(Karma). It is just Ironic that it has taken such a perilous journey for him to realise that.
In a way Mal represents the audience’s idea of humanity. He is the barometer for the way in which society has been
brainwashed. Within the backdrop of this totalitarian regime, he is our vessel.
It’s important to keep seeing a diverse semblance of this world throughout the film. To capture vignettes of people in
the background trying to get on with their lives, regardless of the chaos and breakdown of society as we know it. For
the lucky few life goes on as usual, for others the experience could not be more different.
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M A L a n d K A R M A
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The sense and understanding they have for each other will be felt most
through non verbal communication. Karma will take a while to have the
confidence to engage in conversation and Mal will not really know how to
best engage with this person who is unlike anyone he has ever spent time
with.
They quickly form a short hand and a co-dependence. There is an undertone
of love, a platonic paternal love, but never the less a bond as deep as they
come.
Relationship between Mal and Karma: Non verbal communication, underlying subtext.
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T E X T U R E & S O U N D D E S I G N
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As well as the chaos of the high octane opening sequences during
the Immigration police mission and the breakout from the
detention centre.
Mal watches as Karma is taken to her fate. We see again from
his perspective, his need to make a change.
The film will capture many lyrical, textural moments.
Illustrating Mal and Karma’s inner journey but also take in the
people of North East trying to get on with life.
With all this going on around them. We focus for a moment on
mundanity - A woman coming home with her shopping whilst an
“Illegal” is being detained.
Mal, feeling overwhelmed by his new circumstances: Combining sound
design and different photographic styles to create vignettes, which
represent a certain emotional arc.
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T H A N K Y O U
Ultimately I'd like to make a film, which is an intelligent exploration of immigration and social circumstance in
modern Britain, within the strong narrative setting of a poetic thriller.
Told from the perspective of the human condition where two people are better able to understand themselves
and one another as a result of learning to tolerate different values and backgrounds.
It is a story that I hope will resonate on many levels and be a sophisticated state of the nation commentary with
an compellingly empathic central relationship, through which the audiences preconceptions are challenged
whilst expanding their world view.
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