1) The document is an excerpt from the script of Luther season 1 episode 1. It describes several scenes establishing the location, character of Henry Madsen, and the police search for a missing young girl. 2) The first scene introduces the decayed, post-industrial warehouse setting and shows Henry Madsen alone and fearful of something lurking in the darkness. 3) The second scene reinforces Henry's fear and isolation as he hears approaching footsteps in the shadows and flees in panic. 4) The third scene shows a massive police operation at a suburban house, where detectives Reed and Teller are searching for the missing girl but have found no sign of her yet.

1. Luther 1x01 Script Extract
(Good use of Scene Direction)
1 EXT. KTR MEDICO WAREHOUSE - NIGHT 1 - 00.00 1
A DECAYED, POST-INDUSTRIAL STRUCTURE. Wasteland.
This first scene establishes the
character’s outer presence, location and
some of their inner presence and context.
The location is established from the scene
above of the exterior shot of the
“DECAYED, POST-INDUSTRIAL
STRUCTURE.” However, the second scene
reinforces this as we see Henry Madsen
fearful and scared of something in the
looming darkness of the unlit areas of the
building. Henry Madsen’s outer character
presence is established from his costume and overall visual appearance whilst his
isolation in the building shows us some of his inner character presence as he watches
the darkness for movement as he breathes harshly and runs away from the first
sound. Like a rabbit’s flight or fight reaction. His flight reaction to the isolated
footstep from the shadows is to retreat slowly however we clearly see him panic and
scarper away in a running sprint. From this we can gather than he’s aware of who’s
there, that he has a reason to be scared of the owner of that isolated footstep. All of
this scene direction helps to reinforce the character, his emotions, his fears and his
desperation to escape from someone after something the audience can assume that
he’s done. This is reinforced in the 3rd scene.
2 INT. KTR MEDICO WAREHOUSE, MAIN AREA - NIGHT 1 - 00.01 2
HENRY MADSEN - a handsome man in suit and tie - stands alone in
a VAST FORSAKEN SPACE. His breathing is exerted, fearful -- almost
as fearful as those lost, pleading voices.
He’s thinking hard. Scanning the DARK CORNERS for what
predators may lurk there –
He SPINS, looks behind him. Sees NOTHING. Just darkness and
silence. Sound of DRIPPING WATER. His harsh breathing. And a sense
of TERRIBLE THREAT in the LOOMING SHADOWS.
And now –
A FOOTSTEP. Somewhere out there - in the shadows.
He takes a SINGLE RETREATING STEP. And another. And a third -
faster now, moving backwards - as the ECHOING FOOTSTEPS in the
vastness grow CLOSER and CLOSER.
And now he’s running - headlong through this awful place – away -
just away –
The third scene and final scene of this extract introduces multiple characters
named and un-named ones. The opening scene direction immediately establishes the

2. police forces purpose at the house. We
also see two officers who stand out
amongst the ramble of the police in
the background. A rogue uniformed
policeman emerges and addresses
these characters who then say each
other’s lines which shows they both on
the same page as they tell the
policeman and audience that they’re
looking for a young girl. They also establish to the policeman that the character John
said that the girl is there but not where she is in the house. This tells that he’s not
person who took/has the girl but that he got the information from the person who
did. But not all of the information. This can make the audience question that Henry
Madsen is the person that took/has the girl and that John found it out from him or
that he worked it out as the audience can assume a detective just like Reed and
Teller. The scene direction for all of the character’s present is then reinforced by
Teller who says that the girl’s oxygen has ran out which then tells the audience that
she’s locked away in something.
3 EXT. MADSEN HOUSE - NIGHT 1 - 00.02 3
A MASSIVE POLICE OPERATION outside an ORDINARY SUBURBAN HOUSE. A
UNIFORMED OFFICER emerges, mud covered. Approaches DETECTIVE SUPER
INTENDANT ROSE TELLER - who’s looking at a PHOTOGRAPH OF A YOUNG
GIRL.
TELLER
Nothing?
The UNIFORMED OFFICER shakes his head. Teller exchanges a pained,
anxious look with DETECTIVE INSPECTOR IAN REED. Who shrugs.
REED
John said she’s here, so she’s here.
Keep trying.
UNIFORMED OFFICER nods, exits.
TELLER
Her oxygen ran out two minutes ago.