Luther 1 4

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1 EXT. URBAN PARK - NIGHT 10 - 23.43 1
GRAHAM SHAND - middle aged, strong, in windcheater and baseball

cap - squats in the darkness.
He’s concentrating on something on the ground. He picks up a

MIRROR COMPACT. Holds it close to his eye. Examines it from
several angles.
Carefully, he opens the compact - sets it down three feet away

from where he picked it up. Then he picks up an iPod. Detaches
the ear-buds. Moves the iPod three feet to the left, the ear
buds between his feet.
Then he stands - viewing this obsessional arrangement -
Which surrounds the corpse of MONICA POOLE. He’s organized THE

CONTENTS OF HER HANDBAG in a kind of halo around her head. The
EMPTY BAG is balanced on Monica’s sternum.
He removes the HALF MOON SILVER PENDANT FROM HER THROAT. Stands
there, the necklace a pendulum in his fist. Swinging over the
body. Almost as if he’s dowsing. He’s highly aroused.
Committing the scene to memory.
2 INT. MARK’S HOUSE, BEDROOM - DAY 11 - 06.01 2
It’s dawn. Zoe Luther lies in bed - next to Mark North. She’s
awake, watching him. Innocent in sleep. Content.
Zoe makes a decision - sneaks out of bed, grabs her phone from
the bedside table - slinks downstairs.
3 INT. LUTHER’S STUDIO FLAT - DAY 11 - 06.02 3
A small STUDIO FLAT - piled high with BOOKS, CDs, a LAPTOP on

the desk, piles of PAPERWORK, CLOTHES ON A RAIL in one corner,
four or five IDENTICAL SUITS, five IDENTICAL WHITE SHIRTS,
several TIES hanging from a tie holder like a Technicolor
jellyfish. A SIGNED PHOTOGRAPH of plastic soul period DAVID
BOWIE.
JOHN LUTHER is fast asleep. A mattress on the floor.
4 INT. HOSPITAL, MADSEN’S ROOM - DAY 11 - 06.03 4
The slow, steady tracking of the EEG MONITOR....hitting higher

peaks...deeper troughs...higher peaks...deeper troughs....
HENRY MADSEN lies in darkness. Inert as the dead. As we track

up his unmoving body we see - his EYES ARE WIDE OPEN!
GOT TO TITLES - THEN FADE UP TO:

LUTHER by NEIL CROSS Episode 4 Page 2.
5 INT. HOSPITAL, O/S MADSEN’S ROOM - DAY 11 - 06.13 5
MARTIN SCHENK, dishevelled and bed-headed, waits while Rose

Teller hastens down the corridor.
SCHENK
I’m sorry to wake you, Ma’am. But I
thought it best.
TELLER
So what’s the prognosis?
Their POV: A DOCTOR is with Madsen.
SCHENK
Officially, it’s too early to say.
TELLER
Unofficially -?
SCHENK
He’s looking very good.
OUT ON THEIR POV: with the assistance of TWO NURSES, Madsen

tries to sip water through a straw. Weak as a kitten.
6 EXT. GRAHAM’S HOUSE - DAY 11 - 06.14 6
Establishing. Graham walks towards the house and to the back

door.
7 INT. GRAHAM’S HOUSE, KITCHEN - DAY 11 - 06.14 7
LINDA SHAND, in socks and dressing gown, is making tea. The

back door opens - Graham enters.
LINDA
(yawns)
Morning, love.
GRAHAM
Morning.
She gives him a peck on the cheek - Graham holds up his hands
as if in surrender -
GRAHAM (cont’d)
Whoah! Dirty hands! Greasy hands!
He goes to the sink, washes his hands in Swarfega, dries them

on a tea towel.
LINDA
Kettle’s on.
She turns her back. His eyes on her. Full of loathing.
8 SCENE 8 OMITTED 8
Luther is woken by his PHONE RINGING. It’s under his pillow.
LUTHER
(answers)
Zo?
10 INT. MARK’S HOUSE, KITCHEN - DAY 11 - 06.15 10
Zoe’s on the phone, making coffee at an expensive-looking

machine.
ZOE
I just rang to see - are you okay?
INTERCUT ZOE and LUTHER
LUTHER
I’m great. I’m great!
ZOE
You sound sleepy.
LUTHER
Yeah. I was asleep.
ZOE
Actual sleep sleep?
LUTHER
Actual sleep sleep. Best sleep since I
don’t know when. Well, I do know when.
She winces.
LUTHER (cont’d)
So - what’s next? What’s the protocol?
ZOE
Protocol for what?
LUTHER
I’ve never had an affair before. I’m
not sure what to do. Is it even called
an affair, when you’re sleeping with
your wife behind her lover’s back?
Beat.
LUTHER (cont’d)
What’s wrong?
She’s melancholy, reflective. She glances up at the ceiling,

where Mark lies sleeping. Doesn’t answer. Can’t.
LUTHER (cont’d)
(misreading her)
If this is about Alice Morgan - if
you’re worried about her, then I’ll
deal with it. I’ll make her go away.
He gets a CALL WAITING signal. Ignores it.
LUTHER (cont’d)
Don’t worry about Alice. She’s gone.
Don’t worry about anything. Things are
different.
Zoe glances up - sharply - at A NOISE upstairs. A door opening.
ZOE
I’ve got to go.
She hangs up. Clears the call from her call register. Then gets
on with making coffee.
Mark shuffles in. Wearing pyjamas. Fuddled. Seeing him, Zoe’s

eyes soften.
MARK
Morning.
ZOE
Coffee’s on.
MARK
You’re up early.
ZOE
Couldn’t sleep.
He goes to the fridge. She watches him. Pain on her face.
Luther lies there - preoccupied, hands laced behind his head -

thinking about how to keep his own promise.
There’s KNOCK AT THE DOOR. He ignores it.
Another knock, more urgent. He gets up - boxers and T-shirt -

shambles to the door. Opens it on TELLER
TELLER
I called.
LUTHER
I was sleeping.
TELLER
What is this, some freakish parallel
universe?
(Looks around)
This it?
LUTHER
This is it.
TELLER
Wow.
Luther goes to the kitchenette, fills the kettle.
TELLER (cont’d)
So anyway. He’s awake.
LUTHER
Who?
TELLER
Henry Madsen.
Water over-runs the kettle’s spout.
LUTHER
What does that mean?
TELLER
I don’t know. What does it mean?
LUTHER
I mean, how awake is awake?
TELLER
First few days, they expect him to be
responsive maybe a few minutes at a
time. He’ll be very confused.
Luther waits for the rest of it, kettle in hand.
TELLER (cont’d)
But, given time, they think he’ll be
able to speak.
LUTHER
Right.
TELLER
So is that bad?
LUTHER
No. No, it’s fine.
TELLER
What’s he going to say?
LUTHER
Does it matter? He’s a hostile
witness. There’s no guessing what lies
he’ll tell.
She interrogates him with a silent gaze. He turns his back,

puts the kettle on to boil, rinses a couple of mugs.
TELLER
You need to stay away from him.
LUTHER
I’m sorry - what?
TELLER
Stay away from him.
LUTHER
Boss, come on -
She holds his gaze. He looks away first.
TELLER
Put the kettle down. Get dressed.
12 EXT. URBAN PARK - DAY 11 - 07.41 12
Ripley is leaning against his car. Luther approaches.
They walk towards the CRIME SCENE. Awkwardness between them.
LUTHER
Look, Justin - what happened with
Burgess - I know it was skirting a
dangerous edge -
RIPLEY
I can’t discuss it. I don’t want to
discuss it. It’s done.
LUTHER
But you need to know - there’s no
more. Not from me. No more. I’m done.
Back on track. Things are going too
well for me to risk jeopardising them.
RIPLEY
That’s good.
LUTHER
So - we okay?
RIPLEY
Course, Boss. Absolutely.
But Luther’s not convinced. He senses doubt in Ripley’s

demeanour. Wants to say more, but they reach the body of Monica
Poole. IAN REED is already there.
They look down at her. The weird halo of belongings - artfully

arranged, macabre and beautiful in the early morning light.
REED
Three previous victims in five weeks,
spread across London.
LUTHER
CCTV?
REED
Vics two and three were picked up on
camera, heading home alone after
nights out. We don’t know about Monica
yet.
RIPLEY
(flicks through case file)
The first victim died a month ago. The
second two weeks later. The third, a
week after that. Monica comes five
days later.
LUTHER
He’s escalating fast. This isn’t just
a serial - this man’s on a murder
spree.
13 INT. SCU, BULLPEN - DAY 11 - 08.11 13
Teller and Reed are briefing the SCU - ALL PERSONNEL. A VIDEO
SCREEN, MAPS.
Luther stays in his office, listening, pacing. He bounces a

SMALL BALL as he watches VIDEO SCREENS which show VICTIM 1 -
AMANDA CROUCH - walking an empty street.
Ghostly image of a dead woman.
INTERCUT THE BRIEFING AND LUTHER - pacing, bouncing the ball

off the wall, catching it. Thinking.
TELLER
(invokes map on screen)
Three previous victims were found in
Isleworth, Whitton, West Drayfield.
All of them were walking home alone.
REED
The dump sites are far apart but
broadly similar, near trading estates.
So the Met thinks maybe our man is or
was a delivery driver or something
similar. Hence “White Van Man”.
INTERCUT THE BRIEFING AND LUTHER - pacing, bouncing the ball

off the wall, catching it. Thinking.
TELLER
The Met reviewed more than two
thousand hours of CCTV footage.
Tracked down and eliminated all vans

and other commercial vehicles within a
two-kilometre bulls-eye zone. They
interviewed two thousand drivers.
Those who couldn’t be eliminated were
added to the suspect pool -
She invokes A SCROLLING WALL OF MALE FACES. HUNDREDS OF THEM.
TELLER (cont’d)
They failed to eliminate thirty-five
vehicles - eighteen small vans, two
Commer style vehicles, seven taxis, an
ice-cream van, and a number of private
vehicles -
She INVOKES THEM ON SCREEN - ghostly images of half-seen

vehicles on quiet London streets.
REED
Tactical Unit 1, under my command,
will concentrate on last night’s
murder of Monica Poole.
TELLER
Tactical Unit 2 will be based here
under the command of Detective Chief
Inspector Luther. You’ll review
existing case evidence pertaining to
previous victims. Focus on the suspect
pool, eliminate those unidentified
vehicles.
(beat)
Be in no doubt. Our man is locked into
a pattern of rapid escalation. He’s
going to kill again, very soon. Except
we’re going to catch him before he
gets the chance.
The briefing ends. The officers split into assigned tactical

groups. Teller heads to Luther’s office - enters.
Luther stops pacing. Catches the ball.
TELLER (cont’d)
You all right in here?
LUTHER
Just thinking.
He nods at the suspect pool, up there on the screen.
LUTHER (cont’d)
History of cases like this says - he’s
already in the database somewhere. We
just need to winkle him out.
So the best place to catch this

bastard is right here, in this room.
So I’m just thinking.
TELLER
Good.
She exits. He paces. Bounces the ball. Catches it.
SCENES 13A - 13C OMITTED
14 INT. GRAHAM’S HOUSE, BEDROOM - DAY 11 - 08.43 14
Graham sitting on the edge of the bed. Feet flat on the floor.
Hands on his thighs. Rigid as a statue. Listening to the radio.
RADIO ANNOUNCER
...body of a young woman found on a
soccer field near Wandsworth Common...
He reaches into his pocket. Takes out the SILVER NECKLACE WITH
A MOON PENDANT. Not new. Tarnished with wear. He puts it close
to his neck. Sniffs at it.
Turns a WEDDING PHOTOGRAPH on the bedside table so that Linda

seems to be looking at him.
ANGLE ON GRAHAM’S FACE as he moves his hands down his lap -

holding the necklace - begins to masturbate -
15 INT. SCU, LUTHER AND REED'S OFFICE - DAY 11 - 08.45 15
Ripley and Luther before video screens showing footage of

AMANDA CROUCH - walking an empty street. Ghostly.
Ripley flicks through PHOTOS OF EACH OF THE VICTIMS.
RIPLEY
Textbook, after the first kill he
enters the depressive phase. He can’t
believe what he’s done. Until the urge
builds again, becomes uncontrollable.
The cooling off periods get shorter
and shorter. But not this quickly. So
what’s driving the escalation?
LUTHER
You got any sexual fantasies?
RIPLEY
None I’d tell you about.
LUTHER
But you ever get to, y’know - act on
them?
RIPLEY
You ever been to Ibiza?
LUTHER
The reality live up to the fantasy?
RIPLEY
I...well...no. Not really. No. Waste
of a holiday, really.
LUTHER
See, it never does. It can’t. Because,
in the end, an orgasm’s just an
orgasm.
RIPLEY
But that doesn’t account for the pace
of escalation.
LUTHER
No, it doesn’t. We’re not looking at a
release, here - we’re looking at an
explosion, the lid coming off a
pressure cooker. A man who’s been
controlling his compulsions, keeping
on top of them for years - until now.
So why’s that? What makes him let go
like this?
RIPLEY
The trigger event is often some kind
of perceived humiliation - loss of
job, loss of spouse -
Luther’s phone rings. ANGLE ON PHONE: it’s Alice. He turns

away, tries to hide his anxiety from Ripley.
LUTHER
Excuse me, I have to take this.
He walks out. Ripley’s eyes on him.
16 INT. GRAHAM’S HOUSE, KITCHEN - DAY 11 - 09.01 16
A GLASS FULL OF SILVER CLEANER - from which Graham fishes the

SILVER NECKLACE WITH A MOON PENDANT. Shining like new.
Also on the table: a small black RING BOX. Some SELLOTAPE.

WRAPPING PAPER -
17 INT. UNIVERSITY CAMPUS, ALICE’S LAB - DAY 11 - 09.02 17
Luther approaches Alice.
ALICE
Police arrested two kids yesterday:
one was drinking battery acid, the
other was eating fireworks. They
charged one and let the other one off.
(Beat)
Tommy Cooper. Boom boom.
LUTHER
What do you want?
ALICE
To gloat about my matchmaking. So how
was it? Everything you dreamed of? Did
the fantasy match the reality?
LUTHER
I can’t talk about this, not now.
ALICE
Are you shy about discussing sex with
me? Because I do know what goes where.
Long beat. Luther prepares to play his gambit. Take the plunge.
LUTHER
It’s not about me and Zoe.
ALICE
What, then?
LUTHER
Henry Madsen woke up.
He waits for her reaction. Her face falls. She’s thunderstruck.
ALICE
Are you in trouble?
LUTHER
Maybe. It’s possible, yeah. I might
be.
ALICE
Is there brain damage?
LUTHER
They don’t know yet, not for sure.
What I do know, I’m going to be under
surveillance. My movements, my phone
calls - everything.
ALICE
Why?
LUTHER
They’re worried I might sneak in
there, finish the job.
ALICE
You might be mad. You’re not stupid.
LUTHER
Listen - this, whatever it is. I can’t
see you any more.
(off her stunned face)
I can’t see you, I can’t speak to you -

not until this Madsen thing is
resolved. I’m sorry. I really am.
He’s half surprised himself to find that he really is. And he’s
troubled - a bit confused - by the seismic effect this news is
having on Alice. She seems - volatile.
LUTHER (cont’d)
Alice, I’m sorry. I’m really, really
sorry. But no more. Not while Madsen’s
hanging over me like this.
(a sad look. A shrug of the
shoulders)
It’s over.
ALICE
No.
LUTHER
Yes. I’ve got to go. Work to do.
He turns. Walks away. She watches him exit the building.
ALICE
No.
18 INT. GRAHAM’S HOUSE, HALLWAY - DAY 11 - 17.22 18
Linda enters, weary after work.
LINDA
Gray? You home, love?
GRAHAM (O.S.)
In here!
19 INT. GRAHAM’S HOUSE, LIVING ROOM - DAY 11 - 17.22 19
He’s watching the news - foot jiggling on the floor. He mutes

the TV as Linda enters - stands, lays down the remote control.
Looks at her - reaches into his pocket. Takes out the JEWELLERY
BOX.
GRAHAM
Happy Birthday.
LINDA
Oh, God - Gray. I thought you’d
forgotten.
GRAHAM
Of course not. Never. Never, never.
(he’s excited, overly
attentive)
Come on, sit - sit down, relax - put
down your bag - open your present -
Linda allows herself to be manipulated - she sits - tries to

smile - begins unwrapping - takes out the MOON PENDANT
NECKLACE.
LINDA
Oh - gosh. Goodness gracious. It’s
really lovely - it’s lovely -
GRAHAM
Put it on.
LINDA
Help me with the clasp.
He helps put the necklace on. He’s breathing heavily, aroused

by the symbolism of the necklace at her throat.
Linda (cont’d)
How does it look?
GRAHAM
Stand up. Let me see.
She hesitates -
GRAHAM (cont’d)
(fidgety, grinning)
Come on - stand up - stand up.
(she stands)
Oh, it looks lovely. Really lovely.
Really gorgeous.
He begins passionately to maul her neck - grunting with the

violence of his arousal -
- as Linda works hard to conceal her disgust.
20 INT. SCU, LUTHER AND REED'S OFFICE - NIGHT 11 - 19.33 20
Luther watches the CCTV footage of London traffic. Hypnotised.

Flicking from screen to screen to screen. Watching the vehicles
that can’t be identified - all of them - car to van, taxi to
van, car to van -
He takes PHOTOGRAPHS OF THE UNIDENTIFIED VEHICLES, shuffles

them like playing cards. Then throws them randomly, all over
the floor of his office.
21 INT. BETHNAL GREEN WORKING MEN'S CLUB - NIGHT 11 - 20.11 21
Graham and Linda come through the doors and down the stairs -
Karaoke is in full swing. As Graham and Linda walk inside, A

TABLE OF FRIENDS stands up - six or eight people, men and
women, one of whom is DENNIS KEATON.
DENNIS
Gray! Mate!
(shakes Graham’s hand)
Linda - happy birthday!
Pecks her on the cheek.
An awkward moment. Complex glances are exchanged between the

three of them - before Linda is dragged into the kisses hello,
the congratulations, the offers of drinks -
Luther is alone. Tired round the eyes. Tie loose at his throat.
He’s eating pizza, sipping an energy drink. He picks up the
phone and dials Zoe’s number. No answer.
Looking at the RANDOM DISTRIBUTION OF PAPERWORK on the floor -

the unidentified vehicles, CCTV stills of the victims. His eyes
take in DISCONNECTED DETAILS.
Ripley enters. Sees the mess.
RIPLEY
You need help clearing this up?
LUTHER
It’s meant to be like this.
RIPLEY
Seriously?
LUTHER
Découpage - cut-up technique. Take a
text, any text. Cut it up into smaller
portions, randomise it. Create new
text. See new patterns.
RIPLEY
That works?
LUTHER
Sometimes.
RIPLEY
Where’d you learn this?
LUTHER
David Bowie.
RIPLEY
As in, Let’s Dance?
LUTHER
As in, Station to Station. It’s how he
wrote his lyrics.
RIPLEY
You a fan?
LUTHER
I don’t look like a fan?
RIPLEY
What - of songs about, like, aliens
and that?
LUTHER
Well, there’s a bit more to him than
aliens. I’ll do you a tape, if you
like.
RIPLEY
A what, sorry?
They lock eyes. A teasing beat. The trust coming back. Broken
by Reed entering.
REED
Ah. You’ve gone all David Bowie on us.
LUTHER
You get anything?
REED
Cause of death confirmed. He chokes
them. No forensics to speak of. No
witnesses.
(sits, massages his face)
Spent the day interviewing family. Her
dad’s dead - so there’s mother, one
sister, one boyfriend, long term.
LUTHER
He on the list?
REED
Pulling a night-shift. Double time.
Twenty witnesses.
Luther looking at the photographs.
REED (cont’d)
I took him through the inventory -
stuff our man left round her.
LUTHER
Anything missing?
REED
Necklace. Pendant on the end, silver
moon.
Passes Luther a photograph - Monica Poole laughing, arm in arm

with her boyfriend. Wearing the silver moon necklace.
Luther looks at it - then gently drops it with the rest of the

stuff on the floor.
LUTHER
He’s taking souvenirs.
RIPLEY
Okay. Owning them evokes the feeling
of power he felt during the kill. Some
of these men keep news clippings,
photographs, whatever. The fact it’s
jewellery -
LUTHER
Might suggest he’s in a relationship.
RIPLEY
He’d give the necklace to his wife,
girlfriend. Every time he sees it,
he’s carried back to the kill.
REED
But the suddenness of it? What kicks
him off like that?
LUTHER
She’s about to leave him. He’s
desperate to keep her. It pushes him
over the edge.
Uncomfortable beat. Somewhere, far off, a pin drops.
LUTHER (cont’d)
Okay - got you. And no, no, no, no,
no. Just because we’ve all been hurt
and betrayed in our time, it doesn’t
mean he’s like us, or we’re like him.
We don’t need insight into his
tortured soul to understand him. He
hates women and likes killing them.
That’s all we need to know about him,
except who the hell he is and where
the hell he’s at.
Okay? Right. He gets back to it.
LUTHER (cont’d)
So - the victim was getting married?
REED
Next month.
LUTHER
They happy?
REED
Childhood sweethearts. He looks like a
young Damon Albarn, faithful as a
hound. Working nights to pay for the
wedding.
LUTHER
So why’s she walking home alone?
REED
Been to meet friends in the pub, talk
about the hen night -
LUTHER
All the friends eliminated?
REED
All eliminated. She’s walked home that
way a thousand times before -
Luther’s eyes flicking over the images.
LUTHER
So - she’s engaged, she’s happy, she’s
on home ground. She’s not going to
stop to chat with Jack the Lad in his
white van, is she? So how does our man
get her in the van?
RIPLEY
Blitz attack. He gets out, clobbers
her, drags her into the van.
LUTHER
No sign of that. No screams, no
reports of altercation.
REED
She gets in voluntarily.
LUTHER
Could be.
REED
How’s he make her do that?
RIPLEY
He‘s trusted. Knows her, maybe?
REED
He can’t have known all four of them.
LUTHER
But they all trusted him.
He looks at the pictures of the UNIDENTIFIED VEHICLES - And

sees it.
LUTHER (cont’d)
We’re looking for a taxi driver.
24 SCENE 24 OMITTED 24
25 INT. BETHNAL GREEN WORKING MEN'S CLUB, GENTS - NIGHT 11 - 21.4625
Graham washes his hands. And we see him in this PRIVATE MOMENT,
examining his own face in the bathroom mirror. An animal. He
leaves - steps out into the RAUCOUS NOISE of the pub.
All the friends round the table - laughing and joking.
Linda meets Dennis’s eyes. A fraction too long. She toys

nervously with her necklace.
Graham emerges from the gents. Heads towards the party - squats
as Linda's side.
GRAHAM
Sorry, love. Got to go!
LINDA
That’s all right!
GRAHAM
Happy birthday! You enjoy yourself!
His eyes flick to the necklace. He grins, slaps Dennis on the

shoulder.
GRAHAM (cont’d)
Look after her for me, mate! Make sure
she has a good time!
DENNIS
Will do!
GRAHAM
(low)
Sorry we were running a bit late
tonight, mate. I had to give her one -
for her birthday. How she likes it -
good and hard and long. Tell the
truth, I’m surprised she can walk.
He leers - adjusts his crotch - then exits. Dennis’s smile

falters. So does Linda's. They watch him go.
27 EXT. CENTRAL LONDON - NIGHT 11 - 22.01 27
The street teems with black cabs like glistening tadpoles

writhing in a pond.
28 INT. GRAHAM’S TAXI, LONDON - NIGHT 11 - 22.02 28
Graham at the wheel. A predator.
Luther steps inside. Looking at the CCTV screens. All those

black cabs. Mixture of day and night shots. We leave him there,
restless and strained as we -
FADE TO:
30 INT. HOSPITAL, O/S MADSEN’S ROOM - NIGHT 11 - 22.11 30
A NURSE passes the BORED POLICE GUARD stationed at the door -

gives him a nod hello. He nods back - returns to his magazine.
The nurse steps into Madsen’s room -
31 INT. HOSPITAL, MADSEN’S ROOM - NIGHT 11 - 22.11 31
- and sees that, once again, MADSEN’S EYES ARE OPEN. She
hurries closer, concerned and attentive -
- sees Madsen’s LIPS ARE MOVING. Minutely. Almost silently.

Trying to form a word through cracked lips. All she hears is
breathing. She edges closer - closer - closer still -
- puts an ear to his lips. And listens -
SMASH CUT TO:
32 INT. SCU, BULLPEN - NIGHT 11 - 22.39 32
Teller strides through the Bullpen - past BUSY STAFF monitoring

the passage of THOUSANDS OF TAXIS on London streets -
She enters - sees the astonishing mess, rolls her eyes. Luther
passes her a REPORT - she ignores that too, sets it aside.
LUTHER
What’s wrong?
TELLER
Henry Madsen is talking.
Beat. Their eyes lock.
LUTHER
What’s he saying?
TELLER
The doctors won’t let us anywhere near
him - not yet. So right now, anything
he might say means nothing. It’s
inadmissible. Hearsay.
LUTHER
Boss, what’s he saying?
TELLER
Your name. Or something like it.
LUTHER
(looking nauseated)
Right. Okay. Okay...okay.
He turns, faces the bullpen. Gets himself together. Picks up

the report she set aside. Puts it in her hands.
LUTHER (cont’d)
A few minutes ago we got this -
ANGLE ON CCTV - a taxi performs a U-turn on a suburban street.
LUTHER (cont’d)
This is the south end of Broughton
Row. Less than half a mile away.
That’s the closest hit.
TELLER
We get the driver -?
Luther freeze-frames, zooms in. The DRIVER wears a BASEBALL CAP

and GLASSES. As the car passes in SPECTRAL FRAME-BY-FRAME, we
see a GHOSTLY IMAGE of MONICA POOLE in the back seat.
TELLER (cont’d)
Is that her?
LUTHER
We think so, yeah. We think that’s
her.
TELLER
Tell me you got that number plate.
Luther zooms in still further. The number plate RESOLVES -

until we see it clearly: TL7574.
LUTHER
Number plate. Driver’s name, home
address, phone number. Right now we’re
triangulating his mobile phone signal -
At that, Ripley enters, excited and flushed.
RIPLEY
We’ve got him! Locked on!
They share the euphoria of the moment - the scent of blood.
TELLER
So? Go go go!
Ripley exits at a run.
34 EXT. LONDON STREETS - NIGHT 11 - 22.51 34
Police cars tear silently through the night -
35 INT. REED’S CAR - NIGHT 11 - 22.51 35
Reed at the wheel. Ripley his passenger.
36 I/E. GRAHAM’S TAXI, LONDON STREET - NIGHT 11 - 22.52 36
Graham is cruising the quiet streets. He spots -
37 EXT. LONDON STREET - NIGHT 11 - 22.53 37
- CLAIRE WELDON walking alone. Footsteps echoing. No cars. No

people. Just a BLACK CAB slowing behind her. Familiar and
monstrous.
38 I/E. GRAHAM’S TAXI, LONDON STREET - NIGHT 11 - 22.53 38
Graham slows, pulls over alongside Claire, lowers his window.
GRAHAM
Hey, love! Love -
CLAIRE
I don’t need a cab, thanks. I don’t
live that far.
GRAHAM
It’s not that, love. Listen, it just
came over the radio - a girl’s been
attacked just down the road...off
Holywell Avenue.
CLAIRE
(stops)
Oh, you’re joking -
Glances with dread towards Hollywell Avenue -
GRAHAM
Apparently he got away before he could
do much - but they’ve warned us to
keep an eye out because he’s probably
still out there. I had to stop and
tell you, love, they make us do it.
You sure you’ll be all right?
CLAIRE
(no)
Yeah. It’s only five minutes -
GRAHAM
Where do you live?
CLAIRE
Lacey Road? Down that way?
GRAHAM
That’s past Holywell, innit? Look, I’d
hate it if my girl had to walk home
alone, this time of night, all this
going on. Hop in.
CLAIRE
I can’t. I haven’t got any -
GRAHAM
Forget the money. Let’s just get you
home safely.
(she hesitates)
Come Christmas, give five quid to the
dog’s home for me.
CLAIRE
Sure?
GRAHAM
Course.
She smiles, delighted. Gets in. Sits in the back.
Graham pulls away. His eyes in the rear-view. Seeing her

HANDBAG. Balanced on her lap.
Luther paces - drinks coffee - listens to chatter on the radio.
INTERCUT with the TAXI as it RIDES ON - smooth and sure - to

QUIETER AND QUIETER STREETS -
Silence and darkness.
39A INT. GRAHAM’S TAXI - NIGHT 11 - 22.54 39A
Graham at the wheel. Quite calm. Claire in the back.
39B EXT. LONDON STREETS - NIGHT 11 - 22.54 39B
POLICE CARS SHARKING in SILENT PURSUIT -
LUTHER paces.
THE TAXI turns onto a DARK, DARK STREET
40 EXT. DARK STREET, MUNICIPAL PARK - NIGHT 11 - 22.55 40
Then slows. Prowls along the EDGE of a MUNICIPAL PARK.
POLICE CARS TEAR through the night.
LUTHER paces. Come on, come on. Come on.

THE TAXI STOPS near the EDGE OF THE PARK. Suburban quiet.
Darkness.
Deserted.
A long, long beat of OMINOUS SILENCE. Just the familiar,

CHUGGING GROWL of the taxi’s engine -
Then the LIGHT COMES ON INSIDE THE CAB. Shocking in the

darkness.
A beat.
A POLICE CAR screams out onto the street in front of the taxi -
and REED’S CAR screeches to a halt behind it. Ripley and Reed
emerge - sprint to the taxi - badge the driver
RIPLEY
Police! Police! Turn off your engine!
REED
Turn off your engine and step outside
the car!
He yanks opens the driver’s door - and sees -
41 I/E. BLACK CAB, LONDON STREETS - NIGHT 11 - 22.55 41
The DRIVER. Who’s silver-haired, late sixties. Not Graham.
Reed drags him out, throws him over the bonnet, cuffs him.
REED
Trevor Rowan, I’m arresting you on
suspicion of murder -
IN THE BACK:
Ripley QUICKLY GLIMPSES a YOUNG WOMAN: Trevor’s passenger.

Shocked into silence. Her purse still in one hand. A twenty
pound note in the other. She’d been about to pay him.
SMASH TO:
41A EXT. LONDON STREETS - NIGHT 11 - 22.56 41A
Graham at the wheel. Claire in back. City lights pulse over

them. Rhythmic. Hypnotic. Illuminating his private smile.
42 INT. BACK OF GRAHAM’S CAB, LONDON STREETS(TRAVELLING)- NIGHT 1142-

22.56
Claire is still in the back of Graham’s cab. She frowns - turns

in her chair - faces front.
CLAIRE
Excuse me - excuse me - I think you
missed a turn - that was my street,
back there - Lacey Road? Excuse me?
Graham’s eyes in the rear-view mirror. Blank.
CLAIRE (cont’d)
Excuse me - excuse me -
42A OMITTED 42A
43 INT. DENNIS KEATON’S HOUSE, BEDROOM - NIGHT 11 - 23.16 43
Dennis looks at Linda as she traces a knot of worry between his

eyes.
LINDA
What’s wrong?
DENNIS
You said he was impotent.
LINDA
He is. He was. It’s - I don’t know.
It’s come back. The last few weeks,
it’s come back. I hate it.
Dennis turns over, faces the ceiling.
LINDA (cont’d)
Do we have to talk about this? When
I’m here, can’t I just be here?
Beat.
DENNIS
He knows, doesn’t he. About me and
you. He absolutely knows.
Out on her WORRIED EYES -
44 EXT. VAUXHALL PARK - DAY 12 - 06.03 44
Claire Weldon lies dead in a halo of her belongings. Her empty

handbag balanced on her sternum.
In the silence, her phone rings. Rings off. Begins to ring

again. A sad song to greet the dawn.
NEARBY
AN EARLY MORNING JOGGER hears the ringing - coming from the

trees near the path - near the climbing frames - the slides -
the swings.
She stops. Listen. Tentatively moves forward to investigate -

45 INT. MARK’S HOUSE, KITCHEN - DAY 12 - 07.13 45
Zoe and Mark are eating breakfast. He’s watching her.
MARK
You okay?
ZOE
Me? Yeah, I’m good. Great! Why?
MARK
You seem - I don’t know. You sure
you’re okay?
ZOE
I’m sure I’m okay.
Yearning in his eyes. Something being left unsaid. Then - with

effort - his expression changes. His eyes sparkle.
MARK
(sings)
“Search your heart...search your soul
And when you find me there you'll
search no more...”
ZOE
Stop!
MARK
“Don't tell me it's not worth tryin'
for...You can't tell me it's not worth
dyin' for...You know it's true...”
ZOE
(throws toast)
Stop!
MARK
(with feigned passion)
“Everything I do - I do it for you”.
ZOE
You’re an arsehole! I hate that song.
MARK
You know you love it.
A good moment. Mark butters his toast. Zoe looks at him with
love in her eyes.
Teller enters, shuts the door. Luther can see it in her

expression. Another victim.
LUTHER
No.
She nods. Luther kicks his chair. It slams into the wall. A
beat of silence. Then he sits in the chair, head in hands.
47 EXT. HOSPITAL - DAY 12 - 08.06 47
Alice enters the hospital. She has a LARGE BAG slung across her
shoulder. It’s busy. Anonymous. Nobody pays her the slightest
attention.
Luther and Teller look at the screens showing TREVOR ROWAN in

the interview room, with Reed.
LUTHER
His alibi holds. He was in Eccleston
Place, SW1. Passenger and credit card
details prove it. He’s not our man -
TELLER
So there are two taxis with the same
number-plate on the same night in
london?
LUTHER
He cloned the plate. It’s easy. All
he’s got to do, is make note of real
taxi number plates - then import
“spares” from Ireland. He could have
half a dozen different numbers -
TELLER
Or fifty. Or a hundred. So what do we
have?
Luther invokes the CCTV of the Taxi on Broughton Row, mid-U-

turn.
LUTHER
This.
TELLER
This what?
LUTHER
He tries to take this turning, at the
end of Broughton Row...messes
up...does a U-turn. That seemed odd,
so we checked. Broughton Row used to
be a through-way. But they blocked it
off when the hookers moved in. Made it
a rat-run.
TELLER
When was this?
LUTHER
March 2002.
TELLER
The implication being?
LUTHER
I don’t think he’s a taxi driver. I
think he used to be. Or tried to be.
A knock on the door. Ripley enters.
RIPLEY
Not only is there no law against
selling second-hand taxis, it’s easy
and cheap.
LUTHER
How many people are driving round
London in one of these things?
RIPLEY
Other than Prince Phillip, Kate Moss
and Stephen Fry? There’s no way to
tell. There’s no database. But it runs
into the high hundreds, low thousands,
easy. More than you want to think
about, let alone track down.
Luther, Teller and Ripley look at the CCTV footage. All those
taxis.
TELLER
He could have a different licence
plate for every night of the month.
He’s completely anonymous - one taxi
among twenty thousand others - and
trusted by default. He might as well
be invisible.
LUTHER
And he’s in a feeding frenzy. There’ll
be another victim tonight. And more
tomorrow - and tomorrow - and
tomorrow.
Out on their fear - watching the footage of the taxis.
49 INT. GRAHAM’S LOCK-UP - DAY 12 - 08.31 49
Graham is CHANGING THE NUMBER PLATES on his taxi.
50 INT. HOSPITAL, CORRIDORS BY LADIES BATHROOM - DAY 12 - 08.32 50
Alice emerges from the LADIES BATHROOM - she’s wearing

spectacles, a WHITE LAB COAT - and a SINGLE COLOURED CONTACT
LENSE - brown.
She pops a “CLEANING IN PROGRESS” SIGN OUTSIDE THE DOOR.

We see a CURLING WISP OF GREY SMOKE emerge from under the door.
Alice walks away, looking occupied - and doctor-like.
50A INT. HOSPITAL - CORRIDOR BY LADIES BATHROOM - 08.34 50A
As a NURSE opens the bathroom door, a BELLOW OF SMOKE comes

out. We glimpse a sudden flicker of flame inside. The nurse
reels back, shutting the door, and hits the fire alarm in the
corridor.
51 INT. SCU, TELLER’S OFFICE - DAY 12 - 08.38 51
Luther, Reed, Teller. An air of weariness - three people who’ve

been up all night, to meet only failure.
TELLER
We warn people not to catch taxis, it
causes chaos and achieves nothing -
REED
Except create twenty-thousand suspects
in the public’s mind - and send our
man to ground.
LUTHER
Besides - wave a wand, wipe all the
black cabs from the face of London -
there’ll still be young women needing
to get home at night. All he does is
modify his M.O.
TELLER
You think he’ll be hunting again
tonight?
LUTHER
He can’t stop.
TELLER
Then we have to take him today.
Her phone rings. She answers.
TELLER (cont’d)
Teller -
Her face falls. Silence in the room until she hangs up - and
looks at Luther with a mixture of curiosity and dread.
TELLER (cont’d)
Chartwell Hospital’s on fire.
52 INT. HOSPITAL - DAY 12 - 08.39 52
THE ALARM SHRIEKS a continuous, shrill note. MEMBERS OF THE

PUBLIC and NON ESSENTIAL PERSONNEL are evacuating -
But Alice, in her lab coat, moves against the flow -

ALICE
Excuse me. Excuse me. Sorry. Sorry, do
excuse me -
She pushes along until she gets to the POLICE GUARD outside
Madsen’s room. Made nervous by the alarm, he’s nevertheless
maintaining his position. Alice approaches. Chill, commanding.
ALICE (cont’d)
Officer -
PC FULFORD
Fulford -
He squints. Focuses on her DIFFERENT COLOURED EYES.
ALICE
We’re having some trouble with a few
members of the public on ward 28. They
won’t leave the building. Response is
on the way but - since you’re here.
PC FULFORD
I’m not supposed to -
ALICE
I wouldn’t ask if it wasn’t an
emergency. I’ll stay with the patient.
Fulford hesitates. Then wilts under her cool authority -
PC FULFORD
Ward 28?
ALICE
Next floor down.
He hesitates - she encourages him with a little nod. He hurries

away - leaving Alice to slip into Madsen’s room.
- and shut the door. She looks left. Then right. Then at
Madsen.
He’s lying there. Eyes open. Watching her. He starts to speak,

trying to form the word.
ALICE
Hello, Henry.
She reaches out. Touches his dry lips - almost caresses them.
His eyes widen in fear. He tries to speak. To say it.
ALICE (cont’d)
Shhh. Don’t say his name. Don’t.
The caressing hand suddenly pinches Madsen’s nostrils. Alice

puts her other hand over his mouth - presses down -
He struggles in his terror - but he’s etiolated, weak -

helpless as a kitten -
ALICE (cont’d)
Shhhh. Shhhh. Shhhh.
ANGLE ON ALICE as she smothers the life from him - watches the
life extinguished in his eyes - the only sound the shrieking
fire alarm -
55 INT. SCU, BULLPEN - DAY 12 - 10.33 55
Luther walks to Ripley’s desk.
ANGLE ON RIPLEY’S COMPUTER: we see -
RIPLEY
Cabbies who’ve been sacked, invalided
off, retired. Plus a list of drivers
who’ve tried and failed the Knowledge
over the last twenty years, triaged,
then cross-referenced against the
suspect pool.
He sits, makes a rapid entry on the laptop keyboard. FACES

begin to disappear - one by one - until only TWENTY-THREE
remain.
Graham is one of them - his old Driver’s Licence. We barely

recognise him - he’s one face among many, the picture taken
years ago - he’s got a beard. Heavier glasses. But it’s him.
RIPLEY (cont’d)
Twenty-three hits.
LUTHER
Best?
He notices Schenk stepping onto the unit, ambling up to him.
SCHENK
Sergeant Ripley, I wonder if you
wouldn’t mind me borrowing the
Detective Chief Inspector for a
moment?
RIPLEY
Um - not at all, Sir.
Schenk takes Luther’s elbow, walks him to his office. Like

confidantes, best friends.
SCHENK
Stressful day.
LUTHER
Five victims dead. Maybe twelve hours
until the next - so please don’t think
I’m being rude, Martin -
SCHENK
Henry Madsen passed away.
LUTHER
- I’m sorry?
SCHENK
It could be fluke, unconnected to the
fire. He shows early signs of
recovery, comes off the ventilator, it
goes wrong. It happens. Who can tell?
LUTHER
But?
SCHENK
But the fire was arson. And these two
events, co-occurring -
LUTHER
Madsen had a permanent guard.
SCHENK
Who was directed away from his post by
some doctor.
LUTHER
What doctor?
SCHENK
Well, quite. Who can tell? She was
young, very pretty. Dark-haired. And
herterochromatic.
LUTHER
I’m sorry?
SCHENK
Different coloured eyes. Like David
Bowie. But no doctor with
heterochromia of the eye is currently
employed by the Chartwell hospital.
LUTHER
So, some doctor lost a contact lens.
SCHENK
Ah, yes. Probably. But if not - if
this was somebody posing as a doctor,
someone who knew how to misdirect
potential eyewitnesses, someone who
wanted access to Henry Madsen - do you
have any notion who this might be?
Something buried in the Madsen case

file, perhaps?
LUTHER
Well, I could rattle off a hundred
people who might want him dead. I’d
start with the parents of the victims.
SCHENK
Yes, yes of course. But the timing. It
chafes at my brain. Why now? Why today
- the very day he wakes up?
LUTHER
I don’t know, Martin. It’s a mystery.
Schenk holds his gaze - then looks round at all the mess, the
detritus, the CCTV -
SCHENK
You’re busy. I should leave you be.
LUTHER
Look, you want to talk this through,
I’m here. But maybe not today, eh?
SCHENK
Not today, no. Quite.
A beat, and Schenk exits. Luther sinks into his chair. His
phone rings. UNKNOWN NUMBER.
LUTHER
Yeah? Hello?
56 EXT. UNIVERSITY FIRE ESCAPE - DAY 12 - 10.35 56
Alice sits on a step.
ALICE
Don’t worry about the call being
traced. This is a disposable phone -
one conversation, then I wipe it and
it goes into someone else’s garbage.
INTERCUT LUTHER and ALICE.
Luther shuts the door. Goes to his office window. Watches his
team - at work. And Schenk entering Teller’s office.
LUTHER
I told you. I can’t talk to you. Not
now, not tonight, not tomorrow. Not
ever again.
ALICE
Well, there’s a remarkable absence of
gratitude for you.
LUTHER
Do you know what you’ve done?
ALICE
Given you back your wife. Saved your
job. Saved you from disgrace and
imprisonment.
LUTHER
Alice, you committed murder -
ALICE
All I did was finish a job you
started. What are you going to do,
arrest me for it?
LUTHER
I have to! I’m a police officer. I
know you did this!
ALICE
Shall I articulate why you won’t?
LUTHER
Stop. Just stop.
ALICE
Arrest me, I’ll tell them you made me
do it. You threatened me. There’s
phone traffic between us to prove it -
including the call I’m making from
this phone. The other SIM cards I
kept.
LUTHER
Empty threats. Implicate me, implicate
yourself. You’re far too in love with
your own genius to allow that to
happen.
ALICE
Conspiracy to murder will be just the
start of it - I can send you to
hell. You’ll burn for the rest of your
life. Which is why I would
APPRECIATE...SOME!...GRATITUDE!
Luther is taken aback by her sudden fury - as Alice becomes

demonic, possessed.
ALICE (cont’d)
I DID IT FOR YOU! PIG! FILTH!
Students glance up at her nervously -
ALICE (cont’d)
I DID IT FOR YOU!
LUTHER
STAY AWAY! STAY OUT OF MY LIFE! STAY
AWAY FROM ME!
He hangs up - throws the phone against the wall - it shatters.
He looks up.
To see the ENTIRE TEAM - Ripley, Teller, Schenk, the SCU - are
staring at him.
He makes a disgusted face, turns away.
57 EXT. UNIVERSITY FIRE ESCAPE - DAY 12 - 10.37 57
Alice stands there, phone buzzing in her hand. Bereft.
58 INT. SCU, TELLER’S OFFICE - DAY 12 - 10.37 58
Schenk guides Teller by the elbow into her office, shuts the
door.
TELLER
What can I do for you, Martin? Busy
day, here.
SCHENK
I see that. I’ll be gone in a few
moments. I just - given what I’ve just
seen - I’d like John Luther’s phone
and email records, please. I’m
terribly sorry.
TELLER
I know what you’re thinking. But he
was here. I kept him here. He hasn’t
left the building.
SCHENK
And yet, I’d prefer to check. Just to
put my mind at ease.
Luther stands there - frustrated beyond endurance - a timid

knock at the door. Ripley.
RIPLEY
You - um - you okay in here?
LUTHER
Yeah. Sorry. That was my wife. Ex
wife, whatever. Sorry. Long night.
Come in.
Ripley enters - shuts the door - hands Luther a file.

RIPLEY
Those suspects. Have you eaten?
(Luther gives him a look)
Seriously. You need to eat.
LUTHER
Show me the suspect list -
Ripley sits at the computer, invokes an image of -
RIPLEY
Best hit, Graham Shand, 47. Drinking
in the same pub as Victim 1. Failed
the Knowledge three times, last time
in 2002. Until six weeks ago, he
worked nights at a Taxi breakdown and
recovery garage -
LUTHER
What happened?
RIPLEY
Formerly decent employee. Seems to
have undergone some kind of breakdown.
Drinking... “sexually inappropriate”
conduct...
LUTHER
What does that mean, exactly?
RIPLEY
We’re following that up now.
LUTHER
How long did he work there, the
garage?
RIPLEY
Six years. Until lately his behaviour
was - within the bounds of normality.
Teller enters. Shuts the door. Crosses her arms. Listens.
LUTHER
Any hard evidence?
RIPLEY
There’s no record of him, his wife,
known friends or family ever buying a
second-hand taxi. No registered lock-
ups, no garages. No nothing.
LUTHER
But plenty of opportunity to buy one
cash, under the table. Form?
RIPLEY
None. You want to bring him in?
LUTHER
Yeah. We know where he is?
RIPLEY
No.
LUTHER
He’s nocturnal, used to working
nights. Could be he’s at home, asleep.
TELLER
I’ll get DCI Reed to the house with a
warrant -
RIPLEY
And if he’s not there?
LUTHER
We target his weak spot.
RIPLEY
What’s that?
TELLER
(looking at Luther.)
The wife. Always the wife.
LUTHER
Look her up. Bring her in.
Uneasy beat.
TELLER
Sergeant, if I could have a moment
with the Detective Chief Inspector?
RIPLEY
Of course, Ma’am.
Ripley exits, rolling his eyes.
Teller looks at the picture of Graham.
TELLER
This definitely our man?
LUTHER
Good candidate.
TELLER
Nice work. So what’s happening between
you and Zoe?
He stares at her.
TELLER (cont’d)
That was her on the phone just now,
right?
LUTHER
Yeah. That was Zoe.
TELLER
Ah! All the shouting, the screaming.
It’s yesterday once more. So are you
and she - ?
LUTHER
Yes. No. I don’t know. Possibly. Who
knows?
(off her expression)
Well, it’s nice to see you happy for
me.
TELLER
You want to know the real tragedy of
marriage?
LUTHER
No.
TELLER
Women hope men will change, but they
don’t. Men hope women won’t change.
But they do.
She walks to the door.
TELLER (cont’d)
I need you to stay in this building
until you’re cleared to leave.
LUTHER
I’m trying to run an investigation,
here.
TELLER
And like you say; this is the best
place to run it from. So just do that.
61 INT. GRAHAM’S HOUSE - DAY 12 - 11.13 61
Reed in the lounge, on the phone as UNIFORMS finish their

search. He spots a wad of money partially hidden on the side.
When no one is looking, he pockets it.
REED
No-one’s home.
62 INT. CINEMA - DAY 12 - 12.26 62
Linda is polishing the floor with a buffer. Ripley steps into

the open doorway.
LINDA
Hello?
RIPLEY
Linda Shand?
LINDA
Yeah?
RIPLEY
(badges her)
Mrs Shand, I’m Detective Sergeant
Ripley -
LINDA
(kills the vacuum)
Who, sorry?
RIPLEY
Detective Sergeant Ripley. Out of the
Serious Crime Unit, Hobb Lane.
LINDA
Police? Seriously? What’s wrong? Is
Graham okay?
RIPLEY
It’s nothing like that. But I wonder
if you wouldn’t mind coming with me,
help clear up a few things.
LINDA
What sort of thing?
RIPLEY
I’m sure there’s nothing for you to
worry about.
LINDA
What is it?
RIPLEY
It’s just, your name popped up on a
database -
LINDA
What database? How?
RIPLEY
Probably it’s nothing. We just need to
ask you some questions.
LINDA
About what?
RIPLEY
Graham, mostly.
LINDA
Oh, God. What’s he done? Has he done
something?
RIPLEY
If you’d like to come with me -
LINDA
I feel sick. Can I -
She nods at the bathroom right next to Ripley.
RIPLEY
Of course.
She enters. Shuts the door.
63 INT. CINEMA, BATHROOM - DAY 12 - 12.28 63
Linda enters. Runs the tap. Sickened. Furious. She nearly

throws up. Then she dials her phone.
64 EXT. STREETS, BETHNAL GREEN - DAY 12 - 12.28 64
Graham is walking along the street. Remembering. His thoughts

are interrupted by the phone ringing.
GRAHAM
Linda?
INTERCUT GRAHAM and LINDA
LINDA
What’s going on?
GRAHAM
What do you mean?
LINDA
The police are here.
GRAHAM
What do you mean? What do they want?
LINDA
I don’t know.
GRAHAM
Did they mention me?
LINDA
(venomously)
What did you do?
GRAHAM
What did they say?
LINDA
Have you been stealing again? Have you
been -
(shudders)
GRAHAM
No! No, of course not.
LINDA
What have you done, Graham? What was
it?
GRAHAM
What did they say? They must have said
something! What did they say?
Suddenly, Ripley kicks down the door - snatches the phone from
her hand.
RIPLEY
You stay there. Do not move.
She cowers weeping against the basin - as Ripley phones Luther.
RIPLEY (cont’d)
We’re blown. She called him.
On the phone, Luther winces.
LUTHER
We’re not going to find Graham Shand
without her help. So bring her in.
Drag her if you have to. I don’t care.
Luther hangs up. He then dials Zoe’s number. No answer.
66 EXT. STREETS, BETHNAL GREEN - DAY 12 - 13.33 66
Graham roars with frustration.
GRAHAM
Not yet! Not yet! Not yet!
He sits on a doorstep. Head in hands. His anger grows. He tugs

his hair. Rocks on the fulcrum of his coccyx. Doesn’t know what
to do. So much rage, so much frustration.
He PUNCHES HIMSELF IN THE THIGH. It hurts. Then he does it

again. Hard. Then harder still. And again and again and again,
howling with the pain of it. But the pain clarifies his mind.
Because suddenly -
THE PHONE.
He pulls it out of his pocket. Turns it off. Thinks.

He gets up off the step.
66A EXT. STREETS, BETHNAL GREEN - DAY 12 - 13.43 66A
Graham walks down the street. He slams the phone into the back
of a parked truck.
He smiles. Sly. Walks on.
67 EXT. MARK’S HOUSE - DAY 12 - 15.47 67
Alice sits on the kerb, hands on her knees - like a child

waiting for her parent to come home.
She senses when the man she’s been waiting for arrives - looks
up over her shoulder - gives him a DAZZLING SMILE. A smile full
of hurt. And perhaps pity.
It’s MARK NORTH. Car keys in one hand, briefcase in the other.
MARK
Go away.
ALICE
I can’t.
MARK
I’m sick of this. Whatever you’re here
to say - I don’t want to hear it. I
really don’t. So please - do us all a
favour, call yourself an exorcist.
Gestures with keys: excuse me
ALICE
Oh, I see. You already know.
MARK
Know what?
ALICE
That Zoe’s lying to you.
MARK
No. No, no no. I don’t want to hear
it. I want you out of my way, and out
of my life.
ALICE
Yeah, I’m hearing that a lot today.
MARK
There’s something badly wrong with
you. I wish I could help you, I really
do. But I can’t. So I’d like you to go
away, please, and stay away. You’re
completely -
ALICE
Right. As I suspect you know.
He looks at her. Unblinking. And then sags at the shoulders.
69 INT. SCU, WAITING ROOM - NIGHT 12 - 18.23 69
Luther leads Linda to the waiting room. She’s very anxious.

She’s never stepped foot in a police station before.
LINDA
So -
She looks at him. Blank with anxiety.
LUTHER
Can I get you a tea? A coffee?
LINDA
Some water, maybe?
He sets down the case file on a chair. Goes to the water

cooler, draws her a cup, passes it to her. She sips. Nervous.
LUTHER
How have things been, lately - between
you and Graham?
LINDA
Fine. Why?
LUTHER
Do you know where he was on Friday
night?
LINDA
At the pub. With me and some friends.
It was my birthday.
LUTHER
He was with you all night?
LINDA
Not all night, no. He went to work.
LUTHER
Where?
LINDA
At the garage. He works at an all
night recovery garage. Taxis, mostly.
LUTHER
The thing is - Graham hasn’t worked
there for two months now.
LINDA
(after a beat)
What?
LUTHER
You didn’t know?
LINDA
No.
Luther rests his eyes on her. Not accusing; gentle, forgiving,

compassionate.
Ripley pokes his head round the door.
RIPLEY
Boss? I’m sorry to interrupt - it’s a
bit urgent -
LUTHER
(to Linda)
I’m sorry, I have to dash. I’ll be
back soon. We’ll talk properly.
LINDA
What about, exactly?
LUTHER
Soon as I can. Promise. Excuse me.
He exits at speed. And we follow Linda's gaze - as she looks

round the room - until finally her eyes settle - on the CASE
FILE Luther left behind in his haste.
She glances at the door - back at the file. To the door.
To the file -
70 INT. SCU, O/S WAITING ROOM - NIGHT 12 - 18.25 70
Luther exits the waiting room.
RIPLEY
I time that okay?
LUTHER
Perfect.
They approach Teller.
TELLER
How is she?
LUTHER
She knows something’s not right.
TELLER
She’s going to know a lot more than
that in a few minutes.
LUTHER
Look, we confront her - she becomes
defensive, guilt-ridden, she clams up
and we get nothing. She thinks she’s
discovered the truth for herself,
she’ll be more accessible a subject.
TELLER
You don’t think this approach is a bit
- merciless?
LUTHER
Because of her, Graham knows we’re on
him. He’ll try to kill as many as he
can before we catch him. If I have to
terrify his wife to stop that
happening, I can live with it.
TELLER
If it doesn’t work?
LUTHER
We pick up the pieces of her and start
again.
TELLER
Thus speaks John Luther, gentleman of
this parish.
LUTHER
She knows what her husband is.
TELLER
But maybe not what he’s done. There is
a difference.
Linda stares at the CASE FILE. Stands. Goes to the water

cooler. Gets herself another drink. Pointedly ignores the file.
Sips the water. Looks at the file. Looks away.
A peek couldn’t hurt. Just a peek. She lifts the manilla cover
with the edge of an index finger. Just a touch. Then a little
more. Then all the way.
Gets her first glimpse of a CRIME SCENE PHOTOGRAPH -
LINDA
Oh God.
Steps back, as if it’s burned her. But can’t resist its lure.
She opens the folder again -
Luther is pacing, nervous, waiting. We don’t know for what -

not yet. Not until he hears a CRY OF DESPAIR from the waiting
room -
He darts towards it -
- and enters. To see CRIME SCENE PHOTOS SCATTERED EVERYWHERE -

and Linda curled up, wracked by TERRIBLE DISTRESS -
- clutching a PHOTOGRAPH OF MONICA POOLE - in which she WEARS

THE MOON PENDANT NECKLACE
LUTHER
Mrs. Shand? Linda?
LINDA
What’s this?
Shows him the necklace she’s ripped from her neck
LINDA (cont’d)
WHAT’S THIS?! What is it? What is it?
What is it?
Luther steps forward - takes her in his arms -
LINDA (cont’d)
Oh God, oh God, oh God, oh God. What
did he do? What did he do?
74AAINT. MARK’S HOUSE, KITCHEN - NIGHT 12 - 18.54 (FORMERLY 71) 74AA
Zoe enters. Mark is sitting at the kitchen table. He’s a good

way through a bottle of wine.
She sits. Tentative, nervous.
ZOE
Is there a glass for me?
MARK
Course.
As he pours her a glass, his eyes don’t leave hers.
ZOE
I - okay. Right. I have something I
need to say. To, um, tell you.
Looking into his eyes. Seeing what’s reflected there.

ZOE (cont’d)
You already know.
MARK
Pretty much.
ZOE
How?
MARK
It doesn’t take a intuitive genius.
ZOE
Why didn’t you say anything?
MARK
It’s not my business.
ZOE
(emotional)
Of course it’s your business. Don’t
say that. Please. It’s absolutely your
business.
She touches his hand, expecting him to withdraw. He doesn’t. He

holds her hand.
MARK
For what it’s worth - do you know what
I think you need to do?
ZOE
Mark -
MARK
Seriously. I’d make a list of the
reasons you married him. Then make a
list of the reasons you left him. See
how much those two lists overlap.
She laughs, still crying, knowing he’s right. Sips wine.
ZOE
I’m so sorry. He’s not what I want.
He’s just not.
MARK
What do you want?
ZOE
This. Here. Right now. With you.
74A INT. SCU, INTERVIEW ROOM - NIGHT 12 - 19.10 74A
Luther and Linda. Just them. Luther is muted, forgiving.
LUTHER
How long have you been married?
LINDA
Twenty years.
LUTHER
And how would you characterise him -
as a husband?
Incredulous beat. What does he want her to say?
LINDA
He’s manipulative, controlling,
passive aggressive, resentful,
selfish, childish -
LUTHER
That’s a lot of anger you’ve got
stored up, there.
LINDA
He said if I ever left him, he’d kill
himself. I tried once. I packed my
bags and bought a ticket to Cardiff.
Cardiff! He slashed his wrists in the
bath and called me before he called
the ambulance. He didn’t even do it
properly, just sliced himself across
the wrists. Lots of blood, lots of
drama. But no real risk to Graham.
Story of his life. I’d kill for a
cigarette.
LUTHER
Not in here, I’m afraid.
LINDA
Those girls -
Touches her throat, where the necklace had been. Makes a

disgusted face. Wants to wash her hands.
LUTHER
Linda, I need to ask you some
difficult questions, some very
personal question. It’s not my
intention to embarrass you -
LINDA
Is it about the handbags?
Actually, no. He’d been about to ask about Graham’s use of

pornography. But he controls his excitement. Keeps it low and
level. All about Linda.
LUTHER
Yeah, tell me about the handbags.
LINDA
He’s always had this thing, a weird
thing for them. Early on - we’d been
married a year, eighteen months - he
used to nick them. I found them all
hidden in the garage, confronted him
about it. He cried, made up some
story.
LUTHER
You reported him?
LINDA
No!
LUTHER
Why not?
LINDA
He’s my husband.
LUTHER
You believed his story?
LINDA
I was young and stupid - but not that
young and not that stupid.
LUTHER
What did you think he was - y’know,
doing with the bags?
LINDA
What do you think?
LUTHER
I don’t know.
LINDA
He liked to sniff them and touch
himself. All right?
LUTHER
But you stayed with him.
LINDA
I was embarrassed. And a bit of me was
scared it was me - that I was doing
something wrong and somehow, y’know,
people would find out about it and
laugh. And of course he cried and
begged and said he’d kill himself if I
left, that didn’t help.
LUTHER
Okay. I know this is all moving very
fast - but Graham’s a suspect in a
very serious crime -
Furious look. She knows that.
LUTHER (cont’d)
These urges, he controlled them for a
long time. Then suddenly - this. Do
you have any idea what it was, this
thing that pushed him over the edge?
LINDA
It’s not my fault.
LUTHER
What’s not your fault?
She can’t answer aloud. Too ashamed. Too fearful. She looks at
her lap.
LUTHER (cont’d)
Linda?
LINDA
I forgot to erase a text message. He
checks my call log when I’m in the
shower. Goes through my handbag.
LUTHER
Your call log? He found out you were
sleeping with someone?
And suddenly, Luther stands. All urgency. Looms over her.
LUTHER (cont’d)
Who is he?
LINDA
It’s not my fault!
LUTHER
WHO IS HE, LINDA? WHO IS HE?
74B INT. SCU, BULLPEN - NIGHT 12. 19.12 74B
Luther charges out of the interview room, addresses the

Bullpen.
LUTHER
Dennis Keaton, 23 Black Swan Way.
Justin, call him, tell him to make
himself safe until the police arrive.
Ripley lifts the phone. And Teller, hearing the commotion,

emerges from her office.
LUTHER (cont’d)
Graham’s punishing Linda for being
unfaithful - working his way up to
killing her.
He can’t do that now, he knows we’ve

got her. So he’s going for the next
best thing -
74C INT/EXT - REED’S CAR - NIGHT 12 - 19.18 74C
Reed speeds through the night.
75 EXT. DENNIS KEATON’S HOUSE - NIGHT 12 - 19.21 75
Establishing an ordinary house on a very ordinary street.
76 INT. DENNIS KEATON’S HOUSE, LIVING ROOM - NIGHT 19.22 76
Dennis is watching TV, drinking a beer. The DOORBELL RINGS.
He puts down the beer, goes to the door. Opens it -
And there’s Graham.
DENNIS
Gray -?
GRAHAM STABS HIM WITH A SCREWDRIVER -
Dennis collapses - Graham drags him inside - kicks the door

shut.
Inside, the PHONE RINGS.
77 SCENES 77 - 81 OMITTED 77
It’s now empty, but for Luther, Ripley and Teller.
Luther paces, listens as A PHONE RINGS AND RINGS. Teller’s on

the phone, too. Ripley’s working the computer.
LUTHER
No answer on the mobile.
TELLER
Nor the landline.
LUTHER
Last call made?
RIPLEY
(checks records on computer)
Escort agency. City Chic Escorts.
LUTHER
He ever do that before?
RIPLEY
(enters a command)
Not according to this, no.
LUTHER
All right. Then Dennis Keaton’s
already dead. Graham’s changed
tactics. He’s going to sit in Keaton’s
house, ordering up girls like pizza.
Get me that escort’s name and number!
83 INT. BACK OF CAB (TRAVELLING) - NIGHT 12 - 20.24 83
Bored, LAYLA - not her real name - takes a mirror compact from
her handbag. Touches up her lipstick. The cab pulls over. She
reaches for her purse.
Her phone rings. UNKNOWN NUMBER. Fumbling for her money, she
ignores it.
83A INT. SCU, BULLPEN - NIGHT 12 - 20.24 83A
Luther pacing, on the phone.
LUTHER
Come on. Answer. Answer.
It goes to voicemail. He dials again.
Layla walks to the house, texting something. Rings the

doorbell.
RIPLEY
“Layla” just texted safe arrival, 23
Black Swan Way.
LUTHER
Get me Reed on the speaker.
Ripley runs to the desk phone, dials Reed’s number.
86 EXT. DENNIS KEATON’S PLACE - NIGHT 12 - 20.29 86
Graham opens the door. On Layla.
LAYLA
Dennis, is it?
GRAHAM
Absolutely.
LAYLA
(kisses his cheek)
Lovely to meet you, Dennis. I’m Layla.
May I?
She steps inside. Her phone rings again. She ignores it.
Graham closes the door.
86A INT. SCU, BULLPEN - NIGHT 12 - 20.30 86A
Luther has the RINGING MOBILE to his ear. At the same time,
he’s addressing the SPEAKERPHONE.
LUTHER
Still no answer. She’s there already.
She’s with him.
86B INT. REED’S CAR (TRAVELLING) - NIGHT 12 - 20.30 86B
Reed at the wheel, on the hands-free, driving at speed.
REED
I’m almost there. Two, three minutes
max -
86C INT. SCU, BULLPEN - NIGHT 12 - 20.30 86C
Luther on the phone. Still with Teller and Ripley.
LUTHER
We can’t just kick our way in. He’ll
kill her.
REED (O.S.)
(on speakerphone)
So what do you suggest?
Luther turns to Teller.
LUTHER
I need to be there.
TELLER
No.
LUTHER
I NEED TO BE THERE.
TELLER
No.
Luther struggles for a moment. Turns to Ripley.
LUTHER
How fast can you get there?
RIPLEY
Pretty fast.
LUTHER
Good.
A good moment. Ripley’s respect absolutely restored.

RIPLEY
Just tell me what to do. It’s done.
87 INT. DENNIS KEATON’S HOUSE - NIGHT 12 - 20.30 87
Layla steps inside. Her phone rings off.
GRAHAM
So. Do we ?
(nods towards the stairs)
LAYLA
Absolutely. You’re the boss. But first-
(smiles)
GRAHAM
Oh, right! Of course!
(takes cash from his pocket)
Two twenty-five?
Horrified, Graham notices a SMALL BLOOD SPOT on the carpet. As

Layla briskly counts the cash, he covers it with his foot.
LAYLA
You’re very kind. So, would you like
to show me where -
Her phone rings again. They make faces at one another. Typical.
GRAHAM
Upstairs. If that’s okay?
LAYLA
That’s absolutely fine.
She takes the lead. Graham walks up the stairs behind her -
casting a WARY GLANCE at the blood stain.
88 INT. DENNIS KEATON’S HOUSE, LANDING - NIGHT 12 - 20.30 88
Layla reaches the landing. Her phone rings. She rolls her eyes.
Reaches for the phone.
Graham hesitates. Still on the stairs - looking up at her.

Blocking her exit.
LAYLA
Dennis, I’m sorry - it’s my
girlfriend. She likes to check up on
me during dates, make sure I arrive
safely. Do you mind?
GRAHAM
Of course not. Go ahead.
LAYLA
(smiles for him as she
answers)
Hello, darling -
89 EXT. SCU, BULLPEN - NIGHT 12 - 20.31 89
Luther on the phone. He’s got through at last!
LUTHER
(fast)
Layla, my name is Detective Chief
Inspector John Luther. I need you to
listen carefully, keep smiling, act
like this is the agency calling -
INTERCUT LUTHER and LAYLA
She falters. Just for a moment.
LAYLA
Yes, yeah I got here quite safely.
Yes...he is...he’s very cute...
LUTHER
Good. Excellent. Can you safely get
out of the house?
LAYLA
Not right now, love. Not really.
LUTHER
Then find a safe place. We’re on the
way. We’re very close.
LAYLA
Yes, I will. Stop worrying, silly.
I’ll see you very soon.
(hangs up)
Honestly!
GRAHAM
Anyway. Second door on the left -
Layla steps into the BEDROOM -
And waits. Graham enters. Breathing heavily.
91 I/E - RIPLEY’S CAR (TRAVELLING) - NIGHT 12 - 20.33 91
Ripley drives like a man with the devil at his back.
Graham steps forward. Touches Layla’s face. Her shoulder. Her

arm. Her bag.
GRAHAM
Can I take the bag?
LAYLA
(reading the relevance)
Of course.
She hands him the bag. He takes it. Sets it down on the bed.
Turns to look at her. And they both know.
LAYLA (cont’d)
Do you mind if I - ?
GRAHAM
What?
LAYLA
The bathroom.
GRAHAM
I’d rather you didn’t, no.
A long beat - agonising
- and Layla MAKES A BREAK FOR IT -
Graham lunges - but she’s through the door - he grabs a HAMMER

from UNDER THE BED - pursues her -
- onto the landing - he’s a beat behind her - he kicks out -

she falls - he grabs at her ankle -
- she crawls through the NEAREST DOOR -
94 INT. DENNIS KEATON’S HOUSE, BATHROOM - NIGHT 12 - 20.33 94
- into the bathroom - slams the door - fumbles to lock it - a

“turn and release” lock -
Graham grabs the handle
IN THE BATHROOM
Layla holds the door with all her might - puts her weight
against it - just manages to stop Graham opening it - she’s
screaming - as she engages the lock -
ON THE LANDING
Graham hears the LOCK SLIDE SHUT.
IN THE BATHROOM
Layla holds the handle of the lock. Tries to think. Think!

Think!
She turns, fumbling for her phone - sees DENNIS KEATON - dead
in the bath! She screams again -
ON THE LANDING
Graham examines the lock. Like most bathroom locks, it can be

undone from this side. He searches in his pocket, takes out a
FIFTY PENCE PIECE - begins turning the mechanism - forcing it -
GRAHAM
Let me in. I want to kiss you! I only
want to kiss you!
IN THE BATHROOM
Layla can’t hold it any more - it’s difficult - her fingers are
slippy - and Graham has all the leverage -
LAYLA
(on phone)
I can’t keep him out! Hurry! Please!
The lock is forced to the OPEN position -
- quickly, Layla snaps it shut again -
96 INT. SCU, BULLPEN - NIGHT 12- 20.33 96
LUTHER
(on phone)
We’re coming! We’ll right there! We’ll
be right there! Hold on!
Graham SHOULDER-BARGES THE DOOR. He’s weeping with rage and

frustration.
GRAHAM
LET ME KISS YOU!
The door shudders in its frame.
LAYLA
(on phone)
Please! Please!
And again the door shudders - and the frame SPLINTERS round the
lock -
LAYLA (cont’d)
Please!!
Still on the phone, Luther indicates he needs to use Teller’s

phone. They swap.
TELLER (on phone)

Layla, my name’s Rose. We’re nearly
there. We’re very close. Hang on.
Luther dials Ripley.
LUTHER
Justin?
100 INT. RIPLEY’S CAR, NR DENNIS KEATON’S HOUSE - NIGHT 12 - 20.35100
Ripley’s car pulls up.
RIPLEY
(on phone)
I’m there.
Reaching for the door, he glances in the rear-view mirror. And

we see - in the back seat is LINDA!
101 EXT. RIPLEY’S CAR, NR DENNIS KEATON’S HOUSE - NIGHT 12 - 20.35101
Ripley and Linda get out. They’re met by Reed, who takes
Linda’s arm - leads her - half-running - Where?
Layla braces herself against the door - as Graham barges it

again - and again - and again -
GRAHAM (O.S.)
(weeping)
JUST ONE KISS! LET ME TOUCH YOU!
She’s past screaming now. Teeth gritted. Nostrils flared.

Determined to survive.
Graham barges the door one more time - then braces himself
against the wall - KICKS the door -
GRAHAM
DO YOU KNOW WHAT I’M GOING TO DO, EH?
DO YOU KNOW WHAT’S HAPPENING?
The lock gives a little more! He kicks again! And again!
GRAHAM (cont’d)
DO YOU KNOW WHAT’S COMING TO YOU?
And the DOOR FLIES OPEN - LAYLA SCUTTLES BACK, TO THE FAR
CORNER -
Graham takes the hammer. Advances.
GRAHAM (cont’d)
Do you know what’s coming?
Then - he HEARS SOMETHING. A WEIRDLY DOMESTIC NOISE. So normal,

it takes him a moment to work out what it might be.
It’s - a key in the lock. The door opening.
LINDA (O.S.)
Graham?
He can’t believe it.
LINDA (O.S.) (cont’d)

Graham - are you here?
He turns away from Layla - walks downstairs - hammer in hand.
And there she is. Linda. In the hallway. Coat on. Keys in hand.
Not speaking.
He faces her. An animal. And a petulant child. Revelling in

what he is.
LINDA (cont’d)
Look at you. You sad little prick.
He stands there, hammer in hand - grinning.
GRAHAM
See?
A long moment. His grin widens. Utter malevolent satisfaction.
Reed enters through the open door. Calm as you like.
REED
Put the hammer down, Graham. You’re
all done.
Outside, we see POLICE CARS are parked at all angles, doors

open. No lights, no sirens.
105 INT. DENNIS KEATON’S HOUSE - NIGHT 12 - 20.36 105
Graham meets Reed’s eyes. Then glances back, over his shoulder.
Ripley is there too - stealing quietly up behind him - having

entered the house through the back door.
Ripley stops. Holds his ground.
So Graham is trapped. Hammer in hand.

Linda is shivering. Numbed with inexpressible loathing.
REED
Graham. Just put it down. I’m tired
and I want to go home.
Long beat. Then Graham makes a SUDDEN MOVE -
And laughs. Only joking.
He chucks the hammer at Linda’s feet. An act of utter contempt.
Then Reed and Ripley rush him - throw him to the floor. Cuff
him. He struggles.
In a daze, Linda looks all around. Hardly able to believe it -
As Ripley and Reed haul Graham to his feet -
RIPLEY
Graham Shand, I am arresting you -
She walks upstairs. Like a zombie.
105AINT. DENNIS KEATON’S HOUSE, LANDING - NIGHT 12 - 20.37 105A
She reaches the landing. Sees the mess. Hears the sobbing from
inside the bathroom. She steps forward. Hesitates.
Nudges open the door with her shoe.
Her POV: Layla flinches, weeping in the corner. Behind her is

Dennis. Dead in the bath.
Linda takes it in. The absolute horror.
LINDA
Excuse me. I’m sorry. Sorry.
In the calm of terrible shock, she turns. Walks downstairs.
105BINT. DENNIS KEATON’S HOUSE, HALLWAY - NIGHT 12 - 20.37 105B
Her eyes flick to the HAMMER. Dropped and forgotten for the
moment.
Ripley and A UNIFORMED OFFICER drag Graham towards waiting

police cars -
Linda flies from the house - running - howling -
- brings the hammer down on the back of Graham’s skull -
- once - twice -
- blood sprays Ripley and the uniformed officer.

Before Reed is able to react - lunging - grabbing her wrist -
Graham’s knees collapse - he falls - takes Ripley with him -
Reed throws Linda into the wall - arms behind her back - she’s
shouting something - not a word - a howl of pain - anguish and
humiliation and hate, terrible hate.
- Ripley grabs his radio -
RIPLEY
Paramedics! Paramedics now!
And UNIFORMED POLICE come running - running - running -
107 INT. SCU, LUTHER AND REED’S OFFICE - NIGHT 12 - 20.39 107
And Luther, on the phone, hears the news - collapses in on

himself - under Teller’s WITHERING GAZE -
LONG SLOW FADE TO:
108 INT. LUTHER’S PLACE - NIGHT 12 - 22.19 108
Luther lets himself in. Unspeakably weary.
He sits on the bed. A long moment. Then he dials.
LUTHER
Zo? I know it’s late. It’s just, I’ve
called you a hundred times. I know
it’s difficult, but call me back when
you can. Just let me know everything’s
okay. Just let me hear your voice.
He hangs up. Sits there. Stares at the wall.
109 INT. MARK’S HOUSE, BEDROOM - NIGHT 12 - 22.20 109
Zoe and Mark are in bed. Making spoons. Her mobile phone is
TURNED OFF on the bedside table.
Mark kisses the back of her neck. They snuggle.
FADE TO:
110 INT. UNIVERSITY CAMPUS, ALICE'S LAB - DAY 13 - 10.16 110
Alice at her desk. Footsteps. She looks up to see - Zoe Luther!
Alice stands. Zoe enters. Shuts the door. Stares, fearless,

into Alice’s cold eyes.
ALICE
Can I help?
ZOE
Yes. Stop.
ALICE
I see. So you’ve spoken to Mark.
Zoe smiles. Then SLAPS ALICE ACROSS THE FACE!
A shocked moment. Alice can’t believe it. The beginnings of a

half smile - as Zoe steps closer. Into Alice’s space.
ZOE
You can’t hurt me. Do you want to know
why?
ALICE
Very much.
ZOE
Because if you did, John would despise
you. And whatever you say, whatever
lies you tell yourself - you couldn’t
stand that. Because you’re so
desperate to make him want you. It’s
pitiable.
Beat.
ZOE (cont’d)
Stay away.
She exits. Leaving Alice silent. Looking at the closed door.
111 INT. HOSPITAL, O/S MADSEN’S ROOM - DAY 13 - 12.27 111
Martin Schenk wanders down the corridor. Hands in pockets. Deep

in thought.
He pauses outside Madsen’s room.
Peers through the window. Then steps inside.
Stands there. Looks at the empty bed in the empty room.
Sits on the edge of the bed. Staring out the window.
Thinking. Just thinking.
END OF EPISODE

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SCREENPLAY FORM AT FOR TV SHOWS

Name (of company, if applicable) Name of agent

GRAHAM SHAND - middle aged, strong, in windcheater and baseball

He’s concentrating on something on the ground. He picks up a

Carefully, he opens the compact - sets it down three feet away

Then he stands - viewing this obsessional arrangement -

Which surrounds the corpse of MONICA POOLE. He’s organized THE

Committing the scene to memory.

2 INT. MARK’S HOUSE, BEDROOM - DAY 11 - 06.01 2

3 INT. LUTHER’S STUDIO FLAT - DAY 11 - 06.02 3

A small STUDIO FLAT - piled high with BOOKS, CDs, a LAPTOP on

JOHN LUTHER is fast asleep. A mattress on the floor.

4 INT. HOSPITAL, MADSEN’S ROOM - DAY 11 - 06.03 4

The slow, steady tracking of the EEG MONITOR....hitting higher

HENRY MADSEN lies in darkness. Inert as the dead. As we track

GOT TO TITLES - THEN FADE UP TO:

5 INT. HOSPITAL, O/S MADSEN’S ROOM - DAY 11 - 06.13 5

MARTIN SCHENK, dishevelled and bed-headed, waits while Rose

Their POV: A DOCTOR is with Madsen.

OUT ON THEIR POV: with the assistance of TWO NURSES, Madsen

6 EXT. GRAHAM’S HOUSE - DAY 11 - 06.14 6

Establishing. Graham walks towards the house and to the back

7 INT. GRAHAM’S HOUSE, KITCHEN - DAY 11 - 06.14 7

LINDA SHAND, in socks and dressing gown, is making tea. The

He goes to the sink, washes his hands in Swarfega, dries them

She turns her back. His eyes on her. Full of loathing.

9 INT. LUTHER’S STUDIO FLAT - DAY 11 - 06.15 9

Luther is woken by his PHONE RINGING. It’s under his pillow.

10 INT. MARK’S HOUSE, KITCHEN - DAY 11 - 06.15 10

Zoe’s on the phone, making coffee at an expensive-looking

INTERCUT ZOE and LUTHER

She’s melancholy, reflective. She glances up at the ceiling,

He gets a CALL WAITING signal. Ignores it.

Zoe glances up - sharply - at A NOISE upstairs. A door opening.

Mark shuffles in. Wearing pyjamas. Fuddled. Seeing him, Zoe’s

He goes to the fridge. She watches him. Pain on her face.

11 INT. LUTHER’S STUDIO FLAT - DAY 11 - 06.34 11

Luther lies there - preoccupied, hands laced behind his head -

There’s KNOCK AT THE DOOR. He ignores it.

Another knock, more urgent. He gets up - boxers and T-shirt -

Luther goes to the kitchenette, fills the kettle.

Water over-runs the kettle’s spout.

Luther waits for the rest of it, kettle in hand.

She interrogates him with a silent gaze. He turns his back,

She holds his gaze. He looks away first.

12 EXT. URBAN PARK - DAY 11 - 07.41 12

Ripley is leaning against his car. Luther approaches.

They walk towards the CRIME SCENE. Awkwardness between them.

But Luther’s not convinced. He senses doubt in Ripley’s

They look down at her. The weird halo of belongings - artfully

13 INT. SCU, BULLPEN - DAY 11 - 08.11 13

Luther stays in his office, listening, pacing. He bounces a

Ghostly image of a dead woman.

INTERCUT THE BRIEFING AND LUTHER - pacing, bouncing the ball

INTERCUT THE BRIEFING AND LUTHER - pacing, bouncing the ball

Tracked down and eliminated all vans

She invokes A SCROLLING WALL OF MALE FACES. HUNDREDS OF THEM.

She INVOKES THEM ON SCREEN - ghostly images of half-seen

The briefing ends. The officers split into assigned tactical