Son of Lynley: A (proposed) Masterpiece MYSTERY! Original Series
Episode 2: "Illumination"
DISCLAIMER: I do not own the characters of Thomas Lynley or Barbara Havers, much as I might wish to, and I mean no disrespect to Elizabeth George, nor infringement of copyright, in creating and posting this project. I am neither a professional screenwriter nor a resident of the United Kingdom just yet (though I did enjoy the privilege of living there for several months) nor formally acquainted with police procedure in the United Kingdom or otherwise, so kindly overlook any shortcomings in those departments.
**ALSO: While the theological college depicted in this episode is strongly based on Oak Hill College, which I had the pleasure of attending for the fall semester of 2000, all characters appearing in this work are fictitious. Any resemblance to real persons, real stores, or real educational facilities is purely coincidental.
SYNOPSIS OF PRECEDING EPISODE (for lazy or impatient folks): Lynley and Havers go to Oxford to investigate the murder of the owner of an art gallery at which Adele Crawford, a local artist, was about to make her career debut. Lynley and Adele had had a brief romantic liaison about 25 years previous, resulting in a son, Thomas Crawford, now a Detective Constable set to transfer to the Met, who develops an almost instant rapport with Havers. Previously unaware of his son's existence, though impressed by Thomas Crawford's detective skills, Lynley learns the truth from Adele in the midst of rekindling their youthful romance; after the requisite feelings of betrayal and frustration, he makes plans to bring Adele and Thomas back to London with him at the close of the case. The next day sees an appalled (and jealous?) Havers squiring Adele about the city and forming a grudging friendship with her. The gallery opens with full police protection on site, though the killer is already thought to be in custody; instead, the killer proves to be Adele's father, who comes to the gallery to act on his lifelong hatred of Lynley. Adele takes the bullet meant for Lynley and dies, leaving behind a shattered Thomas, who despises Lynley for his behavior toward Adele and blames him for her death. Havers attempts to reconcile the two as a go-between, and at the end of the episode, Thomas joins Lynley and Havers on their drive back to London.
CASTING NOTES FOR THIS EPISODE: Lynley and Havers remain the obvious with Christian Coulson as Tom Crawford, and as Hillier, Nkata, Lafferty, and even Azhar make an appearance in this episode, do continue to envision them as Tim Frances, Shaun Parkes, Paul Hickey, and Tanveer Ghani, respectively. As for the new characters in this episode, Richard and Millicent Williams are – indeed, have been from the earliest drafts - Charles Dance and Miranda Richardson (devil take the age difference; they make a perfectly matched pair of posh clergy!). Julia Hanover is Sophie Winkleman, Elinor Hanover is Laura Donnelly, and Gareth Robson is Keith Harkin (yes, from Celtic Thunder. I know he's not an actor, at least not yet, but from about the second hour of Gareth's existence, he was Keith). The rest – particularly Megan Hanover - I haven't been able to cast to my satisfaction, so if you have any suggestions, do let me know! I've spent the last two years trying to track down a fitting screen version of her!
INT. LONDON. SOUTHGATE. CHASE SIDE ANTIQUES (SHOP) – EARLY EVENING.
DECEMBER, PRESENT DAY.
JULIA HANOVER, 35, slender and piquant, with long, glossy dark brown hair, is draping thin sheets over her displays for the night. She is dressed youthfully – but not inappropriately so – in a black tunic, leggings, and a cropped purple cardigan, finely crocheted and tied at the bustline. The shop is smallish and slightly cramped with treasures, but there is an elegant hominess about it. The light illuming the shop, including several strings of fairy lights framing the front windows, is soft and golden, and the strains of symphonic Christmas music can just be discerned from the vicinity of the register, where sit an iPod dock with two tiny speakers.
The curtain leading to the back of the shop is edged to one side as ALICE, 19, comes out, jacket in hand.
ALICE
Are you sure you can finish the rest, ma'am?
JULIA
(affectionately)
Of course, love. What with it being so quiet –
The shop door opens with the peal of a bell, admitting MILLICENT WILLIAMS, a starkly handsome woman with shoulder-length silver-blonde hair and a pale, ageless face. She carries herself with a boneless grace and her apparel – notably, a dark wool peacoat and black trousers – are sharply tailored to accentuate both her height and slimness. JULIA looks up from her draping and gives a little gasp.
JULIA
Sorry, ma'am, you gave me a bit of a start.
MILLICENT frowns delicately, assessing the draped displays and ALICE's anticipated departure in a glance.
MILLICENT
Are you closed?
JULIA gives a smile that is at once apologetic and encouraging.
JULIA
Very nearly, but it's never too late. Were you looking for something in particular, ma'am?
MILLICENT
(coolly, though her eyes are keen)
Yes, as a matter of fact. I wanted a Christmas gift for my brother.
JULIA's smile warms.
JULIA
I've just the thing.
Before she can begin the pursuit, ALICE pipes up, so as not to be forgotten.
ALICE
Will you be needing me, Mrs. Hanover?
MILLICENT's eyes flicker between ALICE and JULIA at this, though neither notices.
ALICE, CONT.
Only I was hoping to catch the seven –
JULIA
(pleasantly reassuring)
By all means, Alice – go ahead. I'll see you tomorrow.
(to MILLICENT)
Now, madam, if you'd like to step this way…
ALICE puts on her coat and slips out of the shop as JULIA leads MILLICENT to a draped display case. JULIA pulls up the drape and unlocks the glass with a key on a lanyard at her neck, then draws out a black velvet tray of old gold jewelry, many of which pieces are encrusted with semi-precious stones. From this tray she removes a garnet-studded gold cross on a heavy gold chain, which she proffers to MILLICENT.
JULIA
From the estate of William Howley, ma'am – the Archbishop who presided at Queen Victoria's coronation.
MILLICENT catches up the item in a suede-gloved hand, turning it this way and that to catch the light, a strange smile curving her lips.
MILLICENT
That will be perfect.
EXT. SOUTHGATE. CHASE SIDE – EARLY EVENING.
JULIA, fashionably bundled against the chill in a swing coat of vibrant tweed, is walking along the busy main street while talking on her mobile.
JULIA
Megs, it's Mum. If you can tear yourself away from another lamb and tomato casserole, I've just sold the Howley cross. I know, you won't recall it, but we're 350 quid richer – and no quibbling over the price, can you believe it? So I thought: dinner at someplace nice? I've not had Thai in ages. Tell Gareth –
(she places mock dramatic emphasis on the name)
- he can take someone else to the pub. I've not seen you for days, and he's officially not invited.
(grins)
Ring me when you get this. Love you.
She ends the call and pockets the mobile, smiling.
EXT. SOUTHGATE. ENFIELD BIBLE COLLEGE. WILLIAMSES' COTTAGE – EARLY EVENING.
The front door opens from within, revealing MEGAN HANOVER, a pretty young woman of 18, with the same lithe build and glossy dark hair as her mother JULIA, though hers is cut slightly shorter. She stands on the front step of the homey, handsome little cottage, her thin but trendy coat held closed by one hand, as though she donned it in a hurry. Her flushed face betrays awkwardness and apology for the unexpectedness of her visit.
The occupant of the house, REVEREND RICHARD WILLIAMS, reacts to her presence with no small surprise. Twin brother to MILLICENT, he is in his early 60s, though his appearance – an austere countenance, shadowed by a beard, and neatly groomed white-blonde hair – betrays their age more than hers. Though dressed casually in jeans and a jumper, he has retained his clerical collar on the dark shirt worn beneath.
WILLIAMS
Megan?
MEGAN
I'm sorry to disturb you, sir. I just…could I talk to you for a moment?
WILLIAMS
Of course.
He holds the door open for her to enter the house, his eyes lingering with curiosity as she walks past him.
INT. WILLIAMSES' COTTAGE – EARLY EVENING.
MILLICENT enters the foyer and sets her handbag and a minute wrapped parcel on a stand beside the door. She walks into the house, unwinding her cashmere scarf as she does so, and arrives at the living room to see WILLIAMS and MEGAN in an embrace, his hands cradling her face as he kisses her forehead.
MILLICENT
(with a bored, long-suffering air)
Richard.
WILLIAMS and MEGAN hastily break apart, and MEGAN, her eyes red from crying, hurries out of the living room, past MILLICENT.
MEGAN
(barely audible)
Beg pardon, Lady Williams.
WILLIAMS follows her, the tenderness of a moment ago now masked behind an expressionless countenance. He curtly acknowledges his sister as he passes.
WILLIAMS
Millicent.
MEGAN does not resist his aid in helping her into her coat, though she does not linger in the house a moment longer than it takes to fasten the buttons.
MEGAN
Good night, sir. I – good night.
WILLIAMS
(softly)
Good night, Megan.
She ducks quickly out of the house, while MILLICENT shoots a cool, knowing look at her brother.
MILLICENT
I didn't realize you were…entertaining. Bit early to send her on her way, isn't it?
His rigid composure fades in a long, deep sigh that seems to crumple him from within.
WILLIAMS
What have I done, Millicent?
He turns to her with sudden anger.
WILLIAMS, CONT.
What have you done to me?
INT. SOUTHGATE. ENFIELD BIBLE COLLEGE. DORMITORY – EARLY EVENING.
MEGAN is hurrying down a narrow corridor of dorm rooms when one of the doors opens and GARETH ROBSON steps out. He is 25 and leanly built, with a dusting of a beard and scruffy dark blonde hair cut artfully just above his shoulders.
GARETH
Megs?
She does not slow in her progress down the corridor but makes as though to walk past him. Not to be so easily put off, GARETH catches her arm and pulls her sharply about.
GARETH, CONT.
Megs, where were you?
She evades his gaze, her own eyes still red.
GARETH, CONT.
Were you with him?
(at the wordless acknowledgment of her expression)
Christ, Megs; what the hell were you thinking?
MEGAN
I had to go.
GARETH
What do you mean, you had to?
She pulls her arm free and continues down the corridor, but GARETH calls after her.
GARETH, CONT.
Did you tell your mum?
She stops abruptly to look back at him.
MEGAN
What business is that of yours?
GARETH
She needs to know, Megs!
MEGAN whips around, almost screaming:
MEGAN
So did I! And did anyone think of that?
She storms to the end of the corridor, shoves open a door leading to a stairwell, and disappears from sight.
INT. JULIA'S HOUSE. KITCHEN – EARLY EVENING.
JULIA – still dressed in her work apparel, though she has forsaken shoes and stockings to trip about barefoot – is in her snug, ramshackle kitchen, infusing a pot of herbal tea on the counter with her mobile cradled to her ear, conversing casually with her sister, ELINOR HANOVER (O.S.).
JULIA
You'll never guess who came by the shop tonight…
(pauses for response from the other end of the line)
Millicent, right at closing.
(pauses again as ELINOR asks something)
No, haven't a clue. Just in and out and dropped 350 quid.
ELINOR, O.S.
(clearly)
Free as ever with her money, then. What did she want?
JULIA
Christmas gift for her brother.
She looks up at a light knock at the front door and smiles as she turns back to her tea.
JULIA, CONT.
That's Megs – got to go. I'll ring you later.
(over her shoulder, she adds)
Megs - come on in, love. I've just got the tea started.
(to ELINOR)
Love you – bye. Bye.
She ends the call and sets her mobile on the counter. The front door opens, off-screen, and a VISITOR's footsteps are heard approaching the kitchen. JULIA looks up, and though the VISITOR remains off-screen, JULIA's reaction speaks volumes. Her breath catches in her throat and her eyes widen – but not with fear – at the identity of the VISITOR.
JULIA, CONT.
What are you – ?
She brings a hand to her mouth to cover a happy sob.
JULIA
(softly)
Oh my God.
INT. JULIA'S HOUSE. KITCHEN – NIGHT.
Several hours later, JULIA comes into the kitchen, slightly tousled and smiling softly, wearing only a lavender satin dressing gown that exposes several inches of her long legs. The kitchen lights are all still on, and her pot of tea sits neglected on the counter. She is halfway to the counter where her mobile sits when her landline phone – an exquisite replica of an antique, perched on its own display stand – rings. Groaning, she turns back to answer it, cradling the receiver against her chin.
JULIA
(with surprising pleasantness)
Hello?
CUT to EXT. ENFIELD BIBLE COLLEGE. CHASE SIDE GATE – NIGHT.
GARETH, now in a dark gray wool coat, military-cut with a high collar, is walking purposefully out the wide front gate of the campus toward the street, which is busy with traffic even at this hour. He holds the mobile to his ear as he addresses JULIA intently.
GARETH
Mrs. Hanover, it's Gareth. Is Megan there?
CUT to INT. JULIA'S HOUSE. KITCHEN – NIGHT.
JULIA
(frowning)
No – should she be?
There is a movement in the darkness of the living room, just beyond the doorway through which JULIA entered the kitchen.
CUT to EXT. SOUTHGATE. RESIDENTIAL STREET – NIGHT.
GARETH
She left the college in a fit state, and I wanted to call you because –
He stops abruptly and looks at his mobile screen, which displays the blinking message: "JULIA, 00:00:20," indicating an abrupt end to the call.
GARETH
Shit.
He snaps his mobile closed, pockets it, and quickens his pace down the street.
EXT. JULIA'S HOUSE – NIGHT.
GARETH knocks at the door of the dark house, lit from within by only a few lights upstairs and below.
GARETH
Mrs. Hanover?
He knocks again, peering sround the curtain over the door's small window.
GARETH, CONT.
Julia – it's Gareth. Are you there?
He trails off, frowning, and tries the door latch; it is unlocked and opens easily beneath his hand.
GARETH, CONT.
(concernedly now)
Julia?
He steps into the house –
INT. JULIA'S HOUSE – NIGHT.
- and winds his way toward the still-illumined kitchen.
GARETH
Julia, are you…?
His voice trails away at the sight of JULIA'S BODY, flung to the floor in death. She lies on her back on the floor beside the phone stand, the dressing gown fallen askew to bare most of her legs, and a dark ligature mark streaks across her pale throat. GARETH's breath leaves him in a pained groan as he crouches down beside her.
GARETH
Oh God, Julia…
CREDITS: SON OF LYNLEY (OPT.)
Music: "The Walk" by Imogen Heap
It's not meant to be like this / Not what I planned at all,
I don't want to feel like this / Yeah,
No it's not meant to be like this / Not what I planned at all,
I don't want to feel like this / So that makes it all your fault.