Son of Lynley: A (proposed) Masterpiece MYSTERY! Original Series
Pilot Episode: "Sins of the Father"

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.

INT. POLICE STATION. INTERVIEW ROOM – NIGHT.

HAVERS is sitting opposite THOMAS at the table.

HAVERS
You know, you don't have to do this.

THOMAS
(with conviction)
Yes, I do.

HAVERS
(sighs)
All right, then.

She takes out the omnipresent notebook and turns it to a clean page.

HAVERS, CONT.
Where were you last night, say, 'round midnight and after?

THOMAS
(thinks)
I left here at a reasonable time – half-five, or thereabouts – and went home to help Granddad at the pub. It's light work, mostly, pulling pints and clearing tables, and he says it pays my room and board. It was a quiet night with plenty of staff on, so Granddad let me go around eight; I went upstairs to paint for a bit. Mum called about ten o'clock, said she was out for dinner with Davey. They were waiting on pudding, apparently, and then he was gonna escort her home, only…She thought he had a bit more on his mind, if y'know what I mean.

HAVERS
Yeah, so she said…You think Gilchrist could've –

THOMAS
(too quickly, as though he doesn't even want the thought to enter his mind)
I don't want to think that, but…well…He was a lech, and Mum's pretty. And, I mean, she's strong, but Davey's big – was big. He might've…
(trails off meaningfully)
Anyway, I was waiting outside the restaurant – Bar Meze, it was, a Turkish place – when they left. Mum and I made a big show about how we'd expected to see each other, like we'd planned it ages before. Davey took the hint and went his own way.

HAVERS
Did you and Gilchrist get on?

THOMAS
Generally, yeah, considering that we resented each other. He disliked me because I was more to Mum than he would ever be. He'd asked her on dates and things forever and was always put off because of me – she was doing something with me, had to meet me, whatever – but he could never really hate me, for the same reason: I was too important to Mum. And I…well, I never hated him, but "strongly dislike" would fit…I knew he was a lech. I saw the way he watched her, and I hated – really hated – that she needed him – or his gallery, rather – for her exhibition.

HAVERS
Why did she? Need him, I mean. Her work is brilliant –

THOMAS
(reasonably)
And no one's ever heard a damn thing about her. Why book an unknown whose art will bring neither attention nor cash to the gallery?

HAVERS
But Gilchrist didn't care about that?

THOMAS
Davey's gallery is the bottom of the food chain for artists. Uni kids pile up their change for the rent and split the booking between them; it's that kind of place. Mum took the flat because she wanted to live near a gallery and the price was right, and booking the gallery was the practical next step. There's been a surprising bit of press interest, leastways around here, and supposedly Davey was in touch with a bloke called Rushwood from Tate Britain; he was meant to be coming up for the show.

HAVERS
So I heard. Back to last night: what happened after you met your mum at Bar Meze?

THOMAS
We went for chips – well, I went for chips, she went to be with me.
(smiles)
St. Algate's Kebabs – where you and I went today – is our establishment of choice; they make a wicked garlic sauce, and they're open till all odd hours – plus, they're halfway between Mum's flat and the station. We were there till around midnight, then we walked back to her flat. I saw her safely in, locked up and went home.

HAVERS
Which would've been around…?

THOMAS
(thinks a moment)
One, maybe half-one, before I got in at Granddad's.

HAVERS
Did you see anyone, coming or going from the area 'round the gallery?

THOMAS
(firmly)
No. Would've gone straight back in if I had.

HAVERS
(gives a small smile to concede this point)
Can anyone verify your whereabouts at those times?

THOMAS
Yeah, Mum saw me off at one, and I said goodnight to Granddad somewhere between half-one and two. I went straight to bed from there, but you'd have to ask him for corroboration on that.
(crooked smile)
Which, if memory serves, you've done already.

HAVERS
What about your keys?

THOMAS
I had 'em when I left Mum's; I locked the flat and the rear door of the gallery behind me, even checked the front door to be certain it was locked.
(frustrated)
I can't imagine I would've dropped 'em on the way home, but I was exhausted…

HAVERS
Exhausted enough to have forgotten to take them this morning?
(gently)
It could be as simple as that, y'know.

THOMAS
No. I always put 'em on the nightstand when I get in and pick 'em up when I leave. They're keys to Mum's, so I like to be extra careful.

HAVERS
And do you remember setting 'em down last night?

THOMAS
(shakes head to clear it)
I…think so, but…like I said, I was exhausted.

HAVERS
Who knew you had keys to your mum's?

THOMAS
(thinks a moment)
Mum, Davey, Lundy, Kip and Katie, Granddad of course – he knew I was there at all hours, so how could I not have keys? As for the rest, it was never something that was discussed, but –

HAVERS
But it was commonly known that you were at your mum's flat at all hours – so someone might've guessed you had a key to the gallery?

THOMAS
I suppose so, but –

HAVERS
(asking for him)
Who would use that information for something like this?

EXT. THE ZODIAC (NIGHTCLUB) – NIGHT.

There is much noise and light emanating from the garish façade of the nightclub as ADELE and LYNLEY walk up. LYNLEY pauses for a moment, reading the flyer for some band or other and –

CUT to INT. THE ZODIAC – NIGHT.
SUMMER, 1984 (FLASHBACK)

YOUNG LYNLEY (the flashback is from LYNLEY's perspective) passionately kisses YOUNG ADELE on the dance floor.

(END FLASHBACK)

EXT. THE ZODIAC (NIGHTCLUB) - NIGHT.
PRESENT DAY.

ADELE
(lightly, with a sprinkle of cheekiness)
You want to go in, then?

LYNLEY snaps out of his reverie.

LYNLEY
It's not exactly my sort of venue.

ADELE
(cheekier still)
These days, maybe. Once upon a time I had the impression that you came here rather often.

LYNLEY
Yes, well, I couldn't dance then either. Not the sort of ridiculous gyrating that passes for –

He glances from the flyers to ADELE's face, which is set in a grin.

LYNLEY, CONT.
Oh, come on.

He catches her hand and, with a sort of soldier-facing-death mien, pulls her into the club.

INT. THE ZODIAC – NIGHT.

The club is twice as loud and garish (the music of the moment is a club remix of Kylie Minogue's "Speakerphone") and packed with STUDENTS as it was 25 years ago. ADELE guides a somewhat shell-shocked LYNLEY up to the bar to order drinks.

LYNLEY
My God, was it always this mad?

ADELE
Worse. It's a weeknight, remember.

The BARTENDER, a handsome blonde woman of about ADELE's age, slings a couple of bottles to a GIRL down the bar before turning brightly to ADELE and LYNLEY. She bursts into chatter, oblivious to the blaring music and screeching semi-dressed TEENS milling about.

BARTENDER
Del! What the hell're you doin' here? Thought your show was openin' tonight.

ADELE
(shouting over the din)
Technical difficulties – had to postpone.

BARTENDER
Sod it – you'll never get the Tate people in town again! Where's your gorgeous boy?

ADELE
Working on a case.

BARTENDER
Gave him the night off is more like – for a date.

She throws a meaningful – and appreciative – glance at LYNLEY.

BARTENDER, CONT.
Who's your bloke, then?

ADELE
(caught off-guard)
Oh, um…he's not my –

LYNLEY
(jumping in)
Thomas Lynley. Ah – from London.

BARTENDER
(crowing with astonishment)
Christ! Y' found a posh one!

ADELE immediately finds other fascinating things to look at.

BARTENDER
(to LYNLEY)
You run a gallery there, then?

LYNLEY
Not exactly, I –

ADELE
He's a police inspector, come up to help Tom and the lads on a case.

BARTENDER
(slyly)
What's he doin' here, then?

She grins at ADELE's resultant blush.

BARTENDER, CONT.
All right, you two, what'll it be?

ADELE
Um – Blue WKD. And – whatever he wants –

LYNLEY
The same, I think – and I'll cover it.

BARTENDER
That's five pound fifty then.

LYNLEY hands her a ten-pound note; she winks at ADELE and walks away to the cooler.

ADELE
(appalled)
This was a stupid idea – we should go –

LYNLEY
No.

He catches her arm as she begins to walk away.

LYNLEY
It's all right; she's only having a bit of fun.

ADELE gives a half-hearted laugh but makes no verbal reply.

LYNLEY, CONT.
You and Tom come here often, I take it?

ADELE
Nah – once or twice a month, when we're bored beyond belief.
(with amusement)
We're a bit of an item, apparently.

LYNLEY
(teasing)
I should think his girlfriend would be jealous.

ADELE
(slightly startled by the misconception)
Oh. Tom hasn't got a girlfriend –

The BARTENDER swoops in with the drinks at this opportune moment.

BARTENDER
Y' can't imagine how long I've been waitin' to hear that.

ADELE
(lightly, with a small smile)
You leave my son alone, all right?

BARTENDER
Whatever you say.

She hands LYNLEY his change with a wink and promptly whisks down the other end of the bar to serve the next customers. ADELE looks back at LYNLEY with the smile still curving her lips.

LYNLEY
Twice a month to a place like this and Tom hasn't got a girlfriend?

ADELE
He can't be bothered, tell the truth, between work and helpin' his granddad – and goin' for chips with me. He and I are a little close for most girls' liking – and Tom'll never date a girl who doesn't like his mother.
(laughs softly at herself)
It sounds like a bad horror film, I s'pose, but we've only ever had each other.

LYNLEY
(regarding her seriously)
Tom's a very lucky young man. I'd take you over a flighty girlfriend any day.

ADELE
(looking away; softly, to herself)
No, you wouldn't.

LYNLEY hears this, though it wasn't meant for him, and stares at her averted face for a long tense moment before turning back to the bar, taking a lengthy draft of his drink, and declaring:

LYNLEY
The hell with it. You want to dance, Adele?

She turns back to him in surprise.

ADELE
Um…

She cocks her head to one side, considering the body-slamming techno tune currently blaring at them.

ADELE, CONT.
Sure you're up to it?

An irrepressible grin crosses her lips, making her incomparably more captivating than she was a moment ago.

ADELE
All right, then.

She takes a quick, albeit bracing, sip from her bottle before taking LYNLEY's hand and letting him pull her in and amongst the thrashing STUDENTS - at which point the DJ has the good sense to switch over to a ballad. ADELE chuckles at this reprieve but only briefly, as LYNLEY's hands are suddenly, mysteriously at her waist, and she jumps a bit at the touch.

LYNLEY
Forgive me, I –

He begins to draw his hands away but she catches them at her waist – an instinctive reaction that surprises her to the core.

ADELE
(apologetically)
No, it's all right…
(trails off, a little breathlessly, and looks up at his face)
Sorry, um…it's been…a really long time.

LYNLEY
(quietly and intense, recalling 25 years ago)
I know.

ADELE
(blabbering on in her nervousness)
I mean, I haven't danced with anyone but Tom in ages; I'm not used to –

LYNLEY leans in and kisses her, abruptly but with a sort of delicate gentleness, by the end of which he has both hands cradling her face.

LYNLEY
(softly)
Adele…

ADELE
(truly breathlessly)
We should get back…You – you have an investigation to finish…

LYNLEY
I think your son has it in hand…

He leans down and kisses her forehead with lingering gentleness.

LYNLEY, CONT.
But we can go if you want.

ADELE
Okay.

She turns away, forcing LYNLEY, a bit dejected by this response, to lower his hands from her face.

INT. CRAWFORD'S FLAT – NIGHT.

CRAWFORD settles on the sofa with his trademark bowl of crisps to watch television as THOMAS CRAWFORD rummages restlessly through a box of oil paints on the kitchen table. A small canvas with a bright outline of a geometric construct lies on the table as well, awaiting further application, but THOMAS appears in no hurry to utilize it; his mind is clearly on something else. CRAWFORD, observing this, pipes up:

CRAWFORD
You all right, lad? Never seen you this restless about resumin' a project.

THOMAS
(distractedly)
Yeah, just…a lot on my mind tonight.

He removes two paint tubes from the box and sets them absently beside the canvas.

THOMAS, CONT.
This case – and Mum on a date –

CRAWFORD
(coldly)
Your mum went out? The day they cancelled her exhibition 'cause her landlord got stabbed all to hell?

THOMAS looks up from the paints.

THOMAS
Don't be so hard on her, Granddad. I think she needed it – and anyway, it's not really a date.

CRAWFORD
Not really a date? What, who's she with? McAllister?

He grins.

THOMAS
(chuckles)
Nearly. DI Lynley from the Met.

He reaches back into the box for two additional colors and so does not notice CRAWFORD sitting up a little, his expression darkening.

CRAWFORD
Lynley?

THOMAS
Yeah, he's in town workin' on this case with us. He's married and all, but I guess he and Mum knew each other a long time ago.

He falls silent for a moment, his cheerfulness fading as he stares into the box. The flat handle of one of his palette knives (a different style from the murder weapon, albeit clearly a similar instrument) lies just beneath his hand. He glances over at his grandfather.

THOMAS, CONT.
The Inspector said he used to come round the pub, back in his uni days. Did you know him?

CRAWFORD
(vehemently)
Not any better'n I had to. 'Scuse me.

He gets up and storms into the kitchen for a beer, leaving a very confused THOMAS staring after him for a long moment – then, frowning, THOMAS tosses the paint tubes back into the box and goes to his room.

INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – NIGHT.

LYNLEY is sitting on the hotel bed as ADELE pours out paper cups of some unimaginably cheap newsagent wine and hands one to him. Their interactions are utterly fraught with sexual tension after the kiss at the Zodiac.

ADELE
Sorry for this. I was hoping to have sold a painting or two at the grand opening tonight and be blissfully sipping champagne by now.

She sits beside him, both hands curled around her drink.

LYNLEY
What's your asking price on those paintings anyway?

She gives him a curious, sidewise look.

LYNLEY, CONT.
I'll buy a couple and secure you the best champagne to be had at this hour of the night.

She looks away with a small smile.

ADELE
Don't tease me, Thomas.

LYNLEY
(genuinely)
I'm not – your paintings are brilliant. I'd buy the lot, but that wouldn't leave much for your rescheduled exhibition.

ADELE
Assuming anyone bothers to show up.

She takes a drink, using the cup as a distractive prop once again.

LYNLEY
It's a murder scene; of course they'll show up.

ADELE winces and sets aside her drink; chastened, LYNLEY addresses the wall opposite.

LYNLEY, CONT.
I'm sorry.

ADELE rests a hand on his leg, prompting him to look back at her.

ADELE
(gently)
Don't be. Davey could be a sweetheart now and again, but I didn't love him.

She draws a long slow breath, taking care to look anywhere but at him.

ADELE, CONT.
I didn't – I haven't…

She looks up at his profile and the words fall out.

ADELE, CONT.
I've never loved anyone but you, Thomas.

LYNLEY gives her a strange, stricken look at this declaration; mortified, she looks away and continues in a rush:

ADELE, CONT.
It's funny, y'know – all these years, all the places Tom and I have been, the people we've met, and yet –

LYNLEY
(softly)
Adele –

She closes her eyes as though in pain and hurriedly interrupts him.

ADELE
Don't say it, please. I know it was nothing to you – just a shag. Something that just happens when you're excited for end of term, leaving uni or starting uni or whatever, and you go your separate ways and never think of it again…
(long painful pause)
I know that; I think I even knew it then, but…well…to me it was everything.
(gives a broken little laugh)
Happiest day of my life. I loved you so much –

She breaks off with a choked chuckle, her eyes focused on his knee where her hand is resting.

ADELE, CONT.
Still love you, as a matter of fact.

There is another long horrible pause. She looks up at him at last with forced brightness.

ADELE, CONT.
Pathetic, aren't I?

LYNLEY is still regarding her silently with that strange stricken look.

ADELE, CONT.
(continuing with the forced brightness)
Right. This is when we both look away and change the sub –

Without warning LYNLEY leans forward to kiss her full on the lips – with no small measure of ardor. For a moment ADELE is too stunned to respond, then she brings her hands to his shoulders and – almost unbelievably – pushes him away. He stares down at her in intense, breathless silence.

ADELE, CONT.
(brokenly, almost sobbing)
Don't! Don't humor me with your pity! We both know you never –

She breaks off as LYNLEY kisses her again, more passionately than before. This time ADELE does not resist but kisses him back with perfect desperation, burying her hands in his hair to pull him against her. (They are, in a very real way, picking up where they left off 25 years ago with their last frantic kisses, that morning in YOUNG LYNLEY's room.) After a few moments of this madness LYNLEY moves to kiss her throat, collarbones, etc. in a fevered progression toward the neckline of her dress. ADELE's fingers are tangled in his hair, pleading for – almost demanding – this; still, in spite of herself, she gasps a protest:

ADELE, CONT.
Oh God, Thomas, we can't…

LYNLEY ceases in his progression but presses a few last, light kisses to the skin of her chest and throat before drawing back to look into her eyes; stroking the curve of her cheek with the backs of his fingers.

LYNLEY
(softly)
Do you want to stop?

ADELE
(whispers)
No…God, no…

LYNLEY
(huskily)
Me neither.

He leans down to kiss her fiercely, almost tearing at her dress as he pushes her onto her back on the bed, while ADELE kisses him back in a like manner and frantically looses the buttons of his shirt.

INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – NIGHT.

LYNLEY and ADELE are lying in bed, exhausted and sated following their impassioned interlude. LYNLEY lies on his back with ADELE cradled to his chest, trailing his free hand over the skin of her back – not unlike YOUNG LYNLEY and YOUNG ADELE after their first encounter.

LYNLEY
Adele?

She is far too contentedly snuggled to be particularly loquacious.

ADELE
Hmm?

LYNLEY
When this case is over, I'll be going back to London.

ADELE
I know.

She closes her eyes, tucking her face more snugly against his chest.

ADELE, CONT.
Please don't speak of it now.

For the first time (perhaps in his life), LYNLEY has a tangible moment of decision.

LYNLEY
I want you to come with me.

Her eyes snap open in surprise.

ADELE
What?

She sits up halfway to meet his eyes, stunned and uncertain as to whether he's being serious. LYNLEY brings a hand to her cheek.

LYNLEY
(tenderly)
This is no life for you, darling – you or Tom. You should be at the Tate, and he should be at the Met – as a Detective Sergeant at the very least.

ADELE
(carefully)
I can't deny that's what I want – what I'd planned, even, before you came.

LYNLEY
(searching her eyes)
And now that I have…does it make a difference?

ADELE
(with a bit of cold pride)
I don't know, Thomas. Should it?

LYNLEY
(wounded by this response)
I would hope –

ADELE
You would hope. Yes, I hoped, twenty-five years ago when I let you take me to bed.
(meaningfully)
Let you take more than that.

LYNLEY
(still wounded but more contrite)
I know. My behavior toward you was inexcusable.

ADELE
(quietly)
Not entirely.

He leans up to press a kiss to her forehead.

LYNLEY
I'm sorry, Adele. Sorry I didn't realize twenty-five years ago that you were worth a hundred of…whoever the hell I was dating then.

ADELE
(demurring)
I wasn't…

LYNLEY
But you were – you are.
(intensely)
Exquisite, independent, bound to no one and nothing, and twice as beautiful as you were then...

She looks away for a moment, processing this, and he brings a hand to her cheek to push back a lock of hair.

LYNLEY, CONT.
(softly)
Believe what you like, Adele; I think I'm falling in love with you.

She looks back at him with wide, stunned eyes.

LYNLEY
I haven't the slightest idea what I'm going to do, or what I'll tell my wife, but…I want to be with you.
(a little raggedly)
I need to be with you.

ADELE gives a small sob and leans down to kiss him for many long gorgeous moments before pulling away abruptly.

ADELE
No! Thomas…you can't imagine how long I've wanted…but we can't. Your wife- !

LYNLEY
I told you, we're practically separated –

ADELE
(indignantly)
Making me, what, your mistress?

LYNLEY
(shamed by this assumption)
No! Adele, that's not what I meant –

ADELE
And what about Barbara Havers?

LYNLEY
(thoroughly confused)
What about Havers? She's my colleague –

ADELE
She understands you – complements you – in a way I never could.
(as a realization)
I think she loves you, Thomas –

LYNLEY
(sharply)
Oh, will you stop this lunacy? If you don't want to be with me, just say so; don't drag Helen and Havers into it.

ADELE
I do want to be with you, more than anything. It's all I've ever wanted. But –

She breaks off, fighting 25 years' practice of burying the truth, and LYNLEY looks at her with a new sympathy.

LYNLEY
Is it Tom?

ADELE
(with very little irony)
Yes.

LYNLEY
You're worried about how he'll view our relationship?

ADELE
No – yes –
(frustrated)
It's more than that.

LYNLEY
(stepping onto the proverbial eggshells)
Is…is it to do with his father, Adele?

ADELE gives him a direct, assessing look, as though willing him to figure this out for himself.

ADELE
Yes.

There is a long pause as LYNLEY ponders this but does not reach ADELE's obvious conclusion.

LYNLEY
And…what? Has he threatened you?

ADELE
No –

LYNLEY
Threatened Tom?

ADELE
No!

LYNLEY
(exasperated)
Then what? Why the secrecy, Adele? Why does no one know who Tom's dad is – not even Tom? If he cared so little as to get you pregnant and run off, why the hell did you row with your father and leave home over it?

ADELE
(startled)
How did you know about that?

LYNLEY
I came to see you at Christmas.

ADELE
(were it possible, more stunned than before)
You what?

LYNLEY
I came to the pub at the start of the Christmas holidays, thinking to catch you at work, and you were gone. The waitress – one of your mates – said you'd left after a row with your father "over a lad."
(pauses a moment)
I suppose it served me right, not having come after you till then.

ADELE is still staring at him in shock.

LYNLEY, CONT.
The boy you fought over was Tom's dad?

ADELE
Yeah…my dad wanted to blackmail him and his mum. Money for ruining my education – my life, as dad saw it.

LYNLEY
And you wouldn't go along with it?

ADELE
Never in a million years. I loved him –
(very softly)
- still love him – too much to ruin his life like that.

LYNLEY
But…

He gives a self-deprecating little laugh at his own idiocy at mentioning this at all.

LYNLEY, CONT.
It's the strangest thing, Adele, but half an hour ago you said I was the only man you ever loved.

ADELE
(evenly)
You are.

LYNLEY really looks at her, finally putting the pieces together: pregnant at Christmas, potential blackmail…

ADELE, CONT.
(in a small, almost guilty voice)
I let everyone think what they were going to anyway – that it happened later. New girl at school, an older boy – Kip Finnegan, maybe. Truth is, I knew I was pregnant a month before I went off to uni.

LYNLEY
Adele...are you saying – ?

ADELE
(quietly)
He's your son, Thomas.

LYNLEY
Oh my God.

There is a long, agonizing silence as LYNLEY attempts to take this in and ADELE mentally flails for an explanation.

ADELE
I didn't mean for you to find out like this.

LYNLEY
(still astounded)
"Like this"?
(his anger begins to surface)
Why didn't you tell me twenty-five years ago?

ADELE
(reasonably)
Would you really have wanted that? The young earl of Asherton, fresh from Oxford, on the brink of a brilliant career, and a seventeen-year-old one-night stand rings up to say she's having your baby?

LYNLEY
(a little uncomfortable at the truth in this accusation but still righteously angry)
I would have provided for you.

ADELE
(with slight bitterness)
Paid me off, you mean? A couple hundred quid and I never come near you again or breathe a word about Tom – who you'd probably have taken away to raise in your mansion by the sea. Well, you kept your money and your good name. I got to raise your son, and –
(stops sharply mid-sentence, only to continue a moment later in a softer voice)
And I never had to hear you say you didn't love me. So where's the harm?

LYNLEY
(disbelief)
Where's the harm? Adele, I have a twenty-five-year-old son that I never knew existed! DC on this case, no less, who –
(breaks off at a sudden realization)
Oh God. If he –

ADELE
He doesn't know, remember? I told him little enough about his dad…
(her eyes flicker to his)
He knows he was named for him.

LYNLEY is a little slow on the uptake for this one.

LYNLEY
Thomas…oh God –

ADELE
(wearily; her strength/anger/frustration have begun to wane)
I'm sorry, Thomas…I'm so sorry. I never meant to keep him from you; I was just so scared…Scared that Dad would blackmail your mum. Scared of the Asherton lawyers hunting me down and taking my baby. Scared that having the child of the man I loved more than life would ruin him. I did the only thing I could think of, taking Tom and me out of the equation.

LYNLEY
(frankly; calculating)
What do you want?

ADELE
(emotionless, as though she has long anticipated this question and already prepared her response)
I want nothing from you.

LYNLEY
Then why tell me about Tom now?

ADELE
Because you asked, for one! And because you were ready to sweep us up and carry us away to a life of luxury in London on the basis of – what exactly? Shagging me twice? I couldn't let it go on; couldn't watch you with Tom, neither of you knowing –

He abruptly gets out of bed and drags on his trousers.

LYNLEY
(brusquely)
Does anyone else know? Besides your father?

ADELE
(with great reluctance)
Sergeant Havers, maybe…

LYNLEY
(his rage is about to descend)
You told my sergeant –!

ADELE
(retorts)
I didn't tell her anything. She was curious – more than curious – about him...and his dad. She's a perceptive woman; if she's spent the day with the two of you –

LYNLEY
Bloody hell.

He stands and pulls on his shirt, angrily fastening the buttons. ADELE sits up, holding the blankets to her chest with one arm as she reaches for her dress and begins to struggle into it. LYNLEY storms to the door.

ADELE
Thomas, what are you – where are you going?

LYNLEY
(caustically)
To make sense of this bloody tangle.

He leaves the room, slamming the door behind him. ADELE finishes pulling on her dress and sits in bed for a moment, listening to his footsteps retreating down the hall, then she slowly gets out of bed to put on her coat and shoes. She's very calm but her cheeks are streaked with tears.