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. OLD BANK HOTEL. HAVERS'S BEDROOM – NIGHT.
LYNLEY, being entirely dense, has put himself and HAVERS in adjoining bedrooms. HAVERS is sitting on her bed with the television on, not really watching it, and smoking nervously – being well aware that LYNLEY's out shagging their key witness – when the adjoining door flies open and LYNLEY comes into her room. In an awkward series of motions, she straightens quickly, stubs out her cigarette, and turns off the television.
HAVERS
Sir. I wasn't expecting you.
He glares daggers at her and she hastily amends her remark.
HAVERS, CONT.
I mean, not this early.
LYNLEY sits in a chair beside the bed – forcefully, in agitated silence.
HAVERS, CONT.
(delicately prompting)
Sir?
The only response is more silence.
HAVERS, CONT.
Your date not go well?
LYNLEY looks at her coldly, then away.
HAVERS, CONT.
(fed up with being tactful)
Right. Sir…
(still, she winces before she says it)
Has this anything to do with Thomas Crawford?
LYNLEY
(sharply)
What are you implying, Havers?
HAVERS
Nothing, sir; sorry, sir. It's just…
LYNLEY
(his subsequent remarks are all short and abrasive)
Just what?
HAVERS
Well…you said yourself you used to come round Crawford's pub, and…
LYNLEY
And?
HAVERS
I thought you might know who Tom's father was, is all.
LYNLEY
Or you thought I might be his father.
She briefly contemplates denying this.
HAVERS
Well, yeah, if you say so. You'll excuse me for sayin', but the lad looks just like you, sir.
LYNLEY
(hisses)
How dare you, Havers?
HAVERS
How dare I? Sir, nearly everyone I've spoken to regarding this case has made some reference to Thomas Crawford's mysterious father; I thought it might have some bearing –
LYNLEY
(flatly)
I know who his father is. Rest assured, it has no bearing on this case.
He gets up as abruptly as he sat down and goes through the adjoining door into his room. HAVERS sinks back on her pillows and stares at the wall.
EXT. THE TANGLED HARE – NIGHT.
A minicab pulls up, half a block away from the pub, and ADELE gets out. She slips down a dimly lit alley and trips around to the pub's back door, which she unlocks carefully. She steps inside and –
INT. THE TANGLED HARE. REAR ENTRANCE – NIGHT.
- arrives at the rear entrance of the pub, just opposite the kitchen and the stairs to CRAWFORD's flat. She walks very quietly up the stairs -
INT. CRAWFORD'S FLAT – NIGHT.
- unlocks the door to the flat, tiptoes across the living room, and goes into what was her room in the flashback – now THOMAS's bedroom.
INT. CRAWFORD'S FLAT. THOMAS'S BEDROOM – NIGHT.
THOMAS CRAWFORD is lying in the bed in a t-shirt and boxers, fast asleep, looking terribly young and carefree. ADELE silently pulls off her shoes and coat, turns back the duvet and crawls into bed beside him. She strokes his hair, bends to kiss his cheek, and promptly begins shaking with sobs.
ADELE
Oh, Tommy…
She lies down beside him, curling an arm around his waist, and THOMAS rouses slightly at the touch.
THOMAS
Mum…?
ADELE
I'm so sorry…
THOMAS
Shh…
He brings his arms around her, tucking her snugly against his chest, not needing to know what's upset her in order to provide comfort.
THOMAS, CONT.
It's all right…shh…
INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – NIGHT.
LYNLEY is lying fitfully in bed and gets up abruptly, pulling on clothes yet again. He grabs his coat and walks out of the room.
INT. POLICE STATION – NIGHT.
LYNLEY walks into the building and quickly finds ROTHEBY, a bleary-eyed constable.
LYNLEY
Davey Gilchrist's keys – have they finished with the prints?
ROTHEBY
Yes sir, just Gilchrist's.
He picks up a sealed bag with the keys inside and proffers it to LYNLEY.
ROTHEBY, CONT.
Have you found something, sir?
LYNLEY shakes his head feverishly as he takes the bag.
LYNLEY
I need to get into the Galleria.
ROTHEBY
(concernedly)
I'll go with you, sir.
LYNLEY
No, I just – I'll just be a few moments.
He turns and leaves the station as quickly as he came.
EXT. GILCHRIST'S GALLERIA – NIGHT.
LYNLEY ducks under the police cordon and pulls on the glass front doors. They are locked, of course, so he tries one key after another, a little frantically, till one clicks and unlocks the door.
INT. GILCHRIST'S GALLERIA – NIGHT.
Once inside, LYNLEY quickly locks the door again and hurries across the gallery to the stairs that lead to ADELE's flat. He climbs the steps and arrives at the flat to find that it, too, is locked, and he tries every key on the ring, perhaps more frantically than before, till one opens the door.
INT. GILCHRIST'S GALLERIA. ADELE'S FLAT – NIGHT.
LYNLEY shoves the door open and runs inside, turning on all the lights in the process. He begins rummaging through things in a decidedly unprofessional fashion, quite possibly not knowing what he's looking for but making a furiously good show of it. In the process he comes across a shelf of photo albums but shoves them aside. He goes into ADELE's bedroom and pauses a moment (like everyone else) to stare at the exquisite white dress hanging on her wardrobe, then he begins fumbling through the items on her dresser. As such, he comes across the photo of YOUNG THOMAS CRAWFORD at Howenstow with nary a hint of warning and recoils as though he's been struck.
LYNLEY
Oh my God.
He slumps onto the edge of the bed and holds the picture to the light so as to better ascertain its detail.
LYNLEY, CONT.
But – how…?
He sets aside the picture and returns to the living room to dig through the stack of photo albums that he had rejected earlier. He pulls out one whose cover is marked "Cornwall – 1990" and flips past all the requisite touristy shots, beaches, YOUNG THOMAS running around in swim-shorts, etc. – and stops abruptly at a page with several scenic shots of Howenstow. Frowning, he turns another page and sees a picture of his mother, LADY ASHERTON, smiling warmly as she crouches beside YOUNG THOMAS and a couple of DOGS.
LYNLEY, CONT.
But – ?
On the page opposite is a short letter:
Dear Tommy and Adele
Thank you for your visit to Howenstow and the lovely card and photograph. It was too kind of you to oblige a lonely widow
with your company. Do call again when next you are in Cornwall and I will arrange for a proper tea.
Yours faithfully
Daze
Lady Asherton
The letter is followed by a few photos of the grounds and the magnificent interior of the house. In a state of mingled betrayal and curiosity, LYNLEY keeps looking through the album, but at YOUNG THOMAS this time, tracing the shape of the little boy's face in the pictures. Suddenly he sets the Cornwall album aside and grabs one from the bottom of the stack, labeled simply "Tommy – 1985." These are pictures of BABY THOMAS, of course, a few of which also have YOUNG ADELE, looking exactly as she did in the flashbacks. LYNLEY inhales with something like a sniffle and it is apparent that, in spite of himself, he's crying.
INT. CRAWFORD'S FLAT. THOMAS'S BEDROOM – VERY EARLY MORNING.
ADELE gets up silently and goes to her son's dresser for a jumper, which she pulls on over her dress. She puts on her shoes and coat and tiptoes back over to the bed, where THOMAS is sleeping peacefully. She bends down to kiss his forehead, then quietly creeps out of the room.
INT. GABLES GUEST HOUSE. CORRIDOR – VERY EARLY MORNING.
ADELE is walking back to her room when she sees LYNLEY sitting on the floor in the corridor, holding a photo album like it's his last friend and looking utterly desolate. Despite their last conversation, she goes to him at once.
ADELE
Thomas…what's wrong?
LYNLEY
(hopelessly)
I broke into your flat.
ADELE
(consolingly)
You're the police and it's part of a crime scene; I imagine that's your job.
LYNLEY
No, I…I found these –
He demonstratively opens the Cornwall album and stares down at it.
LYNLEY, CONT.
And –
ADELE
Yes, about that.
She settles companionably beside him on the floor.
ADELE, CONT.
I'm so sorry. By the time Tom was five, I…I couldn't help it. Howenstow was the closest I could get to you, so I told Tom we were going on a trip of scenic Cornwall.
(smiles)
I told him it was some big important old house, and we were just going to take a few pictures and drive off when your mum comes running out with her spaniels and says won't we come in for tea and biscuits? And you can't tell a five-year-old that he can't go inside the big important old house and have biscuits with the nice rich lady and play with her dogs.
(shakes her head at the memory)
And then, of course, she had to give him a tour and we were there quite half the day...
She glances up at LYNLEY, who is still a bit shell-shocked, before continuing softly.
ADELE, CONT.
I didn't tell her, and she didn't guess, I don't think – or if she did, she never said. She said she had a Tommy too, but I don't think she ever made a connection between the two.
(sighs)
It broke my heart not to tell Tom she was his grandma; she was so kind and he liked her so much.
LYNLEY stares down at the picture of eyes-as-big-as-his-head YOUNG THOMAS, making a ragged sob-like sound.
LYNLEY
He's so beautiful, Adele…
ADELE
(sad smile)
He is, rather, isn't he? – or was, till he got older and started looking like his dad.
LYNLEY laughs brokenly; ADELE rests a hand on his and interlaces her fingers through his.
ADELE
Thomas, please – let's not fight anymore. It was cruel of me not to tell you all these years, but…I was so scared. Scared of losing Tom, scared of hurting you or your mum, scared of what you'd say when you found out I'd had your baby…
LYNLEY
He must hate me.
ADELE
(hesitates a moment)
Before I knew about your occupation, my dad found out, somehow – I don't know how; from the papers or something – and told Tom his dad was a DI. Two weeks later Tom was talking to a police recruiter and art school – complete with a place at The Ruskin – was out the window.
LYNLEY turns to face her fully as he takes this in.
ADELE, CONT.
Tom wants so desperately to know his father, simply on the basis that I loved him and gave up everything to raise his child. And you've seen how he admires you; if he finds out you're his dad –
LYNLEY
You mean to tell him, then?
ADELE
Eventually…yes – if you don't mind.
LYNLEY
Mind? He's my only child, Adele; I should be doing everything in my power to make him the next earl of Asherton!
ADELE
No – please don't! That's not why –
LYNLEY
(gently)
I know.
He stands and offers her a hand.
LYNLEY, CONT.
Come on.
He helps ADELE to her feet; she unlocks the door and they go into the room.
INT. GABLES GUEST HOUSE. ADELE'S ROOM – VERY EARLY MORNING.
LYNLEY, presumably asleep, is curled contentedly around ADELE in the bed, with an arm across her waist holding her back against him. ADELE is still awake and looking thoughtful; her arm rests on his and she absently caresses his hand where it lies across her rib cage.
ADELE
(softly)
Thomas?
His response is much more conscious than she anticipates – clearly he is lying awake with his thoughts as well, though his eyes are still closed.
LYNLEY
Yes, darling?
ADELE
Back at the restaurant, I said that – sending Tom to my dad was the hardest thing I ever did.
LYNLEY opens his eyes, made curious by this train of thought, and gently kisses the nape of her neck as she continues.
ADELE, CONT.
It was necessary, and it was awful – wrenching, really – and I despised each moment that he had to spend in that place, but…
(trails off, with indecision or reluctance)
LYNLEY
(prompts gently)
But…?
She turns in the circle of his arms to face him.
ADELE
(quietly)
Walking away from you was the hardest thing I ever did.
LYNLEY frowns, strangely stunned by this revelation.
ADELE
(now that the words are out she continues in a rush, not meeting his eyes)
Even as I knew that you didn't want me – not really, not forever. Even as you told me there was another girl you wouldn't leave for me. Even as your whole attitude screamed that you'd never even consider more than a one-night stand with me. You slept with me because, I don't know, it seemed like a good idea at the time and had proven reasonably enjoyable, and now it was time for me to go home.
LYNLEY
(wincing at the brutal truth in her words)
As you say, I was a right bastard. What made it so hard to walk away from that?
ADELE
(almost a whisper)
That, at some level, you didn't want me to be upset, and you didn't want me to go.
(suddenly fragile, terrified of denial, she looks into his eyes; whispering)
Did you?
LYNLEY breathes raggedly as he looks at her but does not reply; slightly emboldened by his hesitation, ADELE endeavors to support her theory.
ADELE
(her voice is still quiet but no longer quite as weak)
The moment you mentioned her…well, I expected brusque. Dry my tears, grow up and get out. But…you didn't want me to be upset, and when I tried to leave –
LYNLEY's breath leaves him in a rush as he recalls their last moments together 25 years before.
CUT to INT. YOUNG LYNLEY'S ROOM – LATE MORNING.
SUMMER, 1984 (FLASHBACK)
YOUNG LYNLEY grasps YOUNG ADELE by the shoulders and jerks her to him. They kiss for hours – a lifetime, it seems – dragging fingers through one another's hair, straining against each other, and then –
(END FLASHBACK)
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – VERY EARLY MORNING.
PRESENT DAY
ADELE is staring intently at LYNLEY, remembering the fierce passion of those last stolen moments.
ADELE
Every bit of my soul went into that kiss.
LYNLEY
(at once a confession and a realization)
Mine too…Not in the way of yours – not consciously; there was no logic to it at all. I couldn't keep you, and yet I couldn't let you go –
ADELE leans up and kisses him passionately; he kisses her back in a like manner and catches at her hips to pull her on top of him. The kissing continues for several moments until she draws back to catch a breath.
LYNLEY, CONT.
Did you know?
Still breathless from their ardor, she shakes her head.
ADELE
No…but you kissed me in the midst of rejecting me…That was enough.
She kisses him again, lightly this time, and settles down to lie on his chest. LYNLEY strokes her hair, looking thoughtful.
LYNLEY
Adele, when did you realize you were pregnant?
ADELE
(hesitant; softly)
You mean, were you still around to be told?
His hand stills in her hair and she sits up a little to look into his eyes.
ADELE, CONT.
Don't know what I'd've done, tell the truth, if you were. As it was, getting pregnant…I never dreamed it might happen, and so –
LYNLEY
(in a voice made slightly hoarse by emotion)
Please, Adele.
She smiles and kisses him lightly on the lips.
ADELE
August 8, 1984. Is that the answer you wanted?
He gives a sigh, though whether it is one of frustration or relief is not apparent.
ADELE
You were long gone – as I overheard it from the uni kids, anyway – and…not that I was expecting it, not in a million years, but…well, without going into too much gory detail, it'd been – well, long enough. Long enough that I should have…
(trails off in a blush)
I went to a chemist's across town – farthest from home I could find – and paid a uni girl five quid to buy the test for me. I could hardly stand for shaking at that point, to say nothing about being terrified that Dad might catch wind of what I was up to. I went up to Modern Art to use the loo – I couldn't very well go home – and I wanted to be in a place that meant something to me…
(draws a long, uneven breath)
I cried so hard that three attendants came to see if I was all right. My voice was a shred by the time I left.
LYNLEY
(sorrowfully)
Adele –
She looks up, startled by the error in his observation, and though tears are streaking her face, her eyes are sparkling.
ADELE
I was so happy.
She catches his face in her hands.
ADELE, CONT.
I thought I'd lost you completely – well, not that I'd ever had you to begin with, but –
(gives a broken little laugh at her own foolishness)
But yet here –
She brings one hand to her abdomen. LYNLEY shifts her slightly and rests his hand on hers, regarding her with gently adoring eyes.
ADELE, CONT.
It was something to live for – of which there seemed to be a shortage after you left. I went off to uni that fall knowing full well I wouldn't finish the year and not caring a whit, because I was going to spend the rest of my life with your child. It kept me sensible – not that I was ever much else. I was so terrified I might mess up somehow and lose the baby – silly things, like slip on the ice or eat the wrong foods. You know.
He smiles up at her, but tightly – tears are pricking the corners of his eyes.
ADELE, CONT.
If the baby was a girl, I was going to name it Judith, after your sister.
(slightly abashed)
You'd mentioned her a time or two at the pub, and somebody said you'd rowed with your mum, so I couldn't very well name the baby after her.
LYNLEY
(raggedly)
Never mind but 'Dorothy' wouldn't have had the same ring to it.
She gives another broken laugh and wipes at her eyes.
ADELE
I wanted a boy so badly, never mind I'd never had a brother and knew next to nothing about the care and keeping of the opposite sex. Not to mention, then I could name him after you.
LYNLEY
(softly)
Thomas…
ADELE
Thomas Ashlyn, to be precise.
(small smile)
I needed a middle name that was reasonably clever and reflected you in some way, but that no one could easily decipher as a clue to his parentage.
(chuckles)
Tom's convinced to this day that he was named after one of my girlfriends from uni.
LYNLEY
(quietly)
Adele, will you marry me?
Her lips curve in a twisted smile – ironic, not cruel, even a trifle amused.
ADELE
(affectionately)
You're already married, you dolt.
LYNLEY
I know. Will you wait till I'm not?
She sits up, regarding him carefully.
ADELE
Thomas, what are you – ?
LYNLEY
I don't know.
He brings a hand to her cheek.
LYNLEY, CONT.
Something I probably should have done a long time ago.
He leans up to kiss her, long and searingly.
LYNLEY, CONT.
Will you at least come back to London with me?
ADELE
(with more than a slight squeak of eagerness in her breathless voice)
At least? Thomas, you know I'm only too keen to shake the dust of Oxford from my feet – again.
LYNLEY
(in an impassioned rush)
Then live with me –
(alters the invitation at her critical glance)
- stay with me, now and again, till Tom gets acclimated to the fact that his parents are desperately in love and making up for 25 years' lost time. And speaking of which…
He kisses her again, quite as passionately as before, and pulls her back down onto him amidst her token protest of laughter.