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 – MID-MORNING.
HAVERS, out of bed and dressed for the day, is finishing a call on her mobile as she goes to look for LYNLEY.
HAVERS
Yes sir, I'll tell him.
She terminates the call and walks over to knock lightly on the adjoining door.
HAVERS, CONT.
Sir?
Receiving no response, she opens the door, crosses through the adjoining bath and peers into his room.
HAVERS, CONT.
Sir?
The bed was left in a rush and there is no LYNLEY in sight.
HAVERS, CONT.
Right.
She ducks back into her room, gets out her mobile again, and enters LYNLEY's number. It rings several times before his voicemail kicks in:
LYNLEY, O.S.
You've reached Detective Inspector –
HAVERS promptly ends the call and redials a few seconds later.
INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
ADELE emerges from her en suite bath in a towel with her black hair in soft, perfect curls, looking like nothing so much as a Greek goddess, to see LYNLEY sitting on the edge of the bed, mostly dressed in a half-buttoned shirt and trousers and completing a call on his mobile.
LYNLEY
Yes, that'll be perfect. Thanks.
His gaze settles on ADELE and he sets the mobile aside, unthinkingly, as she crosses to him.
LYNLEY, CONT.
(huskily)
Hello.
ADELE
Hello.
She blushes self-consciously and allows him to pull her down to straddle his hips.
ADELE, CONT.
(lightly; teasing)
Your other girlfriend – no, wait: your wife.
She glances meaningfully at the discarded mobile, then back at LYNLEY.
LYNLEY
(returns her smile)
Your estate agent, darling.
ADELE
My what?
She sits back a little in surprise and he leans forward to kiss the hollow of her throat.
LYNLEY
Do you think Tom would like Islington?
ADELE
Islington? Really?
She makes a sound akin to a squeal of delight and flings her arms around his neck, only to draw back a moment later.
ADELE
Wait – Islington. Where is that in relation to you?
LYNLEY
(frowns)
Good point. I knew I should've stuck with Belgravia.
He reaches for the mobile but she catches his hand.
ADELE
(softly)
I'm sure it's an easy jaunt when you're headed toward something you really want.
LYNLEY looks smolderingly into her eyes for a long moment.
LYNLEY
Easy enough – but a damned while to wait.
He leans forward to kiss her lingeringly, then his lips slowly progress down the column of her throat as she threads her fingers through his hair. His hands are just loosing the towel where it is fastened above her breasts when his mobile rings. LYNLEY gives a ragged gasp of frustration but does not look away from ADELE.
LYNLEY
Islington's fine. I'll commute.
ADELE
(raggedly)
Okay.
She draws his face up and kisses him fiercely. The mobile stops ringing – then almost immediately begins ringing again, more insistently this time. ADELE pulls away and reaches for it, despite LYNLEY's groan of protest.
ADELE, CONT.
They're obviously not giving up, and –
She glances down at the screen and her lips twist in a wry smile.
ADELE, CONT.
What do you know – it is your other girlfriend.
She hands him the mobile, the display of which reads "DS Havers."
LYNLEY
(too frustrated to be offended by ADELE's implication)
I'm going to kill her. The. Most. Agonizing. Way I know how.
He answers the furiously ringing mobile with clearly audible frustration.
LYNLEY, CONT.
Yes?
CUT to INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – MID-MORNING.
HAVERS is standing in the middle of LYNLEY's bedroom.
HAVERS
(with slightly sadistic cheeriness)
Good morning, sir. Um…can I ask where you are?
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
LYNLEY
(sharpish)
Where any civilized person would be at this hour, Sergeant: still in bed.
CUT to INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – MID-MORNING.
HAVERS
It's the strangest thing, sir, but: I'm in your bedroom and –
She crouches down to peer under the bed.
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
LYNLEY mutters something inaudible but unpleasant under his breath as HAVERS continues:
HAVERS, O.S.
While I'd hate to call you a liar, sir –
CUT to INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – MID-MORNING.
She straightens from her crouch.
HAVERS
I'm inclined to say you're not here.
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
LYNLEY, rather impatiently anticipating further physical activity, is not amused, though ADELE, who is still perched on his lap in a barely-fastened towel, is grinning at the exchange.
LYNLEY
(caustically)
Regardless, I trust you have a reason for this call, Sergeant.
CUT to INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – MID-MORNING.
HAVERS gives a small smile.
HAVERS
Sadly, yes, sir. I've just got a call from DS McAllister, who's suggesting that we reopen the gallery this evening with Adele under full police protection. Something about Rushwood bein' impatient, and since we've got Lundy in custody –
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
LYNLEY smiles, having forgotten in the process of his turbulent night the course of action he set in place.
LYNLEY
Of course.
He leans the mobile against his shoulder so HAVERS, who is still talking, will not hear, and addresses ADELE.
LYNLEY
(softly)
Darling, do you fancy reopening the gallery tonight?
Her eyes widen in surprise.
ADELE
What?
LYNLEY
Last night – when Rushwood called you –
ADELE
When you left – ?
LYNLEY
I wasn't planning anything of the sort, but the expression on your face when you spoke with him –
He touches her cheek with the fingertips of his free hand as she stares down at him.
LYNLEY, CONT.
The thought that you might lose this chance…I told Rushwood that the show was reopening tonight, then called McAllister and asked him to authorize the arrangement, full police protection, and so forth.
(self-deprecatingly)
It was supposed to be his idea.
They regard each other for several long silent moments, ADELE with wide-eyed disbelief and LYNLEY with apology, as HAVERS' voice continues over the mobile.
HAVERS, O.S.
- suppose, with Lundy in custody, it's not the craziest idea in the world, and if he did have an affiliate, opening the gallery might –
(breaks off a moment before continuing in a louder voice)
Are you listening to me, sir?
LYNLEY
(lightly; with a note of amusement)
Yes, of course, Sergeant. Pending Miss Crawford's approval, you want to reopen the gallery this evening and supply her with a police escort?
At these words, ADELE's stunned silence snaps into an expression of sheer joy, and LYNLEY's eyes are warm and focused only on her as he continues to HAVERS:
LYNLEY, CONT.
Might I volunteer for the task?
CUT to INT. OLD BANK HOTEL. LYNLEY'S BEDROOM – MID-MORNING.
HAVERS
(meaningfully)
I don't know; why don't you ask her yourself?
CUT to INT. GABLES GUEST HOUSE. ADELE'S BEDROOM – MID-MORNING.
LYNLEY
I think I shall.
He terminates the call and throws his mobile blindly onto the nightstand as he smiles up at ADELE.
LYNLEY
Adele Elizabeth Crawford, do you have any objections to being seen with me in public?
ADELE
I thought you'd never ask.
She lunges forward, shoving him onto his back on the bed and kissing him wildly.
CUT to INT. OLD BANK HOTEL. LYNLEY'S ROOM – MID-MORNING.
HAVERS stares down at her mobile in disgust.
EXT. POLICE STATION – LATE MORNING.
LYNLEY and ADELE, slightly unkempt from passionate interactions en route (though both had the good sense to change into clothing other than what they'd worn the night before), are walking up to the building's main entrance. ADELE turns to LYNLEY, laughing merrily.
ADELE
You told Rushwood's secretary that I was a potential shortlist for the Turner Prize?
LYNLEY
(slightly wounded)
You're a contemporary artist under fifty –
ADELE is still laughing. It renders her quite disgustingly adorable.
ADELE
Yes, with no controversy in my work to speak of! I mean, Tom would have a better shot at it with his abstracts –
LYNLEY halts abruptly at this remark.
LYNLEY
(softly; startled)
Oh my God.
ADELE's merriment fades in the face of concern.
ADELE
What is it, love? I was only kidding –
LYNLEY stares up at the building.
LYNLEY
(as a realization)
My son's in there.
ADELE
(smiling gently)
Mine too, as it happens. Coincidence?
He exhales weightily and turns to her with a tight smile; she slips her hand through his and they walk into the building.
INT. POLICE STATION – LATE MORNING.
THOMAS CRAWFORD is pacing in a fit of nerves while MCALLISTER, HAVERS, and a handful of other CONSTABLES look on.
THOMAS
Has anyone spoken with her?
MCALLISTER
(with thinly worn patience)
She's fine, Tom.
THOMAS
With all due respect, sir, how do you know that? This isn't like her, not to call –
HAVERS
(in a tight voice)
DI Lynley's picking her up from her B they'll be here soon and –
At that moment LYNLEY and ADELE walk in. They are loosely holding hands until ADELE sees THOMAS and jerks away from LYNLEY, who is eyeing THOMAS as though he's never seen anything so wonderful in all his life. HAVERS is the only one to observe these reactions and keeps them wisely to herself.
LYNLEY
(genially)
Forgive my lateness, gentlemen; I stopped to collect Miss Crawford on the way and –
THOMAS all but ignores him as he pushes forward to address ADELE.
THOMAS
Mum! My God, did you forget how to use a mobile? I've been worried sick –
ADELE
No, I've just –
THOMAS
And whose fool idea was it to reopen the gallery tonight?
MCALLISTER
(stammering his cover-up)
Well, I spoke with Stephen Rush–
HAVERS
I think it was –
LYNLEY
(calmly)
Mine, as it happens.
The others fall silent, THOMAS's rage immediately deflates and he has the good sense to look ashamed. LYNLEY's tone is strangely gentle as he addresses the young man he now knows to be his son.
LYNLEY
Rushwood made an enquiry when he arrived at the gallery and saw signs of a crime committed there. His schedule – and patience – are such that he would have gladly turned around and gone back to London – and warned his colleagues to give this exhibit a wide berth, for good measure. We had one shot at keeping Rushwood in town and possibly saving your mother's career.
THOMAS contemplates this, frowning in thought.
THOMAS
But – he would have called the local police.
LYNLEY
Well, actually –
ADELE
He called me. At dinner, looking for Davey…I let him speak with the inspector, who contacted Sergeant McAllister to make the final arrangements.
(at her son's resultant expression)
Tommy, think about it: Lundy's in custody, with every likelihood of being charged with Davey's murder before the day is out. And if the killer is still out there – if the murder was meant to shut down my exhibition – you can bet he'll be skulking about when the gallery does open, whether it's today or two weeks from now. Reopening the exhibition with the police on site gives them another shot at finding the killer while also granting us a second chance to make contact with Rushwood.
THOMAS
And you couldn't just pick up your mobile and explain that to me?
ADELE
I – didn't think…I was so caught up –
She's clearly fumbling for words; HAVERS abruptly leaps in.
HAVERS
Tom, your mum found Davey Gilchrist stabbed to death twenty-four hours ago. That's a ton of shock to handle, and you admitted she wasn't behaving like herself. I don't think she meant anything by not calling you –
ADELE flashes an expression of startled gratitude at HAVERS.
ADELE
Tommy, I didn't know for sure that my exhibition would have the chance to open at all, let alone this soon. I didn't want to tell you till I knew for certain, and by the time Sergeant Havers rang to let me know, McAllister'd already briefed you.
THOMAS accepts her account without question, sighing audibly.
THOMAS
You scared the hell out of me.
ADELE
I know, and I'm sorry.
She crosses quickly to hug him, and HAVERS catches LYNLEY's eye.
HAVERS
Sir, if I could have a moment?
His expression is calmly unreadable.
LYNLEY
Of course, Sergeant.
He follows her toward the interview rooms; ADELE draws back a little from the hug to look up at THOMAS.
ADELE
Tommy, what's going on, really? You were fine with me going out last night, you even told me not to worry about calling you –
THOMAS
(quietly)
Well, for starters: my keys to your place are gone.
ADELE
Gone…? As in –
THOMAS
I had them when I left you, the night before Davey died, and last night I realized they were missing. I've looked everywhere –
ADELE
That doesn't mean the killer has them, Tommy –
THOMAS
(ironically)
Well, they're not in the lost-and-found box, Mum – and then there's the little matter of you showing up at Granddad's in the middle of the night, crying.
ADELE
(exhaling slowly)
Tommy …it wasn't what you think…
THOMAS
(with slight exasperation)
Mum, I hardly know what to think. You've never come back to Granddad's, not since you ran away 25 years ago –
ADELE
(facetiously; attempting a smile)
Well, it's nice to know that he hasn't changed the locks on me.
THOMAS
Seriously, Mum.
ADELE
(abruptly sobering)
I know. It was…I don't know, Tommy...
(she settles for a partial truth)
Talking with Inspector Lynley brought back memories – memories of my time at Dad's –
(she fumbles into a near-confession)
- of your dad…I didn't want to be alone in a B&B.
THOMAS
You said "I'm sorry, Tommy…"
He catches her face gently in his hands.
THOMAS, CONT.
What in the world have you to be sorry for?
ADELE
(regretfully)
I let you grow up without a father…
(softer)
Let your father grow up without a son…
THOMAS
Oh, Mum.
He pulls her into a tight hug.
THOMAS, CONT.
There were a million reasons why it couldn't be; you know that better than I do, and –
MCALLISTER, O.S.
(to one of the CONSTABLES)
Yes, once DI Lynley and his sergeant are back, we'll discuss the procedure in detail.
ADELE perks up at the mention of HAVERS.
ADELE
(to MCALLISTER)
I'll fetch them, sir.
She gently disentangles herself from THOMAS's arms.
ADELE, CONT.
Back in a moment, love. There's just – something I wanted to ask the inspector before we get started.
THOMAS
Promise you won't come back crying?
ADELE
(smiling serenely)
I think I can fairly guarantee it.
She gives him a quick peck on the cheek and heads off in the direction in which LYNLEY and HAVERS left.
INT. POLICE STATION. INTERVIEW ROOM – LATE MORNING.
A flushed and furious HAVERS is berating a calm, expressionless LYNLEY. Unbeknownst to her – and possibly LYNLEY as well – beneath all of her righteous indignation is a piercing note of pure, blinding jealousy.
HAVERS
You want to be a little less obvious, sir?
LYNLEY
What are you talking about?
HAVERS
I'm talking about waltzing into the station, hours after everyone else, holding hands with Adele, with every appearance of having shagged her in the car on the way over! I suppose I should thank God or some whim of fate that you thought to change clothes before coming in.
LYNLEY holds her gaze, almost challenging her, but he does not speak; infuriated, she continues:
HAVERS, CONT.
I mean, her son thinks too highly of both of you to even suspect you of it, but everyone else in that room knows full well that you slept with Adele last night.
LYNLEY
(acerbically)
Why, exactly? Because my sergeant felt it necessary to say –
HAVERS
(snaps)
Oh please! You can't take your eyes off each other – though, by some miracle you're keeping your hands to yourself…!
She stalks away to the glass, forcibly slowing her breath.
CUT to INT. POLICE STATION. CORRIDOR – MID-MORNING.
ADELE is standing on the other side of the glass, looking in. Judging by her pensive expression, she has been there for some time.
CUT to INT. POLICE STATION. INTERVIEW ROOM – MID-MORNING.
Unaware of her audience, HAVERS turns back and resumes addressing LYNLEY, albeit in a slightly more controlled voice.
HAVERS
Tom Crawford admires you more than anything, sir, but if he catches the slightest hint of what you're about, he'll tear you apart.
LYNLEY
I don't doubt it.
HAVERS
Then why risk it?
(visibly calming herself)
I haven't spoken to anyone and you should know by now that I won't, but McAllister's not above bringing you before a tribunal.
LYNLEY
(quietly)
I know.
HAVERS
(pained)
Then why? I'll defend you to the death, sir, but –
LYNLEY
(quieter still)
I love her.
These words strike HAVERS like a blow to the chest. Her eyes widen in pain, quickly stifled.
HAVERS
You just met her.
LYNLEY
No, I didn't.
He looks up at HAVERS, the confession on the tip of his tongue, when a knock sounds on the door. Neither of them moves for a moment, then HAVERS begrudgingly goes to open it. ADELE stands on the other side, not evading HAVERS's gaze but also not prolonging eye contact.
ADELE
Sorry, Sergeant. Thomas – Inspector –
(hastily corrects herself because of HAVERS)
McAllister was looking for you both. He wanted to discuss the particulars for tonight.
LYNLEY
Thank you, Miss Crawford.
His tone in addressing ADELE, though equally quiet, is a polar opposite of his tone in addressing HAVERS a moment ago – tender and loving; HAVERS walks quickly past ADELE without a word, leaving LYNLEY and ADELE alone.
ADELE
She's upset.
LYNLEY
And then some.
ADELE
Thomas…you do realize…
Her brow furrows slightly, as though she's uncertain of how to say or even whether to say what she's thinking.
ADELE
(simply)
She cares for you a lot more than you realize.
LYNLEY
I know.
ADELE
(regretfully, almost as a realization)
No…you really don't.
He frowns, troubled by this remark.
ADELE, CONT.
(brightly changing the subject)
Never mind that now. You're taking me on our first proper date tonight.
She brings a hand to the collar of his shirt and smiles
ADELE, CONT.
I hope you packed something suitable for the occasion.
LYNLEY
Adele –
Suddenly serious, he catches her hand against his chest.
LYNLEY, CONT.
You do realize: if Gilchrist's killer is still out there –
ADELE
(the somberness in her voice belies the lightness of her previous remark)
I know.
LYNLEY
Del, he stabbed Gilchrist to pieces –
She brings a hand to his lips, gently silencing him.
ADELE
Your primary suspect is already in custody, and I'm going to spend the evening in the midst of a police team I trust more than any in the world, including my son and his father – and the stroppiest redheaded sergeant I've ever met.
LYNLEY cracks a sad smile at that.
ADELE, CONT.
(slightly breathless)
And afterwards, I'll be with you…
She ends the statement on a hesitant note, as though still uncertain of their relationship status, and looks up at him.
ADELE
(tentatively)
Won't I?
He pulls her into the room, closes the door behind them, and kisses her fiercely.
LYNLEY
You'll be lucky to get rid of me at all. Ever.
He traces her lips with a fingertip.
LYNLEY, CONT.
A night of pretending not to be in love with you is going to be hell.
ADELE
(raggedly)
Tell me about it.
She leans up and kisses him again.
ADELE, CONT.
Come on. Somebody's bound to be suspicious that we're taking this long.
She curls her hand through his, then thinks better of it and looses it again, looking up at him with intense eyes.
ADELE, CONT.
"Hell" doesn't begin to cover it.
His eyes acknowledge this longing as they exit the room.