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A teenager is found shot in the head, and the first assumption is a gangland feud. The victim's name is Leon. The gangland version suits everyone, which is usually a reason to doubt it. Janet, stuck on paperwork by a sour Andy Roper, hears a different story: Leon was mixed up in an under-age sex party, and the victim has been sexually mutilated. The mutilation is the detail the case keeps coming back to, and it is never far from anyone's mind. She and Rachel go to interview two girls from very different backgrounds, and the gap between them is part of the point. The truth of Leon's death sits somewhere in that distance.

Andy eventually makes his peace with Janet. But it is not clear either of them believes it will hold. Janet, for her part, starts noticing good things about her husband Adrian. That is its own kind of development, and the show lets it sit quietly.

Sean, meanwhile, is trying to engineer a reconciliation between Rachel and her estranged mother. Rachel goes along with it reluctantly and finds herself warming to the idea of marriage after all. The meeting with her mother is a minefield, and Rachel walks through it with her eyes open. And for once, Sean is the one doing the pushing. It is the closest thing to a calm development the show has allowed anyone in weeks, which makes you suspect it will not last.

Amelia Bullmore and Sally Wainwright wrote it, Morag Fullarton directed. Suranne Jones's Rachel and Lesley Sharp's Janet lead, with Sean Maguire as Sean, Nicholas Gleaves as Andy, Marsha Millar as Josephine Filbey, Amelia Bullmore's Gill, and Delroy Brown, Tony Mooney, Ben Batt and David Prosho filling out the ranks.

A murder that refuses to fit the easy story, and two women inching towards repairs in their own lives. Neither repair is guaranteed, which is why it works.