Zamwa Sidikki, owner of a minicab business, is discovered bludgeoned to death, a blood-covered baseball bat nearby. Racial or personal? That’s what Temple and the others have to discover.

Since Sadikki wasn’t the most popular of men there’s no shortage of suspects, such as his estranged son – Rafi (Raji James) – who had a falling out with his father several months ago. Gareth Chester (Neil Boorman), the only white driver employed by Sadikki, also seems to be a strong suspect. But possibly Sadikki’s daughter, Yasmin (Rina Mahoney), might hold the key.

Warren continues to let his lower regions rule his head as his relationship with Lucy continues. He thinks nothing of nipping away during the middle of the day for a moment of passion with his attractive, if flaky girlfriend. This flakiness is on show after she flashes him (and a delighted elderly passer-by) from her bedroom window.

It’s fair to say that his colleagues aren’t terribly sympathetic about Warren’s conquest. Bruce succinctly sums up their mood. “He’s been going off at us for years about respecting womankind. And then it turns out that kid Warren is just another copper who can’t keep his toolbox in his trousers”.

He’s not the only one with personal concerns though. Marty and his wife have decided to adopt (a storyline which bubbles away in the background for the remainder of the series) whilst Bruce’s father, Andy (Oscar James), suffers a paranoid attack.

James, instantly recognisable thanks to his three year stint on EastEnders, makes an immediate impact here. Andy, currently living with his daughter, comprehensively smashes up her kitchen, although it’s clear that he’s not responsible for his actions.

The tricky subject of mental health would have been a fruitful one to tackle over the course of the series, but it’s somewhat glossed over since this episode is the only time we meet Andy. But even given this, Lennie James has a couple of decent scenes as Bruce attempts to come to terms with his father’s illness.

Although Sidikki’s murder is never that engrossing a mystery, the script still clips along at a nice pace, helped no end by the dialogue. One of my favourite moments occurs when Marty, who can always be relied upon, loses his patience with a suspect. “I can always tell when you’re lying ‘cos your lips move. We are not being paid to stand around here listening to you feeding us your tripe and bollocks. Do we look like Richard and Judy?”