‘I’m not here to rekindle our relationship; it’s not going to happen.’

‘Don’t you remember how much of a flirt you were last night?’

‘What?’

‘I don’t want to rekindle anything, Kell. You’re safe. I just thought, after your friendly advances yesterday, that a congenial, for-old-times’-sake shag might be up for grabs. Obviously I was wrong. It won’t happen again.’

‘Do you really have to talk like that? Look, I can’t work with you if you keep smudging the edges. I’ll be better off going home and letting you take over fully. I can just liaise and carry on the investigation into George’s death.’

‘No, you can’t!’ There was panic in his voice. ‘I’m sorry. I’m toying with you, I admit that. I don’t want you to go. You’re just as capable as you always were and the buzz I get working with you is making me feel alive. Come with me to Ravensword. We can interview the CEO and the Primate Professor together. Let the troops investigate the white van; our business is analysis, not nuts and bolts.’

‘Only if you promise to stop playing games. Otherwise I really am going home.’

‘All right, you have a deal.’

‘Done. Did all that come in overnight?’ Kelly nodded to the screen behind Matt, which was constantly updating itself with names, addresses, sightings, statements, number plates and photo composites.

Matt nodded. ‘I thought you might have read it this morning before work. That’s what I usually do.’

‘Absolutely, me too. But I… Well, to be honest, I needed caffeine. I caught up on emails on the way here.’

‘Come on, let’s go.’

They talked about the case as they walked to the car.

‘Nothing from the journalist?’ she asked.

‘We have an address, and officers are visiting there today. We’ve got a previous employment record, but she’s freelance now. There’s been no answer on her mobile phone so far. The response from the artist’s impression of white van man has been incredible. It was on the evening news last night. These things usually get lost amongst all the other public appeals and can have low productivity, but this one has given us loads to go on.’

‘Do you have endless resources?’

‘No, believe it or not, I get officers burning out every week because they can’t keep their eyes open. I’ve got two men working the artist’s impression. I wish I could call every single lead back myself, but I can only work with what I’ve got. It might look smooth, but it certainly isn’t. I reckon from what you’ve told me that up there in the sticks you have every advantage: good old-fashioned police work in a limited geographical area, thinly populated, with a loyal, dedicated small team.’

‘Bloody hell, can you please stop calling it “up there in the sticks”?’