(A young woman is leading a soldier through the trees.)

MARY: Nearly there. We've been right busy since you lot were billeted here. This your first time? The others been teasing you, is that it? My name's Mary. Mary, like the virgin.

(She starts unbuttoning his tunic. He slaps her, hard.)

MARY: Religious man, are you?

(He slaps her again.)

MARY: I'm not your bloody hound.

(She scratches him and runs.)

SOLDIER: Whore!

(A strange sound is coming from a pulsing light amongst the trees. The soldier is still chasing her, so Mary runs towards it. There is a flash as the soldier approaches, and he draws his flintlock pistol. He aims it at Mary, who is just standing there, smiling.)

SOLDIER: Do whores have prayers?

(He fires.)

TOSH: What's most amazing are the similarities with our own culture. But that can be horrible, because we find lots of weapons, and it just makes you think, my God, everything wages war. It's not just a trait of ours, but a trait of existence. It makes you feel so hopeless. But then there are times. We found this thing, it was about A4 size, and it had all these symbols on it. And it took me about three months to translate. It was a letter someone had written to his family, to his children, to say how much he was missing them. It just made me cry, because I thought, even across these unimaginable distances, there are fundamentals that stay exactly the same. And there's no one to talk to about this. I mean, the guys at work, they're great, but they don't see it the way I do. I could be fired just for telling you that.

GWEN: The leg bone's connected to the hip bone, the hip bone's connected to the something bone

OWEN: Please stop singing. Anything to stop you singing. I don't know what you're laughing at. Stop singing. Please don't sing. Please don't sing. Not listening. Omm.

GWEN: Oh, dem bones

GWEN: As you may remember, at the building site Owen said this was a woman killed by a single gunshot.

OWEN: I'd been there, like, a minute?

GWEN: Since then he's had to tweak some of his initial conclusions. The first being that this isn't, in fact, a woman, but a man.

OWEN: A young man. A very girly man.

GWEN: But still ultimately a man. Then there was the cause of death. Owen said GSW. Ah ahh. The correct answer was

OWEN: Unidentified trauma. But-

TOSH: Unidentified trauma?

GWEN: Mmm. You see it in RTAs, when something like a steering column or a post goes into a body at great velocity. But the one thing that could be ruled out was?

OWEN: Gunshot wound.

GWEN: Gunshot wound. Was there, in fact, any part of your prognosis that was right?

OWEN: I got that it was a skeleton.

GWEN: Yes, you did. Yes, you did.

OWEN: You've just passed the point of-

GWEN: Where did you train? Where did you train? Did you train? Absolutely useless.

TOSH: So, I'm shagging a woman and an alien.

MARY: Which is worse?

TOSH: Well, I know which one my parents would say.

TOSH: I can't stand it any more. The weight of it, the depravity, the fear. It fills me up. It's in my mouth, in my hair, in my eyes. Like I'm drowning in ink. And even when I don't have the pendant on, even when there's nothing, I can't forget the things I've seen, the things I've heard. It's like a curse. Something the gods send to drive someone mad. I had hoped I'd see something, some little random act of kindness, and it made me think we were safe, there was some essential good in us. But there isn't. It's like one of the weevils. You look inside, and there's just this great yawning scream. You were right. Everything you said about us. We're frightened and we're callous.

TOSH: What did she? Has she gone home?

JACK: I reset the coordinates.

TOSH: Where to?

JACK: To the centre of the sun. It shouldn't be hot. I mean, we sent her there at night and everything.

TOSH: You killed her.

JACK: Yes.