After watching this episode I was afraid to strike up a conversation with my boyfriend. I wanted to ask if he'd make me a cup of tea whilst I wrote this, but was convinced a stranger would come barging into the room if we spoke, because that's what happens in Albert Square.

In almost every scene tonight, a conversation would occur and would then be broken by someone entering the room. No-one is able to have a discussion, and the viewers aren't allowed to finish a thought, without interruption from the constant parade of people entering and exiting the set.

Is this the scriptwriters' way of sustaining tension in the run-up to Thursday's murder revelation? There must be slicker ways to do it, surely?

It was already hard to concentrate on the action as I was constantly watching the top right corner for the elusive #EELive hashtag, then I'd remember I was supposed to be reviewing this so I'd focus my attention back on the action only for the scenes to be chopped, interrupted, broken.

The episode opened on Jane's horrified face as she read Lauren's card. Being dull, frumpy Jane, her reaction was simply, 'I need the loo.' And she wasn't even able to read the card, and let us savour that moment of tension, without a little trail of people entering the room.

Max tries to talk to Abi about why she killed Lucy, and the best she can say is, 'Do you really think I killed her?' If my father accused me of murder I think my reaction would be more colourful than a flimsy rhetorical question. But can we put that down to unrealistic dialogue, or is Abi behaving thus because she is indeed the killer?

As everyone else gathers for Ian and Jane's wedding, Max and Lauren are sitting on plastic chairs in an abortion clinic, and this scene was slightly tedious. Max apparently believes one daughter killed Lucy, and that the other knows this fact and may go to the police, yet there was no great dramatic scene here, just the two of them slumped against the wall and delivering feeble lines like, 'I've just been feeling really crazy recently.' Oh, say something concrete and worthwhile! Is no-one capable of asking a blunt question: did you do it? Are you going to tell the police? Of course, blunt questions would bring the mystery to its conclusion and that can't be allowed to happen until a designated time on Thursday night. Until then, we're treading water.

Meanwhile, Jane walks down the aisle to The Power Of Love by Jennifer Rush but, just as the couple are joined at the altar, we skip away to Ronnie's hospital bed for about four seconds, and then back to the wedding for a Winnie the Pooh poem, then jump back to the abortion clinic. Nothing stays still for more than 10 seconds. Is this the cheap and easy way to build suspense in soap-land? There was a true sense of dissatisfaction at the short, fidgety, scrappy scenes.

The best scenes belong to Dot who goes to Ronnie's bed to apologise for Nick. 'You're never gonna see him again,' she tells an unconscious Ronnie. 'I've seen to that.' So was this Dot confessing to a murder she didn't commit? Although perhaps she thinks she is indeed guilty as she bought him the drugs which finished him off. 'Murder is such an ugly word, innit?' she went on. 'So black, so frightening.' Was this her way of punishing herself, of hoping she'd be overheard? Of course, she was, and told her grandson that she'd killed Nick.

Back at the Vic, Jane flees Ian's boring little speech to rush home and make a breathless phone call. Strangely, no-one realises the bride has vanished from her own wedding celebration. I know she's dull, but is she dull to the point of invisibility?

It seems her phone call was to Masood and she begs him to take Bobby for the night. He was baffled as to why. I'm baffled too, though quickly losing patience. But tomorrow is Thursday where we can finally stop treading water and stand on dry land.

BEST MOMENT: 'How's Adam?' asked Tanya, giving us a spectacularly fluffed line.

WORST MOMENT: Ian's tearful, grateful expression when Jane says her vows