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Content Warning: This section of the guide includes discussion of graphic violence, death, child abuse, child sexual abuse, and physical abuse.
Past midnight, a hard rain causes Hess to fear that the crime scene will be washed away. Wishing he were in the Hague, he meets Thulin, whose search team found nothing. She reports Genz has finished analyzing the chestnut man; Hess intuits the results.
At a task force briefing, Thulin summarizes the pattern of murders: Both victims were mutilated and killed in the same manner. A trace of the envelope containing Laura’s hand confirms it was delivered by courier. Hauge’s lawyer presents a credible alibi for his whereabouts at the time of Anne’s murder. Nylander adds that both chestnut men bear Kristine Hartung’s fingerprint. Hess says two prints can’t be coincidence, suggesting the original investigation was flawed. Tim Jansen, who investigated the Hartung case, accuses Hess of criticizing their work. Hess stresses the need to pursue all leads before the killer strikes again, a prediction that intrigues Nylander.
Privately, Hess theorizes the killer is symbolically building a chestnut man out of human limbs, which is why he suspects the killer may kill again. Nylander refuses to reopen the Hartung case, citing Bekker’s confession, though he promises to personally share their findings with the Hartungs.
Nylander asks Thulin about Hess; she confirms he’s sharp. Nylander keeps them on the case but implies her NC3 transfer depends on whether or not she can report Hess committing any insubordination.
Thulin and Hess interview Erik Sejer-Lassen, who remains in shock after Anne’s murder. Erik doesn’t recognize Laura or Rosa in their photos. Thulin presses him about Anne’s packed bag, prompting Erik to admit that he was engaging in affairs, which Anne may have discovered. None of the evidence on Anne’s devices support this claim, however.
Thulin tries to discuss the two victims’ reasons for being killed in the midst of an escape, but Hess is more interested in hearing what Forensics has to say. Genz reveals that he found old blood traces in the hallway floor. Erik explains his older daughter Sofia broke her nose and collarbone months prior. She received treatment in the pediatrics department at Rigshospital.
Realizing Magnus Kjær was also a patient at Rigshospital, Thulin and Hess go directly to the pediatric ward, where Hess is unsettled to hear children singing about a chestnut man.
The senior consultant, Dr. Hussein Majid, confirms he treated both Magnus and Sofia, but thinks it unlikely that their mothers ever met. Offended when Thulin asks if he ever had any personal relationships with the mother, Majid denies them. He recalls, however, that Laura stopped bringing Magnus to appointments after she was notified of being anonymously accused of parental neglect.
Hess reaches out to social worker Henning Loeb at City Hall to retrieve Magnus’s file. Loeb is reluctant to help because he is balancing a heavy workload with an upcoming job interview.
Loeb reveals that an anonymous email through the minister’s whistleblower scheme accused Laura of being an unfit mother. The ensuing investigation found the claim baseless. Loeb refuses to share the anonymous email without a warrant. Asked to check similar reports on the Sejer-Lassen children, he notices something in the file, checks back to Magnus’s file, and warily lies that no such file exists.
That evening, the detectives return to Laura’s house. Hess insists on re-examining given the anonymous tip. He sends Thulin to canvass neighbors while he enters alone.
Hess’s searches turns up empty. Thulin returns with similar results. Annoyed, she leaves Hess to finish his search.
Getting into her car, Thulin resolves to review the files focusing on Majid’s connection. She notices a suspicious black estate car that only recently parked nearby. She gets a call from Le reminding her to pick her up. She drives away without running the suspicious car’s plate.
Hess searches Magnus’s bedroom, feeling defeated. Glancing out the window, he spots drawings pinned to the wall depicting the house with increasing skill. The final drawing renders the garage as disproportionately massive and ominous.
Hess opens the garage and realizes someone has recently entered it. He finds a rubber mat covering a hidden hatch and climbs into a small furnished subterranean room with a bed, camera on tripod, and MacBook Air. About to leave, he spots fresh footprints. An attacker lunges from a wardrobe and strikes his head.
Dazed, Hess fights back. The struggle moves up onto the garage floor. Hearing Thulin call his name, Hess grabs a heavy steel shelving unit and pulls it crashing down.
Thulin, back on Laura’s property, sees a figure bolt from the garage and chases him onto the train tracks. A freight train cuts her off. Between carriages she glimpses Hauge as the figure before he vanishes.
Thulin had realized the suspicious car was likely Hauge’s. This is enough to issue a warrant for his arrest.
Genz examines the hidden garage room and reports that it was recently built and made to be soundproof. Evidence suggests Hauge streamed content anonymously from the room, but they are unable to access the password-protected MacBook.
Thulin bypasses the security using her expertise. The hard drive contains video files organized by month. Thulin plays the most recent one and is sickened.
It is revealed that Hauge had been sexually abusing Magnus for over a year, filming and streaming it online. Thulin and Hess move to ensure that Magnus is protected from Hauge. They deduce that the anonymous tip must have made Laura suspicious, prompting her to change the house locks, though it was unlikely that she ever knew what Hauge was actually doing.
Hess believes the tipster is the killer. Thulin notes Hauge had a motive to kill Laura but not Anne. Hess theorizes the killer targeted Laura because she “ought to have known” what was happening in her house (210). Thulin suggests investigating whether the Sejer-Lassen girls’ “accidents” were also abusive.
At home, Thulin is surprised by Sebastian. She sends him away to focus on work.
Hess calls: hospital records show the Sejer-Lassen girls have a long injury history suggesting abuse. They agree to check the council in the morning. Thulin notices a silhouetted figure watching from scaffolding across the street. It disappears, unnerving her.
Hess’s theory that the murderer is constructing a grotesque effigy using the amputated body parts of his victims proposes a psychological motive rooted in a macabre symbolic project. Through the lens of this theory, the symbols of the chestnut man and amputation become components in a terrifying ritual. Hess speculates that the killer murdered Laura Kjær because, in the killer’s eyes, “she ought to have known” about the abuse happening in her own home (210), especially after the anonymous report was filed to expose it. This reframes the murders as a form of brutal, extra-judicial punishment for perceived parental negligence. The killer is a self-appointed arbiter of moral responsibility, targeting mothers who fail to meet a flawed standard of vigilance. The victims of the murders are women who have been judged and found wanting by a hidden accuser, making their murders a form of punitive, targeted retribution that operates entirely outside the law. This underscores the theme The Ethics of Vigilante Justice, interrogating whether the killer’s vigilantism really metes out the kind of social change that justice is intended to effect.
Hess’s critical approach clashes directly with the institutional mindset of the Copenhagen police. Tim Jansen reacts with defensive anger, accusing Hess of criticizing their past work, while Nylander views the case primarily through the lens of political and careerist calculation, seeing Hess as a potential scapegoat for what he sees is the department’s inevitable failure. Hess’s focus on the killer’s internal logic and symbolic intent sets him apart, suggesting that solving the case will require moving beyond standard procedure and into the realm of psychological interpretation.
Consequently, these chapters mark a significant turning point in Hess and Thulin’s partnership, moving them from antagonistic colleagues to a cohesive investigative unit. Initially, Thulin is so frustrated with Hess’s methods that she abandons him at the Kjær house. However, her professional instincts cause her to return after spotting Hauge’s car, a decision that saves Hess’s life and fundamentally shifts their dynamic. In the aftermath, their complementary skills become apparent: Thulin’s technical expertise allows her to bypass the security on Hauge’s MacBook, while Hess’s intuitive leap in interpreting Magnus’s drawing led them to the discovery in the first place. Their debrief in the car solidifies this new rapport as they collaboratively build on each other’s theories about the Sejer-Lassen girls. Their partnership becomes a necessary synthesis of Thulin’s procedural rigor and Hess’s unorthodox insight, forming the only effective response to a killer whose methods are as complex as the institutional failures that enable him.
The introduction of social worker Henning Loeb and his phone call with Hess reveals the deep institutional dysfunction that allows the killer to succeed. Distracted by an upcoming job interview and resentful of Hess’s interruption, Loeb treats the police inquiry as an annoyance, hastily summarizing a report of child abuse as a “spiteful prank” (183) and ultimately lying about the existence of a file on the Sejer-Lassen children. This interaction is a damning illustration of the Shortcomings of the Social Welfare System, demonstrating how bureaucratic apathy and personal self-interest can have fatal consequences. The whistleblower scheme is shown to be tragically fallible when managed by a cynical employee. Loeb’s indifference, haste, and deception are emblematic of a system where the process has become more important than the people it is meant to serve. His desire to “jump ship before it sank” (182) into a more pleasant department emphasizes a culture of avoidance, where systemic problems are ignored in favor of individual advancement.
Magnus Kjær’s series of childish drawings, culminating in a distorted depiction of an oversized garage, provides the important clue that pierces The Facade of Suburban Safety. The eventual discovery of the soundproof, furnished room beneath the garage floor reveals a secret space of unimaginable horror concealed within a mundane, middle-class home. This development activates the motif of basements and hidden rooms, physical spaces that represent the violent secrets and psychological trauma lurking beneath a veneer of domestic normalcy. The contrast between the white, modernist house on a “child-friendly” (186) road and the subterranean chamber where Hans Henrik Hauge tortured and filmed his abuse is stark. This motif extends to the Sejer-Lassen residence; though their lavish Klampenborg mansion has no literal bunker, it too conceals dark secrets behind its “magnificent windows” (168), specifically Erik’s infidelities and, more ominously, a pattern of suspicious injuries sustained by his daughters. Both homes, one middle-class and one opulent, function as impenetrable masks, proving that wealth and idyllic surroundings offer no protection from severe trauma and hidden violence.



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