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Content Warning: This section of the guide includes discussion of substance use, mental illness, death, child death, child abuse, death by suicide, and graphic violence.
Thulin goes to Hess’s building, frustrated by media frenzy and Hess’s inaccessibility.
At this point, the investigation has stalled. The previous night, Hess insisted on interviewing Rosa, which forced Nylander to reveal that Hartung had received death threats. Nylander urged the detectives to disregard any connection to Hartung.
A neighbor mistakes Thulin for a floor worker and lets her into Hess’s unlocked apartment. The walls are covered with an obsessive diagram connecting the victims, the Hartungs, and Bekker. When Hess returns from a run, Thulin informs him Nylander has finally approved an interview with Rosa in one hour.
Though Nylander continues to defend the original Hartung investigation, he privately worries that Hess may be right after all. Ricks’s grieving partner, Jansen, makes a drunken request to rejoin the investigation. Nylander refuses. Jansen blames Hess for Ricks’s death, saying Hess put Ricks in harm’s way.
During her interview with the detectives, Rosa states that she didn’t know the victims. Rosa reveals that she was a foster child, an experience that fueled her passion for child welfare. After sharing what she knows about the chestnut dolls, she asks if Kristine might still be alive. Rather than directly answer her question, Hess expresses that it is cruel for the killer to make the Hartungs believe it.
Rosa allows the detectives to look through the ministry’s case files for leads. Frustrated with the process, Hess urges Thulin to abandon the task, indicating that they should return to “the beginning.”
In a meeting with Genz, Hess recounts the details of the Kristine Hartung investigation. Hess reveals a press photo from the night of Kristine’s disappearance that shows Bekker in the crowd behind the cordon, contradicting his confession that he was driving to bury Kristine’s body then. He argues Bekker was likely truthful before confessing and was framed for murder. He proposes they visit him.
The detectives drive to Slagelse, the institution where Bekker resides. Thulin remains skeptical that Bekker will say something different. Hess believes the killer scapegoated Bekker.
Slagelse head psychiatrist Weiland objects to the police interview, concerned it will disrupt Bekker’s treatment. Hess threatens to get a warrant; Weiland reluctantly gets consent. They’re warned not to agitate him and shown an emergency cord.
Bekker initially appears timid and childlike. He claims that he experienced schizophrenic blackouts and that police helped him “remember” what he did. Hess presses him with questions, causing Bekker to change his demeanor. Bekker reveals that he’s been tracking the case via teletext, which he also uses to access crime scene photos. He claims that the real killer is “the master” who “made me part of his plan. Otherwise I’d never have confessed” (317). Bekker anticipates that he will soon be released. This provokes Hess to lunge at him. Bekker pulls the alarm, reverting to his frightened persona as guards rush in.
After being ejected from Slagelse, Thulin learns that detectives at the ministry found promising leads. Hess is convinced Bekker told the truth about a “master” and the killer’s identity is contained in the crime-scene photos Bekker hacked.
Thulin calls Genz for an analysis of Bekker’s most-viewed photos. Genz informs them that Jansen has requested backup at a Sydhavnen address, claiming he has located the killers.
Acting on a tip, Jansen arrives at the residence of a couple named Benedikte Skans and Asger Neergaard at a former slaughterhouse. An elderly woman tells him that they have moved out, but Jansen spots a baby’s mobile in an upstairs window and pushes past to investigate it.
Jansen discovers a child’s room converted into a shrine: one side is a memorial to the deceased child while the other is covered with clippings, surveillance photos, and violent threats against Rosa. Convinced this is a lead, he awaits backup.
The slaughterhouse becomes a crime scene. Hess recognizes Skans as the nurse from the pediatric ward. Jansen briefs Nylander: the couple held a grudge after their child was taken into care and died. Thulin notes nothing directly connects them to the three murders. Hess then finds a hidden photograph showing Neergaard beside a car identical to Rosa’s ministerial vehicle. Genz informs the investigators that one of the slaughterhouse’s rooms was converted into a makeshift holding cell.
The narrative shifts to Asger Neergaard, who has abducted Gustav Hartung using Rosa’s ministerial car. A leak in Hartung’s security had alerted him to the raid on his and Benedikte’s address.
Asger reflects on his relationship with Benedikte, their child’s death while in state care, and their revenge plan against Rosa Hartung, which involved getting hired as Rosa’s driver. They sent the threats against but ultimately had nothing to do with the murders.
Asger meets Benedikte in a rented van. He wants to abandon the plan and escape. Benedikte sees Gustav and refuses to give up.
At Christiansborg, Rosa learns of the raid. Earlier, the prime minister had pressured her to disavow Steen’s public speculation that Kristine might be alive.
As the staff identify Skans and Neergaard, Rosa and Vogel gradually realize that the couple have been harassing Rosa and getting close to her with Neergaard as her driver. Rosa checks her tracking app and sees that Gustav’s phone is off. An intelligence agent approaches Rosa with grim news.
Nylander diverts all resources into a manhunt. Hess objects that there is no evidence to link the couple to the murders, adding that Neergaard even has an alibi for one of them. Nylander furiously dismisses him, insisting that they might have reached the couple sooner if not for his insubordination.
Realizing they are trapped in a forest, Benedikte prepares to kill Gustav with a knife. Asger wrestles it from her and calms her, suggesting they release the boy as a diversion. As he opens the van, another car pulls up. As the driver approaches, Asger retrieves the knife.
Thulin returns alone to the slaughterhouse, unconvinced. She follows a beeping noise to a makeshift gym and finds a mini-fridge swarmed by rats. Opening it, she reacts in horror.
Hess investigates Neergaard using the ministry files. A digital log shows on the night of the third and fourth murders Neergaard was on duty at the Royal Library waiting for Rosa. Rosa reveals she’d canceled her appointments that day and that Vogel was to inform Neergaard. This makes Hess suspicious considering what Neergard listed in his log anyway.
In Vogel’s office, Hess spots photos of Vogel with Rosa and her children. Steen is missing from these photos. When Hess confronts him over the digital log, Vogel evades the query, suggesting he has no alibi for the murders. Nylander calls Hess to inform him that Genz has tracked Skans and Neergaard to a forest.
Hess drives to the crime scene. Gustav is rescued unharmed. Jansen explains Neergaard and Skans were found already dead when he arrived. He suspects they died by murder-suicide.
Gustav returns to Rosa and Steen. They desperately seek information about Kristine; Gustav only recalls his kidnappers arguing with each other.
Nylander tells the family the case is closed. When Rosa cites the fingerprints, Nylander reveals that they found “irrefutable” evidence at the slaughterhouse that proves otherwise, crushing Rosa’s hopes for Kristine’s survival.
Hess confronts Nylander before the press conference, laying out evidence that somebody else killed Skans and Neergaard. Nylander dismisses him.
Thulin arrives and shows Hess crime scene photos from the mini-fridge: four amputated human hands on a shelf and a female foot in the crisper. Thulin looks at Hess with pity. Horrified, he flees.
Hess’s apartment provides Thulin and the reader with a visual representation of his obsessive investigative method. This chaotic, sprawling diagram contrasts sharply with the formal, procedural police work that has left the official investigation stalled. Where the department follows a linear path of sifting through case files and conducting fruitless interviews, Hess’s mind works through a web of associations, linking the current murders to the supposedly closed case of Kristine Hartung and the convicted Linus Bekker. The wall map externalizes his intuition and his refusal to accept institutional boundaries, justifying his abrupt decision to abandon the ministry files and go “back to the beginning” (297). It is a physical manifestation of his belief that the truth lies in understanding the complex, and often messy, connections between individual facts. This obsessive and unorthodox approach positions him as an outsider at odds with the department’s rigid structure and its leader, Nylander, who prioritizes containment and control over sprawling, inconvenient theories.
Throughout this section, political and institutional pressures deeply shape the direction of the investigation, often at the expense of uncovering the truth. Nylander’s actions are consistently driven by a need to manage public perception of his department. At an emergency management meeting, he publicly defends the original Hartung investigation while privately fearing a mistake was made, agreeing to a “conversation” with Rosa only to quiet his bosses. This dynamic is mirrored at a higher level when the prime minister pressures Rosa to disavow her husband’s public statements, prioritizing the government’s credibility over a family’s search for their still-missing child. These scenes demonstrate how the Shortcomings of the Social Welfare System are compounded by a justice system more concerned with self-preservation than with rectifying its own errors. The pursuit of truth becomes secondary to the performance of competence, creating an environment where a quick, clean resolution is favored over a complicated and potentially embarrassing re-examination of a closed case.
The interrogation of Linus Bekker fundamentally challenges the nature of evidence and confession within the investigation. Bekker’s initial performance as a timid patient gives way to a stunning transformation; he reveals a sharp awareness of the ongoing case and taunts the detectives, claiming the real killer is a “master” who “made me part of his plan. Otherwise I’d never have confessed” (317). This moment reframes his confession as a carefully orchestrated element of a larger, ongoing crime. It suggests a killer with the sophistication to manipulate the legal system’s reliance on confessions to create a definitive, yet entirely false, conclusion. Bekker’s statement exposes the vulnerability of a system that values a closed case over a thorough and unresolved truth, forcing Hess and Thulin to reconsider the very foundation of the official narrative they have been following.
The discovery of Benedikte Skans and Asger Neergaard’s makeshift home in the old slaughterhouse introduces a competing narrative of grievance against the state, complicating the novel’s exploration of justice. Their room, a shrine to their deceased child and a canvas for their “pathological obsession with Rosa Hartung” (330), reveals a motive rooted in personal tragedy that mirrors the wall of counternarrative investigation in Hess’s apartment. The death of their child in state care makes their rage a direct response to the state’s perceived destructive intervention. This presents a powerful thematic counterpoint to the Chestnut Man, whose violence is a punishment for the state’s inaction in cases of child abuse. By presenting these two parallel stories of retribution, the narrative highlights the paradox of a state apparatus depicted as being simultaneously overzealous and negligent. This dynamic complicates the theme of The Ethics of Vigilante Justice, demonstrating how it can arise from vastly different wounds inflicted by the same system.
The section culminates with the discovery of the severed limbs in a mini-fridge, a finding that allows institutional power to reassert a tidy, albeit flawed, narrative. For Nylander, the horrifying cache of body parts is “irrefutable proof” (374), a piece of physical evidence so damning that it overrides all the logical inconsistencies and alibis Hess raises, including the suspicious circumstances of the couple’s deaths. The symbol of amputations, previously representing the killer’s brutal signature, is repurposed by Nylander as an emblem of closure. This definitive evidence allows him to dismiss Hess’s complex theories and provide a simple, conclusive answer for his superiors, the media, and the grieving Hartung family. The final scene, in which Thulin regards Hess with pity, solidifies his isolation. In the face of overwhelming physical evidence, his insistence on a more complicated truth appears to his colleagues as delusion. The official case is closed because the institution has found a suspect and evidence sufficient to satisfy its own procedural and political needs.



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