As if proof were needed after the first two episodes, a second week establishes that Trapped is more than worthy to follow in the footsteps of The Killing and The Bridge. Like the former, this Icelandic series is as much concerned with the consequences of crime, the often long-standing consequences on the survivors. Though it wouldn’t surprise me to see it ultimately rolled into the overarching plot that you can just feel is rising to the surface, Dagny’s death in the fish factory fire seven years ago is still playing itself out across a lot of the characters, including Andri, the Chief of Police in the snow-bound port of Sigjusfjordur.
To begin with, episode 3 very quickly wraps up the dangling threads of last week. The girls (Andri’s daughters) find Maggi, the little boy, in the snowstorm. Agnes (Andri’s estranged wife) finds them. Andri finds them all and brings them in out of the cold. Come the morning – and that place is stunning to look at in daylight – he and Hinrika release Aesgir from the police cell and go looking for the missing Lithuanian tracker, who has crashed the stolen police car and broken his fool neck.
This is a very handy bit of deck-clearing for a cool, quiet Sunday-set episode, which gently shifts the plot forward in a couple of gentle directions. First, Aesgir – who is now set up as Sigjusfjordur’s resident Police geek – identifies the photos of the stolen torso as having been uploaded from Hjortur’s phone: you know, Hjortur, Dagny’s partner in sex, drugs, but not death.
Hjortur is immediately brought in, which the entire town seems to regard as only to be expected, and which Eirikur, Dagny’s Dad, Andri’s father-in-law and the one member of the familiy who is still unable to live with her loss, sees as justice. His anger towards Hjortur, a part of which washes towards eldest granddaughter, Johanna, who has spoken kindly to and of Hjortur, disrupts the family’s otherwise still Sunday.
Whilst Eirikur is fulminating about Hjortur, Andri is questioning him over the photos, including those of Johanna. Now it’s become personal. Andri persists in talking to Hjortur, even after he’s ordered to keep his beard out of things by Reykjavik, whilst Hjortur’s sullenness and inability to explain even to himself why he has taken them slowly grows into an admission of deep loss. He was badly burned trying to save Dagny, was dragged outside by some unknown person. He thinks of her every day, believes he should have died with her. Seeing Johanna makes him feel as if Dagny is still alive.
It’s slow, but it’s painful, but brilliantly played as it is, it’s nothing to the scene in episode 4 when Andri brings Eirikur to Hjortur’s room. Eirikur has never spoken to the boy before, never forgiven, not even for one second, but he begins his own healing by talking of his baby girl. Hjortur, though silent, struggles to keep his self-control, reliving Dagny’s existence in Eirikur’s every word about her, as the two come to some sort of understanding without words that both have suffered crippling losses.
It’s flawlessly written, and made all the more heartfelt by the two actors, old and young, and I wish that I thought for one second that British TV could produce something this raw and real, but then I watched the utterly ridiculous Fortitude, didn’t I, so I know we can’t. Yeuch. Bitter taste at even the mention, let’s not profane Trapped by bringing it up again.
Back at the overt plot, the frustrated Andri may not be able to question anyone but he can start a search of the shoreline. The torso may have been pilfered, but there are at least five other sections of the poor victim out there somewhere, and hopefully discoverable.
So Hinrika’s cheerfully dope-smoking hubby goes out on his boat into the fjord, with a diver and comes back with one of those bits. It’s an arm, with part of a jacket, or maybe jeans in the binliner with it. Unfortunately, there’s a bar receipt dated three days ago, before the Ferry arrived: he victim wasn’t on the boat after all.
And neither was the murderer.
The investigation swings into another direction in episode 4, with Trausti in Reykjavik grudgingly allowing Andri to keep plodding on until Forensics can finally get there. The plot, like a rich soup, thickens. Thanks to the all-talented sketch artist Aesgir, the stranded MP Fridrik (who’d drunk the other Bloody Mary on the bar receipt) helps the local team to identify the victim as a local bad boy, not known to have been back in town, whose file has unaccountably disappeared. And Mayor Harfn, ex-Police Chief, is being very dismissive about that fact.
It’s all getting very wierd. Hafrn’s still all for the port scheme, and pressing harbour master Sigurdur to press his recalcitrant Dad to sell up and make everybody rich. Agnes, who’s a Reykjavik lawyer when she’s not trapped in town seems to be asking some awkward questions about how this will actually work out in practice that Hafrn isn’t (he’s to busy insulting, beating and at least semi-raping his wife because she hasn’t got a hot dinner on the table for him).
Sigurdur’s dad hasn’t got much time for his rather weasel-like son (who’s own wife is enthusiastically shagging a toy boy whilst the tourists sheltering at the school are either asleep or playing video games). Apart from his cheerful refusal to countenance change, Gotmundur’s main concerns are skinning, beheading and gutting a dead reindeer onscreen, with no thought had for dubious tummies, not to mention the prospect of an avalanche burying the town once it all warms up a bit.
The Press coerce the victim’s name out of Trausti’s sidekick. On the Ferry, Captain Carlsen (I knew he looked familiar, it’s the superb Bjarne Henriksen, Theis Birk Larsen from The Killing 1, hurrah!) The Captain’s all set to leave now they’re obviously cleared, but his dodgy sidekick is having none of it: not without their cargo of hot Nigerian girls they’re not.
Add in Hinrika’s finding the Lithuanian’s phone and discovering the only two Icelandic numbers he’s called are cheap pay as you go phones. One was bought by the Hotel owner, though he’s denying it flatly (and he’s straight onto his proper phone the moment Hinrika leaves). The other is the old man with the beard and the telescope (and a wheelchair as we also discover this week) who’s spying on Hinrika’s house where Bardur is laughing with the elder Nigerian girl).
Before that conversation can get even more creepy than it already is, an explosion occurs. It’s Godmundur, blowing up a part of the snowscape to stop it enveloping the town. Andri and Sigurdur are trying to stop him but Godmundur knows what he’s doing. Like a firebreak, his artificial avalanche will fall away from the town. He knows what he’s doing. He gets it right. Until another large chunk of snow gets loose, right above Godmundur, Sigurdur and our bear-like hero Andri…
So while we wait for next Saturday night, here’s a shout-out to the principal cast, Olafur Darri Olafsson as Andri, Ilmur Kristjansdottir as Hinrika and Ingvar Eggert Sigurdsson as Aesgir. not to mention many fine others too numerous to copy slowly and carefully. Roll on Saturday next.