It’s traditionally in the third week of a four week drama that the phrase ‘The plot begins to thicken’ is pulled out of the Cliche Drawer, but we all know that Black Lake/Swastjon is too thin gruel for that ever to be possible. Nevertheless, in admidst the increasingly shambolic events of parts 5 and 6, one substantial thread came out that threatens to add a certain distinction to the overall tale.
However, let’s get back to the mechanics of things, shall we? When we last saw the lovely, but starting to get ever so slightly irritating Hanne she was just going in to the mystery cellar room, flashlight in hand. It’s a useful flashlight, preventing us from seeing more than bits at a time, but what we saw was interesting. An office, with a desk, a really old typewriter, shelves of learned books, storage racks for boxes and files, a host of developed prints, hung on strings. And old fashioned file cards marked Ratsbiologika. I would work out the biology bit myself, but it took the invaluable Mette to explain to us monolinguals that it meat Race Biology: Eugenics.
That immediately changed the game. The resort used to be a clinic: when Hanne gets Mette to go down there with her, in part 6, the stuff they gather, and the prison-like child room the former finds, round the back, adds up to a disgusting picture of Nazi-approved experiments, ‘proving’ Aryan children to be inherently superior to ‘sub-human’ races. Hanne remains convinced that she is channeling a victim of whatever has been going on down there: Mikkhel.
But that’s for the future. In the short term, a door slams and, in the dark, she’s attacked from behind by a clearly larger assailant trying to strangle her (though for that detail we have to rely on Hanne after she escapes, because the Director is clearly going for a representation of Hanne’s panic so we never actually see what the fuck is going on).
Nevertheless, despite being about seven stone wet through, escape Hanne does, into the below-stairs labyrinth, eventually getting out into the -45 degree night via a ventilation shaft, which she secures behind her by using a thin gold bracelet as a padlock.
Once she is let inside, Hanne says the first intelligent thing anyone’s said thus far, I want to go home. Loving and sympathetic fiance, Johan, immediately agrees and rushes her back to civilization, safety and reliable central heating. Ha, ha, of course he doesn’t. Instead, he gives the same old, let’s all get together, talk this through and decide what to do, the unspoken part of which speech being that that decision will be what Johan wants all along, namely to stay so he can buy this resort.
There is also a serious reason for postponing the decision: fatty Osvald is missing. Hanne’s attacker, who’s probably creepy Erkki, is trapped in the cellar, whose only two exits are barred from outside (nobody seems to wonder whether a) he might have got out through the door before Hanne reached the resort from outside or b) whether there might be a third exit). So everyone, Hanne included, goes searching outside.
Which is when the exasperated Johan, lord and master of all he sees, gives her the Talk. You know, the incredibly stupid one, the I know better than you what to do about your traumas despite never have undergone them, or any other trauma come to that Talk. Just pull yourself together and get over seeing your little brother die in front of your eyes, it’s all in the past and you’ll make life a lot easier for me when you do.
Crass doesn’t begin to describe it. Poor bereaved Frank, meanwhile, has also had enough of hanging round a place of trauma, and is packing his car. Hanne and Mette decide to go with him, right now, in the dark, so what, Mette driving. They go grab their things. Such things do not include: ring, engagement: one.
It’s all go. Our sensible three drive carefully along the snow-packed road, getting out of it, that is, until Hanne sees an imaginary little boy in the middle of the road, grabs the wheel and runs them into a ditch, from where they can’t get the car free, condemning them to wait until dawn in the hope they don’t freeze to death first.
In another place, not a million miles away from Crewe Junction, Dag of the snowmobile brothers decides it’s time to show the Stockholm lot that he’s serious about whatever nefarious plan their presence is going to interrupt, about which we still know the square root of fuck all, except that this mystery is getting very tiresome. He brandishes his gun. Wimpy brother and Hanne-snogger Jostein gets him to agree to give him two hours to sort it all out without the kind of things that happen when guns get brandished: yeah, two hours at 6.00am when it’s still dark: that ought to be ample time.
And at Black Lake, it’s all go. Osvald’s still missing, but only lover Lippi is still concerned about it. Lippi, by the way, is Johan’s brother, as part 6 will have Johan confirm, by telling Lippi that he is his, that is, Johan’s brother, a fact of which Lippi is already aware but the audience, or at least this branch of it wasn’t. Absolutely nobody has even begun to draw a line between point A: a mysterious person tries to kill Hanne in the cellar and point B: nobody’s seen Osvald since before Hanne went down the cellar.
Anyway, Lippi at least decides that if Osvald isn’t anywhere they’ve searched and they haven’t searched the cellar, his lover might well be down there. He climbs in from outside, removing Hanne’s bracelet/padlock. And at the foot of the cellar stairs, after retracing all Hanne’s steps as if he had been provided with a map of her course, he finds Osvald. Or rather, Osvald’s body, cause of death undefined. Which causes him to back away, fall over and impale his arm on a metal rod.
Upstairs, Johan, feeling a touch upset at his fiancee chucking the ring back at him, is talking to the only one left, the doll-faced Elin, his ex-girlfriend to whom he once gave one of those half-a-hearts that lovers symbolically trade, only to find that she wears it to this day, as a charm bracelet that neither he nor anyone else has noticed in the best part of five episodes so far despite the fact she never takes it off. And they’re about to snog when someone closes the Cliche drawer on the writer’s hands, chucking in a power cut.
Then they hear Lippi’s screams about being in the cellar, and bleeding, and being in pain, ow, owwww, ooch that smarts. So Johan decides it’s at long last time to whip out his chopper. No, he’s not gone back to Doll-face, he’s been carrying an axe around with him all this time, in his overnight bag, and he’s going to wield it.
Episode 6 at least has the merits of taking place in daylight, so we can at least get in some stunning shots of the scenery. Hanne starts walking back to Black Lake but is picked up by Jostein on his snowmobile. He can take only one extra passenger, so he runs Hanne and Mette back to the resort, and goes back for Frank. Frank, who is going all mysterious: as soon as he’s alone he’s mumbling, “What have I done?”, he’s scraped the Swedish for Forgive Me into the ice on the car window and he’s stumbling off into the deep-laden snow, stripping off the odd garment here or there along the way, with the intention of freezing himself to death, before Jostein saves him. And not even a fingertip’s worth of frostbite to show for it.
Meanwhile, back at the ranch… sorry, the resort, Dollface Elin, who’s supposed to have gone for the First Aid kit but who’s done some quasi-drunken reeling to indicate that she might not be in full possession of her body, sees Hanne and Mette arriving and promptly locks the door against them, a dirty trick she will deny knowing anything about when challenged.
Mette, without whom things would have ground to a halt long ago, takes charge of getting Lippi unimpaled, into bed and cleaned up, before identifying the race-card and visiting the cellar. Apart from the nonsense about possession and dead Mikkhel she seems to be taking this discovery even more seriously than Hanne.
Our girl is having a couple of serious conversations. First, she rips Johan a new one about how he’s never listened to her, and that he even didn’t propose to her but rather to the woman he wanted her to be. Then she basically reverses her entire characterisation by denying to Elin that there’s any such thing as a curse applying here.
Elin’s concerned, you see, about this ‘Kill or be Killed’ stuff. Jessan got the red-eye, tried to kill Frank and then, when she didn’t, she died. Osvald got the red-eye, and when he didn’t kill anyone, he died. Stuff and nonsense, cries Hanne, and walks away. The problem is that you and I and the rest of the viewers know that back in episode 5, Dollface Elin came down with the red-eye, although hers wasn’t so much the bloodshot look, but rather that all the white of her eye had turned an even, pale red, like a filter. Boy, she just happens to be carrying some bloody good eyedrops though. That was lucky.
But Elin is not convinced. Kill or be Killed. Two red-eye victims didn’t kill, and died. Elin doesn’t want to die. So she steals a chopping knife from the kitchen and starts creeping up on the sleeping Frank, until Johan turns up. Amazingly, he doesn’t seem to think there’s anything odd about approaching a helpless sleeper with a knife like that, nor does he even ask her why she happens to be carrying it.
Three things left: despite Jostein having save three people’s lives, the jealous Johan tells him to get out, incurring a threat from Dag about touching his brother. Then, Jostein having been given two hours to get the Stockholm lot out and instead having spent twice that amount of time saving half of them, Dag beats his little brother to a pulp.
And Elin, having failed to get Frank, puts a pillow over Lippi’s face and sits on it until he stops kicking.
And Hanne and Mette go back to the cellar office to gather more evidence, only someone’s set it on fire…
It’s Explanation Time next weekend, dear people. How many of them will actually be worth it? And can we have even more snowscapes instead of story, please?