Family tragedy, social drama, psychological thriller: the Saxon “crime scene” investigators know many human abysses. Her new case “Invisible” challenges her in a completely new way.
Dresden – The pain is infernal, that can be seen from Chief Commissioner Karin Gorniak (Karin Hanczewski). But she doesn’t say anything. “We are fit, boss”, assures her colleague Leonie Winkler (Cornelia Gröschel) on the phone.
The nightly observation of the Dresden “crime scene” investigators is successful. “Excellent work, good intuition”, commissariat manager Hans Peter Schnabel (Martin Brambach) praised. Gorniak goes home. She’s in the middle of a nightmare – and it’s not just her. The new Dresden “crime scene” – this Sunday at 8.15 p.m. in the first – challenges the investigators and their quickly annoyed boss like never before: physically, mentally and mentally.
When a young woman runs out of her café screaming and collapses dead, Gorniak is shocked. Anna Schneider (Milena Tscharntke) had the same indefinable symptoms as her, and was also persecuted and threatened by a stranger in a perfidious manner. “Now I have to punish you,” the alienated voice had said on the phone. “Stop it!” Was Anna’s last word. From the other end, after a long pause, came a “No!”, Dry and firm.
“Click, click” – someone also takes photos of Gorniak when she is standing at the window of her apartment. Your muscles burn, every movement becomes an ordeal, like the dead. There was a present in front of the door to her apartment, a USB stick. She can’t figure out what the video is like, no matter how hard she tries. And the new and young coroner is no help either: “Cardiac arrest,” he says. No evidence of external influences, the tests for 24 poisons are negative, but reddening of the hands, back and buttocks is noticeable.
Gorniak knows that – and the fear inside her grows bigger. “Why exactly should I keep listing her death as a murder case?” Asks Schnabel. “Intuition,” answers Gorniak. “Something’s wrong there, I’m quite sure it was murder.” You and Winkler get 48 hours. The colleague of the dead reports of a stalker, perplexed doctors and a worried ex-boyfriend. Nils Klotsche (Christian Friedel), a scientist in a nanotechnology company, is angry and struck, directs suspicion to a rival. But it is not that easy.
Gorniak finally inaugurates Leo, leaving Schnabel in the dark for the time being. But all clues and traces lead nowhere. The perpetrator gives the clue: it’s about the past, her time at the police college and a fellow student. He’s been dead for weeks, and its end is also mysterious and has not been investigated. And the stalker is getting closer and closer to Gorniak.
Martha Marczynski (Anna Maria Mühe) appears in the police station. The scientist is researching a drug that is supposed to inhibit the development of tumors. Schnabel and Winkler want to know from her whether there are painkillers that can trigger such side effects as with Schneider and Gorniak, who is now struggling with the pain and psychological terror, almost physically noticeable.
The bitter Martha makes an effort, outwardly controlled, but inwardly eaten away by hatred, perfidious and freezing. Mühe says she is “a broken woman” who could not find her happiness. Friedel convinces in his “Tatort” debut as a disappointed and angry man who seems to be a dangerous weakling. Then he and Martha disappear – and Gorniak too.
“It fascinated me that you can kill with something you can’t see and that there is actually no chance of proving it afterwards,” says screenwriter Michael Comtesse. The myth of the perfect crime also played a role in the idea. The Dresden team has to make the invisible visible, make an unprovable suspicion tangible and lure the anonymous perpetrator out of the reserve – more than one surprise awaits. dpa
