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Private Notes
The severed head of a young man is found in Mundsforde, a small village near Kiel. Before his violent death, 20-year-old Mike was apparently addicted to the drug crystal meth. Inspectors Klaus Borowski and Sarah Brandt investigate the drug scene in Kiel. After a manhunt call, Rita, the girlfriend of the deceased, gets in touch. She tells the inspectors about her love for Mike, a story full of hope for a new life, intoxication and ecstasy. Although recently clean, Rita refuses to cooperate with the police. Rita reminds Borowski of his daughter Carla. He puts pressure on Rita and promises to protect her. In her distress, Rita accuses two dealers - and thereby puts herself in danger.
The 60-year-old alcoholic Onno Steinhaus is found dead in a working-class district of Kiel. Steinhaus had a criminal record for pedophilia and, as Borowski and Brandt quickly find out, lived in complete isolation. Ironically, however, a group of children seemed to have gone in and out of the dead man. Apparently they exploited the dead man's desires, but - as they claim at least - never complied with his wishes. The police officer responsible for the district, Thorsten Rausch, seems to have capitulated in view of the social neglect in his area. Sarah Brandt's investigations bring to light a video that shows a boy - Timo Scholz - in a catchy situation with Onno Steinhaus. Timo denies having been abused. Borowski has to observe that Sarah Brandt is conspicuously often trying to get close to her police colleague Rausch.
A tragic accident occurs in a chemical factory. Roswita, the godchild of Ernst Rauter, Moritz Eisner and Bibi Fellner's superior, is a victim of the chemical accident.
Franz Leitmayr leaves town for Oktoberfest because he can't stand it, but is called back because his fingerprints are on a dead man's wallet. The victim appeared drunk but has almost no blood alcohol level. His GHB level is another story, and shutting down the beer tent where he obtained his tainted alcohol is a problem during Oktoberfest. And the victims continue to pile up.
A confused woman is found on the Kiel Fjord. Her statements give reason to fear that the notorious murderer of women, Kai Korthals, has reappeared. Inspector Brandt informs her colleague Borowski about the serial killer, with whom she once had traumatic experiences. Borowski finds the new case highly inconvenient. He's in love and wants to get married. But when his bride disappears without a trace, he has to ask himself whether the murderer has returned because of him.
Two shots are fired in a family home in Munich. Batic and Leitmayr find Michaela Danzer dead and her partner Daniel Ruppert unconscious. Quirin, the dead man's six-year-old son, has disappeared along with the murder weapon. During the emergency operation, the doctor discovers a scar from an old gunshot wound on Daniel Ruppert's abdomen, leading Batic and Leitmayr to the trail of an attempted family suicide in Augsburg fifteen years ago. Back then, in an act of sheer desperation, Daniel Ruppert shot his wife and young son. He himself survived, as did his then seven-year-old daughter Ella, whom he couldn't bring himself to shoot. He dismissed her before turning the gun on himself. The fact that the perpetrator from back then is the victim of today is a major headache for Batic and Leitmayr, as is the search for Ella, who is now a young woman and whose trail is lost after numerous therapies. Who shot Ruppert and his new wife that night? And where is Quirin?
Felix Murot and Magda Wächter are called to the parking garage of a casino in Wiesbaden in the morning where a dead man was found in a stairwell. While securing evidence, Murot discovers another body in the trunk of a car. He finds out that one of the dead had just won a large amount of money, but the money has disappeared. Was it really all about money or is there more to the murders? Then it happens: Ulrich Tukur himself is suspected of murder. A film within a film. Tukur, who plays Tukur, quickly realizes that there are no loyalties in the film industry. But he also poses other questions related to the nature of cinematic illusion and his own role in the hilarious game of genre contradictions, a self-reflective game in which the main character spins around himself in interesting turns. What is it actually like when you play a commissioner, while you are actually Ulrich Tukur, although you are only playing him here? "Who am I?"
