Pirjo Buries Wanda and Destroys Evidence

Pirjo’s concealment of Wanda Phinn’s body turns the killing into a deliberate effort to control what can be found afterward. In the remote landscape of Stora Alvaret, she buries the body, removes signs of the grave, and plans to erase video recordings; she then weights Wanda’s bag and throws it into the Baltic Sea. The sequence shows both the physical and administrative sides of her attempt to prevent discovery.

The Burial in Stora Alvaret

The preceding hours had been intense, and Pirjo recognizes that haste could leave something forgotten or overlooked. Her response is practical: she reviews what still needs to be done and treats each possible trace as a separate problem to resolve. The body is in a remote place, which she considers unlikely to be found soon, if ever. Its location gives her concealment, but she does not rely on remoteness alone. The ground beneath the deepest puddles in Stora Alvaret is soft. Pirjo uses that condition to dig a grave deep enough that a downpour will not expose it. The detail links the burial’s concealment to the terrain and weather: she anticipates rain as a possible threat to the grave and chooses depth accordingly. The scene presents her method as planned rather than accidental, while the uncertainty in her expectation of whether the body will ever be found remains part of the account.

Erasing the Approach

Pirjo also removes tracks that might draw a botanist or tourist away from the beaten path and toward the burial site. Her concern extends beyond investigators to chance visitors whose ordinary interest in the landscape could bring them close to the grave. By erasing the route, she tries to make the remote location harder to discover through incidental exploration as well as through a focused search. The ground, the grave, and the tracks are treated as connected parts of one concealment effort. Burying the body addresses what lies at the destination; erasing tracks addresses how someone might reach it. Pirjo’s repeated mental checking gives this work the structure of a list: each completed task briefly reduces the chance that an overlooked detail will undo the rest.

Removing Other Evidence

The physical landscape is not the only place where Pirjo expects evidence to remain. She intends to delete video recordings when she reaches the office, extending her effort from the outdoor scene to records held elsewhere. The account does not specify what the recordings show, so their precise evidentiary content remains unstated; what is clear is that Pirjo sees their continued existence as a problem to be dealt with. She also puts several large pieces of sandstone into Wanda’s bag. The stones weigh it down before Pirjo throws it as far as she can into the Baltic Sea. This disposal is distinct from the burial: rather than hiding the bag near the body, she sends it away from the site. Together, the planned deletion of recordings, the erased tracks, and the discarded bag show how her actions range across different kinds of possible traces without establishing that every trace has been successfully eliminated.

Return to the Assembly

After disposing of the bag, Pirjo’s immediate next task is to get back to the assembly hall before the communal assembly begins. The ordinary schedule of the community provides the point toward which she directs herself after the concealment work. The transition is stark: she moves from burying Wanda and disposing of evidence toward rejoining a collective gathering, without any indication that the assembly’s participants know what she has done. That return closes the episode on an unresolved contrast. Pirjo has taken care to anticipate discovery, but her confidence that the remote burial will remain hidden is her own judgment, not proof that the concealment will hold. The scene’s checklist-like sequence makes that distinction consequential: each measure is presented as completed or planned, while the larger outcome remains uncertain.