Hardy Henningsen’s call to June Habersaat transforms an uncertain voice in the investigation into a man called Frank. The exchange reveals that June had not heard from him for seventeen years, links him to the description “miracle man,” and places his name beside clues concerning Alberte Goldschmid and the man with the VW Kombi. It does not settle whether he is the same person the investigators seek; its importance lies in giving their suspicion a sharper, testable shape.

The Call Is Staged

Five minutes after the preparations began, three men were gathered around Hardy Henningsen’s wheelchair, while Morten’s soup waited. Hardy directed Mika to dial June Habersaat’s number and checked that the iPod was ready. Mika called, held the cell phone five centimeters from Hardy’s ear, and pressed play. When June answered, he slowly moved the phone toward Hardy’s mouth. The sequence turns a call into a small piece of police work: the distance of the phone, the timing of the music, and the controlled delivery all matter because Hardy is trying to make himself sound like someone else.

The song is audible again in the room, but Hardy’s attention is fixed on the performance. For a moment he sits without blinking, eyes unfocused; the narration describes him as a policeman at work, concentrating on the precise moment and suitably anonymous tone. He says only June’s name, then waits through a pause that might have made another caller give up. The deliberate quiet is part of the attempt to let June supply the identity herself. Her reaction, rather than an introduction from Hardy, is what opens the conversation.

June Recognizes Frank

June’s first question is whether the caller is Frank. Hardy answers yes. She then breathes deeply, a reaction he initially takes for emotion at speaking to Frank again. Her next words complicate that reading: she calls the contact strange after seventeen years and says she had never imagined hearing from him again. The long absence makes the call more than a name check; it establishes that this is someone from June’s past with whom she had lost contact.

June also brings up the death of her son, Bjarke Habersaat, asking whether Frank has heard that he is dead and whether that is why he is calling. Hardy says he is sorry and claims not to have known. He asks how June is, but she turns the exchange toward his whereabouts. When he asks where she thinks he is, she calls him a “miracle man.” The phrase gives the investigators a distinctive description to compare with what they already know, while her questions show that she is testing the caller rather than accepting the conversation at face value.

The Impersonation Breaks Down

The call lasts only a few further exchanges. Hardy later reports that June interrupted him, and he cannot decide whether she recognized the deception or simply did not want to talk to the man she believed was Frank. That uncertainty matters: the call produces information, but not a clear account of June’s state of mind or a reliable confirmation of what she knew about the caller. Her abrupt ending leaves Hardy and the investigators to interpret a conversation they could hear only through his account.

Hardy identifies his own mistake as asking what she thought he was called these days. In retrospect, he judges the question clumsy. The admission turns the staged call into an imperfect test: he has managed to prompt recognition and hear June’s description, but his follow-up may have exposed the impersonation. His report preserves the exchange in sequence—June’s recognition, the seventeen-year gap, the news of Bjarke’s death, the question about location, and the “miracle man” remark—so Carl Mørck can assess the clues rather than rely on Hardy’s overall impression.

From a Name to an Investigative Lead

The team’s firmest immediate conclusions are narrow. Hardy tells them that the person called himself Frank, was Danish, and had been out of contact with June for years. Carl Mørck does not treat that information as proof that Frank is the man they are pursuing. He recalls that June had mixed the two up when he questioned her about the man with the VW Kombi, and considers whether the apparent connection might not be coincidence. Assad is more certain: he believes Frank left the island after what happened to Alberte Goldschmid and identifies him with the man Christian Habersaat had been searching for. Assad also connects the suspected man to June and Alberte, and invokes Kristoffer Studsgaard’s description of him as a Don Juan.

June’s “miracle man” description becomes a further point in favor of that theory, and Carl Mørck agrees that the investigators should pursue the assumption. The call therefore changes the investigation without resolving it. A name, a Danish identity, a long break in contact, and a phrase associated with Frank now converge with the VW Kombi clue and the unresolved case. The scene’s movement from carefully controlled silence to June’s probing questions, then to the investigators’ competing degrees of certainty, keeps the lead provisional: it is enough to follow, but not yet enough to close the case.