The Hardy Boys/Nancy Drew Mysteries (1977–1979): Season 1, Episode 7 - The Flickering Torch Mystery - full transcript

(male narrator) Tonight, The Hardy
Boys in The Flickering Torch Mystery.

?[music playing]

[audience cheering]

? I went to a garden party?

? Reminisced with
my old friends?

? A chance to share
old memories?

? And play a song again?

? When I got to
the garden party?

? They all knew my name?

? No one recognized me?

? I didn't look the same?



? And it's all right now?

? I've learned
my lesson well?

? See, you
can't please everyone?

? So you got to
please yourself?

[audience cheering]

?[music playing]

? Your world is turning?

? It's turning upside down?

? Don't look behind you?

? 'Cause there's
no one around?

? You get
everything you see, baby?

? And you wonder why,
What you got you don't need?

? And you
can't be satisfied?

? Till you find someone
to see you through?



? Someone to tell you
it's all right?

? It's all right?

? It's all right?

? And you get back
what you've given?

? And love is something
you can't buy?

? And you get back
what you've given?

? And love is something
you can't buy?

? And you get back
what you've given?

? And love is something
you can't buy?

[girls screaming]

It's even more fun trying
to get out of the stadium.

Sure you won't
change your mind?

I'll admit that
running that gauntlet

was a little more
than I bargained for.

I haven't had
much experience

with this kind
of crowd control.

By the time you play
Tri-Cities Stadium, though,

I'll have acquired
some expert help.

I have two sons who,

judging by the size of
their record collection,

know quite a bit
about it, and about you.

You know, they've got every
album you've ever recorded.

Didn't you say they sometimes
help you in your work?

Yeah. Sometimes.

They sound like quite a team.

I'm proud of 'em.

But they're just ordinary,
everyday boys.

How was that, teach?

It's terrific.
Now put it back.

How do you do that?

Do you mind
if I help myself?

Rule number one
of aviation:

before you can learn
how to fly upside-down,

you got to learn
how to fly right-side up.

Sounds logical.

Oh! Dad gets to go to New York
and work with a rock group,

and I get to work
with you.

How did that happen?

Just lucky, I guess.

Yeah.

You have to admit

this is
an interesting case we're on.

It is?

Normal, everyday guy,

he's got
a brand-new wife, good job,

leaves his house in the
morning after breakfast,

"Bye honey.
Be home for dinner.

Be home early,"

disappears
into thin air.

Why?

She burnt the toast?

What would you
rather be handling,

an interesting
missing person's case

or crowd control
for a rock group?

Sorry I asked.

(ground control) This is Eastwick
Tower calling Nancy 767 Apple Paul.

Repeat your
last transmission.

Copy. Do you copy?

This is Nancy 767 Apple Paul.
Have equipment problem.

No I.L.S. In severe fog.

Cannot land on my own.

Need assistance. Over.

(ground control)
This is Eastwick Advisory,

all planes in the area,
we have a pilot alert.

Skyhawk, one-niner Whiskey.

Instrument malfunction.

At last radio contact, he
was proceeding at 4,000 feet,

course 130 over
Wheeling Power Station.

All planes in the area,
exercise extreme caution.

4000 over
Wheeling Intersection.

That's too close
for comfort.

Take her up to 5,000.

He'll never get through that
soup without instruments.

Eastwick, this is
Musketeer 64 November.

We're leveling at
5,000 in area of lame duck.

(Frank)
Can he divert? Over.

(ground control) Negative,
Musketeer 64 November.

All fields
within range are I.L.S.

We have you and
lame duck on our scope,

heading in same direction.

Use extreme caution. Over.

Frank!

I got it.

Eastwick Tower,
this is 64 November.

We have visual contact
with lame duck.

We'll try to
lead him on down.

Prepare emergency equipment.
Over.

(ground control) We copy,
Musketeer 64 November.

Good luck.

[sirens blaring]

Make sure he knows
we want him to follow us.

Hey, Frank,
he reads us.

I'm not receiving.
Unable to find airfield.

(pilot) All my instruments
are malfunctioning.

Need assistance. Over.

Well, here we go!

I hope he knows
what he's doing.

You hope he knows
what he's doin'?

[sirens wailing]

(Joe)
Frank, I can't see a thing.

(Frank) That's what instruments are for.

Let's just hope
that he can see us.

We've got to lead him
down. It's his only chance.

What a choice.

If he gets too
far off our wing,

he'll lose us
in that soup,

if he gets too close
he'll knock us both down.

Well, that's
a chance we've got to take.

(Frank)
This looks hopeless.

I've never seen
it this thick.

Hey, wait a minute.
I think I saw something.

Yeah. There it is.
Right in the cloud cover.

All right!

We made it.
This is the airport.

Eastwick, this is
Musketeer 64 November.

We have broken
through cloud cover,

can see
landing strip ahead.

Our lame duck
is well again.

Permission to land.
Over.

(ground control) Roger,
Musketeer 64 November. Nice work.

The field's clear
for you to land. Over.

He's down. He made it.

(Frank) Well, now that we're here,

let's find
the man we came to see.

We're looking
for Lou Haskell.

Uh, there he is,
over there.

You just
brought him down.

Lucky for him
you boys were up there.

Uh, Mr. Haskell?

Yeah.

Are you the guys
who got me down?

Yeah. Frank
and Joe Hardy. We-

I just can't figure out
what happened up there.

I mean, all my instruments
went out on me.

And right in the middle
of a soup so thick,

you could cut
it with a knife.

(Frank)
Mr. Haskell.

How do you know my name?

A man by the name
of Richard Johnston

did some work
for your company.

Yeah. That's right.

Why? Are you two friends
of Dick's?

No, but our father
was hired by his wife

to find him.
He's disappeared.

Listen, come on inside.

[dog whimpering]

I tell you, I never would've
made it down without your help.

That's okay.

This is
a Jet Star, isn't it?

That's right.

Listen, what's this you say
about, uh, Dick disappearing?

Yeah. Four days ago.

Look, I know his wife.

Now she has a tendency
to kind of overreact.

Now, maybe he-he just got called
out of town for some reason.

Not without
telling her.

He took no equipment,
no clothes,

no briefcase.
Nothing.

When was the last time
that you saw him?

It's been about
two weeks at least.

I understood that

he had an appointment
with you on Wednesday.

Yeah.
But he didn't show up.

Maybe that was
when he disappeared.

Yeah, could be.

What about friends? Is there someone
he'd go to if he was in trouble?

Maybe someone
here at the field?

I'd really like
to help you guys,

but I'm afraid I didn't
know Richard that well.

Richard Johnston
was an audio engineer.

Yes.

What was he doing working
at All Points Airways?

Well, he designed the
sound system for this baby.

You know, I've never been
on one of these.

Do you think we could-

Could we go
on board?

No. Listen,
I'm afraid not.

Uh, I just got it
spick-and-span for a new client.

Now maybe some
other time, okay?

Listen, all that stuff
that happened up there

has got me running
about, uh, 30 minutes late.

I'm afraid there's nothing
more I can tell you about Dick.

Well, okay, thank you for
your help, Mr. Haskell.

Sure.

Thank you very much.
We appreciate it.

Hey, I'm the one
that appreciates it.

I owe you one.

It's gonna be
hard for me to pay up.

But I'll do it.

Thank you.

(Gertrude) I'll let you know
the moment I hear from them.

Oh, here they are now.
It's Leslie Johnston.

Hello, Ms. Johnston.
This is Frank Hardy.

Hello, Frank.

Did you find Lou Haskell
at the airport?

Yes, we saw
Mr. Haskell.

He had an appointment with
your husband on Wednesday,

but your husband
didn't keep it.

What do we do now?

Well, we still have
a few names to check out.

We're doing
all we can.

I know that.

But it's been several days,
and I'm really worried.

Yes, I'm sure we'll find him.

Everything's gonna be
all right. Try not to worry.

(Frank) We'll call you as soon
as we get some information.

She's taking it
pretty hard, huh?

Well, she's
frightened.

She's watching her
whole world fall apart.

Because the person most
important in her life

has suddenly
disappeared.

She doesn't think
she'll ever see him again.

Is he the kind
of man who would

just walk out on
a situation he didn't like?

That's what we're
trying to find out.

What's this?

Your father
has company.

(Fenton) We'll go over
the layout of the Stadium

and find out
how many more men we'll need.

Oh, my sons are here.

Tony, Mr. Fry,
I'd like you to meet my sons.

This is Frank
and Joe.

Nice to meet you.

Hi.

We're big fans of yours,
Mr. Eagle.

Tony.

Is this
your new cassette?

Hot off the presses. Hasn't
even been released yet.

I'm on my way back down
to the Stadium now.

I'll meet with you
after lunch.

Uh, is there any word yet
on the Johnston disappearance?

We've checked
every hospital, morgue,

and police
department within 50 miles.

(Joe)
Nothing, Dad.

Is that Richard Johnston?

Yes.
Do you know him?

Yeah.
I gave him his start.

He's the best sound man
in the country.

He's supposed to be doing
our sound at the Stadium.

What happened to him?

We don't know.

Nobody's seen him
for four days.

I'd say the man just turned
Mother's picture against the wall,

drove to the airport,
took a plane

to some place
he's never been before.

Happens everyday.

I don't think the Johnstons
are that kind of couple.

I'd like to review
the security arrangements.

We better do it now

'cause I have an appointment
at 4:00 with the TV people.

Right you are.

Keep pluggin'.
I'll check with you later.

Okay.

(Callie)
Breaker, breaker.

That must be Callie.

Come in, please.

Uh, why don't you
go ahead?

I've a few things I want
to talk over with the boys.

Fine.

Breaker, breaker.
This is Calico

calling Los Hermanos.
Come in.

Calico, this is Los Hermanos.
Where are you?

(Callie) I'm five miles
outside of Eastwick on Route 27.

Frank,
I think I've got something.

We read you, Calico.
What have you got?

I'd rather show you.

We're on our way,
Calico, 10-4.

Is that about
Richard Johnston?

We're not sure.

I'd like to go with you. Dick's
a very good friend of mine.

All we've got is a van.

It's not exactly
a limousine.

Are you kidding?

I've traveled all over
doing one-night stands

in a van that
was held together

with rusty nails
and pieces of string.

Come on.
Let's go.

It's a mess, guys.
If he's in here, he's gone.

Mrs. Johnston's
such a nice lady.

How are we gonna
break this to her?

This is impossible.

(Frank)
What's impossible?

There's nobody in here.

Then where is he?

Look around and see
if he was thrown clear.

Can you see
the license number?

No. But the year and
the make are right.

(Joe) There's no point in
looking for him around here.

Houdini couldn't have
gotten out of this thing.

How did you
find this, Callie?

Mrs. Johnston said
that when he left

on Wednesday morning,
he was low on gas.

So I went to the station
he usually goes to.

And the attendant
remembered him

because he was in a hurry to
get to Eastwick Field.

Eastwick Field?

Yeah, that's right.

(Joe)
That wreck down there,

no human being
could have crawled out of it.

That means there
was no one in the car

when it went over.

Take a look at these.

I noticed them
when we pulled up.

These are leading from
Eastwick Field, not to it.

And Haskell told us that
Johnston never got there.

Is that Lou Haskell?

Yeah, do you
know him?

Well, I keep my Jet Star
at Eastwick Field.

Then it was your plane
we saw yesterday.

Yeah,
I lease it from Haskell.

He was very reluctant
to let us go inside of it.

You can take a look around
anytime you want.

I don't see what
that's got to do

with Dick's disappearance.

That's exactly what
we want to find out.

It's no problem.

Mr. Haskell wasn't
exactly enthusiastic

about his
come-back-anytime invitation.

It's my plane.
Look, it's-it's no big deal.

Why don't we go
over there now?

It'll be dark
before we get here.

That's even better.
Haskell won't be there.

I'll tell you what, guys, I
want to go back to the office

and bring your
dad up-to-date.

Okay.

Bye-bye.

It looks locked.

I've got a key.

I told you,

I don't know what you guys
expect to accomplish here,

but there's no
problem getting in.

[growling]

There must be a light switch
around here some place.

[switch clicking]

Here's
the flashlight.

[dogs barking]

We'll never make
it to the office.

The Jet.
Back up slowly.

Here they come! Run!

It's comforting to know
I'm so well-guarded.

It is?

[dogs continue barking]

This is some setup.

It's cozy.
I like to travel in style.

It's usually because

I don't like
the place we've left

and I'm not sure
about where we're headed.

Joe, look at this.

This is Johnston's toolkit.

It's got his name on it.

(Frank)
This proves Johnston was here.

Not necessarily.

He could have left it
a couple of weeks ago.

(Frank)
That's possible,

except for this.

How did this get here?

This hasn't
been released yet.

In fact, there are only a half a
dozen of them made a few days ago.

How many other people
have this cassette, Tony?

Well, I've got two of them,
I gave your father one

and I sent one to
Richard Johnston.

I wanted his opinion
on the sound quality.

Then Johnston
was here.

And that means
Haskell lied to us.

Why would he do that?

I don't know yet.

I'll check it
for prints.

(Collig)
This is the police.

Come out of that airplane.
Come on out.

We'd be delighted.

Remember, we don't
want to alarm Haskell,

so don't say anything.

Oh, hi, Chief.

I was just showing my friends,
the Hardy boys, the plane.

The dogs must have
set off the alarm.

I know you think
that's why they're here.

The question is,

is that why they
think they're here?

You wouldn't know
anything about that car

that went over the cliff,
would you?

The one that, uh,
Callie told me about. Hmm?

Or the tire tracks that
lead in this direction.

Chief, you know,
you're always telling us

not to come to you
without hard facts.

Yeah?

Well, we
don't have any.

Thanks
for your help, Chief.

Nice doggie.

Now why is that
even when they do what I say,

I still figure they're
putting one over on me?

[crickets chirping]

Take a look at this.

That's the fingerprint

I got off the silver
cigarette case

that Mrs. Johnston
sent over.

Nobody's touched it
since her husband left.

Take a look at that.

I got that
off the cassette.

That belongs to Tony Eagle.

Take a look at this.

Got that off the cassette,
too.

That proves that Johnston was
at that airport and on the plane.

Which proves that
Haskell lied to us.

You know, Johnston may have more
of a connection to Tony Eagle

than Tony's
led us to believe.

You don't think Tony has anything
to do with Johnston's disappearance?

I'm just examining
all the possibilities, Joe.

One thing's for sure.

What's that?

We're gonna be
at that concert tomorrow.

(Fenton) The main thing
is to know the difference

between someone who's just
here having a good time

and someone who
could cause trouble.

If you have
someone in your area

that you think
could be a problem,

before you do anything,
alert me

or one of
the uniformed officers.

As to dress, you'll all be
wearing street clothes

as though you're
part of the audience.

Oh, excuse me.
Good morning, boys.

Hi, Dad.

Sorry to interrupt.
Is Tony Eagle here?

Yes. He's downstairs
in his dressing room.

Be sure you tell the guard
that I said it's okay.

(Fenton) You'll all be wearing
ordinary street clothes.

I told you I wanted it today.

What's your rush?
You've got a concert tonight.

There's no rush. I've
been asking you for months.

You've always got
some kind of excuse.

I don't understand you.
I really don't.

I've been handling
your finances, your gigs,

for what, five years now?

You've done pretty good.

Sounds like you
don't trust me.

That's not
what I said, Carl.

I wanna know how much money
I've got and where it is.

You're a very rich guy
thanks to me.

Your money's in stocks,
bonds, real estate.

And don't forget
insurance.

Insurance.

I've got more coverage
than the trade center.

Look, when you hired me
you said, "I'm a singer.

"I don't wanna
worry about business.

"You handle the finances,

you sign the checks,
you pay the bills. "

You didn't want
to be bothered.

Well, I want
to be bothered.

I want to see it
in black and white

and I want it
before I take off

for London
in the morning.

You got it, man. No problems.

Just one other thing.

Richard Johnston,
he's supposed to be here

to set up
the sound equipment.

He hasn't been seen
for days.

Did he try to get
in touch with you?

Not for
a couple of weeks.

But when you talked
to him how was he?

Fine. Said he'd be
here tonight.

Look, uh, if there's
nothing else,

I'm having some
promo problems

on Pretty Girls.
Business.

Carl.

Yeah?

Bring a copy of our contract,
too, okay?

(Carl) Why do you want
a copy of your contract?

(Tony) Just want to see it. That's all.

Sure.

We've got some news.

Can I talk to you guys
on the way?

I'm kind of
late for rehearsal.

Sure.

?[music playing]

[man whistling]

We matched
a print of Johnston's

to one of the ones
we got off the cassette.

That puts him in the plane
within the last few days.

I'll talk to Haskell
before the concert tonight.

You guys are right.

Something's going on
and somehow I'm involved.

You've got to
find that connection.

Listen,
I've got to go to work now.

Talk to you later, okay?

Thank you.

Okay, you're ready?

Yeah.

Let's do it.

? Playing in a bar uptown
we were trying to get up?

? They kept pulling us down?

? Said "We love the sound?

? "If you'd just play
something we could dance to?

? "Play us another one
like the other one?

? "Like the ones
on the radio?

? Here we go
get on with the show"?

? And I said "If you can't
dance to this one?

? "You can't dance
till you take a chance?

? You can't dance
to this one"?

Frank, Joe, this is
Leslie Johnston.

Hi.

It's nice to finally
meet you face-to-face.

I think we have
something important.

We were at the wrecking yard where
we saw what was left of the car.

It doesn't make sense.
The car's all twisted up.

All I could think
about was Dick inside it.

No, he couldn't have been
inside it, Mrs. Johnston.

We looked. There's no way.

This was on
the floor of the car.

(Callie) I don't know
if it means anything.

(Joe)
It's part of a letter.

This is from
his company stationary.

"Dear Mr. E.F."

The last part of
the name's torn off.

"F" for Fry maybe.

"Terribly worried about...

"At certain
frequencies could...

Dangerous that I won't,
in all... "

And s-t-o-n.

S-t-o-n. That's
the last part of his name.

This is the first piece of
hard evidence that we've had.

At least we know
he was worried about

something, something
"dangerous. "

But what? We need
the rest of the letter.

Mrs. Johnston,
this is a carbon.

Where was it typed?

At the shop. We don't
have a typewriter at home.

Is it important?

Yeah, could be. We should go
see if there's another copy

of this letter at
your husband's office.

Could you
take us there?

I'd rather stay here.

Dick was excited about Tony
using his new sound system.

He'll show up.

I just know he'll show up,
if he's physically able to.

Of course.
Is the office open?

No, I'll give you
the key.

I guess
we'll see you later?

(Joe)
Okay.

Good luck.

Thanks.

What time is it?

It's probably
a little after 7:00.

We better hurry up,

if we're going to get
to that concert on time.

The sooner we start,
the sooner we finish.

[people chattering]

Somebody's coming.

Shut the door.

He's coming this way.
What are we gonna do?

That door.

It looks like
a storage room.

(man) All right. The van's out front,

but there's no sign
of them.

Who is it?
Haskell?

Shh.
I don't know.

(man)
Don't worry.

They'll never get
a chance to read it.

When those high octaves
hit that sound system,

it'll be bye-bye Tony.

Holy-
Shh.

Now relax.

And enjoy the show.
You won't see

another one like it
for a long time.

[man laughing]

[audience cheering]

? She's got everything
she needs?

? She's an artist,
she don't look back?

? She can take the dark out
of the night time?

? And paint
the daytime black?

?[band humming]

What's he doing?

I don't know.

[fire crackling]

Smoke.

Hello!

(Joe)
Hello!

? It's late,
We gotta get on home?

? It's late,
We've been gone too long?

? Too bad,
We shoulda checked our time?

? Can't phone,
We done spent every dime?

? It's late, it's late,
We're 'bout to run outta gas?

? It's late, it's late,
We gotta get home fast?

? Can't speed, can't speed,
We're in a slow-down zone?

? Baby, look at that clock,
why can't it be wrong??

(Frank)
What have you got?

Just a lot power tools, for
all the good they'll do us.

(Frank)
Now think positive.

I am thinking positive.
The situation is negative.

Wait a minute. The wiring for the
building should run behind this wall.

There will be a conduit in
here from the top to the bottom.

Maybe down in here.

I got it.

Get some of those
power tools

and we'll patch
them in this wire.

Yeah.

And is there a jigsaw?

I'm going to
need some pliers.

Three wires.

Green for ground.

That one went okay, so this
is got to be the hot one.

[horn honking]

[sirens blaring]

? If we coulda left home
at a quarter to nine?

? Woulda had fun
and plenty of time?

? We got started
just a little bit late?

? Hope this won't be
our last date?

? Look up, look up,
Is that the moon we see??

? Can't be, can't be,
Looks like the sun to me?

? It's late?

[fire crackling]

We got to make sure

the fire hasn't got into
the electrical system.

That's what I've always admired
about you, older brother.

Your sense of humor.

[drilling]

Give me the jigsaw.

[coughing]

[sirens wailing]

You ready?

(Joe)
Any time you are.

[both coughing]

You boys all right?

We're fine.
We got to go. Come.

Hey, wait a minute!

? Train I ride?

? 16 coaches long?

? Train I ride?

? 16 coaches long?

? Well that long black train
Took my baby along?

? Train, train?

? Comin' round,
round the bend?

Breaker, breaker,
this is an emergency.

Police department.

(woman)
Police headquarters.

This is Joe Hardy.

Patch me through to either
Chief Collig or Fenton Hardy

at the Stadium right away.
It's urgent.

[phone rings]

Patrolman Roberts.

Let me speak to Chief Collig.

Who is this?

Joe Hardy. I need to
speak with Chief Collig

or my father. It's urgent.

All right,
I'll get the Chief.

(Joe) No, wait, there's a bomb... Hello?

Hello?

He put the phone down.

? Train, train?

? Comin' round,
round the bend?

? Well it took my baby?

? But it never will again?

[audience cheering]

Operator, this is
a matter of life-and-death.

(operator) I'm sorry,
sir. That line is busy.

Don't worry about it.

We just have to
get there ourselves.

I'll leave the line open.
That's all I can do.

Who do you think
is behind this?

Haskell?

He could be our firebug.

Yeah, he could be.
But why?

What's his connection
with Tony or Fry?

Remember what
the man said on the phone?

He hits high octaves
it's all over.

It's bye-bye Tony.

What's gonna happen?

Didn't sound like he was
gonna lose his voice.

No, it didn't.
It sounded like

he was gonna
lose his life.

? Well, there's-a one thing,
baby, that I want you to know?

? When you're rockin'
with me?

? don't rock too slow?

Wait!

? We're gonna rock till
we can't rock no more?

? I believe, I believe?

? I do believe, I believe
pretty baby?

Stop!

? You're goin' steady?

Hold it!

Stop the music!

? Well, I believe?

? I believe, I believe,
I do believe?

It's Frank and Joe.
Come on.

? believe you're goin' steady
with nobody else but me?

Let it go!

Joseph,
what is going on here?

There's a bomb.

What?

I hope you've got
an explanation for this.

(Fenton) They say there's
a bomb in the sound mixer.

[all clamoring]

Go on.
Open it up. Open it up.

[audience jeering]

Please, ladies and gentlemen,

will you all move out
to the exits on each side?

A bomb?

The bomb?
What bomb? Where's the bomb?

This is a bomb?
Fenton, there's a bomb?

Couple of geniuses
you got on your hands.

What's the matter
with you two?

Are you crazy, disrupting
a concert like that?

I should sue you
for breach of contract.

We've an explanation,
Dad.

I'd sure like to hear it.

Yes, so would I.

Chief Collig informs me

you were both in
a fire tonight.

He just got of
the phone with the fire Chief.

The sound systems building
is badly damaged.

In the wrecked car,
we found part of a letter

that Johnston had written.

We were looking for a carbon
when an intruder came in.

That's when we overheard
a phone conversation

and we couldn't get
out of the closet.

Wait a minute. Wait a minute. You're
saying that the intruder set the fire?

Deliberately?

That's right, Dad.

To kill you?

He didn't know we were there.
He was destroying evidence.

You got a look at him?

No, but we heard him
talking on the phone.

He said Tony Eagle
would be gone. Finished.

When his high notes
hit that sound system.

We were sure a bomb
had been wired to the mixer.

Who'd do such a thing?
What's the motive?

What does Richard Johnston and
sound systems have to do with it?

We don't know yet.

You don't know yet because
there is no connection.

But we can prove Johnston was in
Tony's plane the last few days.

Boys, let's talk about this
is the morning.

Look, no one wants
to kill Tony Eagle.

He's too
valuable to everyone.

Besides,
he's leaving for London

tomorrow morning.

I'm very sorry
about what happened

at the concert, Mr. Fry.

Good night.

The next time
be sure of your facts

before you mess up
the proceedings.

We were so sure, Dad.

Well, you were wrong.

It happens.
Even to me.

How long were you in that
burning building, anyway?

Long enough.

Well, at least
you're both unhurt.

You know, you've got to
be more careful.

I can't let you get involved in
these cases unless you are careful-

Dad, we were just in the
right place at the wrong time.

Well, I'm sure Chief Collig
is gonna want

a full report
in the morning.

Arson is a serious crime.

So is murder.

[sighs]

[birds chirping]

Not "F" for Fry,
"H" for Haskell.

Joe! Joe, come on,
you got to wake up.

Wake up.

What time is it?

It's 10 of 6:00.
Come on, Joe.

Will you wake up?

What are you doin'?
I'm sleepin'.

Tony-Tony Eagle is
probably the one

this morning on the Jet Star.

I know, he told us.
Hope he has a good trip.

The letter that
Johnston wrote.

It wasn't to Fry,
it's to Haskell.

Warning him about something
dangerous, something on the Jet Star,

that's what
those letters meant.

Bomb wired into the audio
system of the Jet Star.

We've got to tell Dad.

No, no, no, no.
And be wrong again?

We'll check this
one out ourselves.

Here, get dressed
and I'll meet you downstairs.

What is all this?

Just a precautionary measure
because of last night.

Here's your stuff,
man, just as I promised.

All right.

You're sure you won't change
your mind and come along?

We could go over this together
in case I have any questions.

Tony,
you're a terrific singer,

but I'll leave the flying to
the people who do it full time.

You got all the bugs out of
the in-flight audio system?

It's all set.

Haskell set the fire.

Because he was afraid there
were copies of Johnston's letter.

Which Johnston sent to Haskell

when he realized there was
something dangerous

in the audio system
he designed for the Jet Star.

That's why he went to Eastwick
Field. To follow up the letter.

So Haskell grabbed him before
he could warn Tony Eagle.

You know, the Hardy boys proved that
Richard Johnston was in this plane.

(Haskell) He probably
broke in for some reason.

I didn't see him.

Listen, forget about it.
You just have a nice flight.

So long, kid. I'll see you
in London. Tomorrow.

See you there.

Remember what
he said on the phone?

When his high notes hit
the sound system it's over.

It's bye-bye Tony.

He was talking about the
audio system on the Jet Star.

Haskell must have
been talking to Fry.

He had to be.
Fry wants Tony dead.

Probably something to do
with those investments.

I suddenly got
a pretty good idea

where Richard Johnston is
right now.

So do I.

[tires screeching]

Chief Collig, you got stop
that Jet from taking off!

Oh, now don't tell me
there's a bomb rigged up

to the audio system
of that plane.

There is, and
Richard Johnston is aboard.

Chief, how long are you gonna
put up with these crazy kids?

Listen, you know something,

you guys are just
beggin' for jail.

(Collig) That's all
right. It's all right.

L-I-let me tell you
boys something.

You're not the only
detectives in this area

providing police protection.

I checked that plane out.

We made a search of it
with a fine-toothed comb.

Came up with
absolutely nothing.

Now there's no explosives,

nobody rigged the controls,

there were no
cross wires, nothing.

That's impossible.

What about Johnston?

We think he's hidden
somewhere on the plane.

(Collig) You think my
men would overlook that?

I tell you there's nobody on that
plane that doesn't belong there.

(Joe) They didn't load
anything on it last minute?

Maybe in the cargo hold.

We checked the cargo hold.

There's nothing there,
except a special tank

that's rigged up
for reserve fuel.

After all, boys, you know,

that plane has to go
all the way to London.

Case closed.

When do you act
on instincts?

When you've got
nothing left to go on.

We've got to stop
that Jet.

[tires screeching]

What are they up to now?

They're going
the wrong way.

That's not
the way to their home.

[sirens wailing]

[car horn honking]

(Tony)
That's the Hardy boys' van.

They're coming right at us.

Tower, this is 0.763.
We are going to stop.

(man) Roger, what's going on out there?

Hold on.

Do I have a choice?

What's goin' on?

What's going on now?

You're carrying reserve fuel
because you're flying overseas.

What if you went off course
over the Atlantic?

Why should we go
off course?

We've got all latest
navigational instruments.

Yeah.
So do commercial airlines.

But they have
warning cards to prevent

passengers from
using FM radio on board.

It interferes with
the navigational equipment.

Richard Johnston's
new stereo system.

Right. He realized
it could be a deadly hazard

that could put the plane
hundreds of miles off course

out over the Atlantic.

Well, we've got plenty
of reserve fuel.

What if you don't?

Oh, wait a minute.
This is ludicrous!

Check it out.
Check the fuel drum

in the hold.
That's all we ask.

Are you going to
stand up for this?

All right.
Come along you two. Come on.

This is the most ridiculous
thing I've ever heard of.

(Collig)
Never mind. Never mind.

Let them make
fools of themselves.

It's hollow. This tank
has got to be empty.

Hold it. It's not empty. There's somebody
inside it. I can hear him kicking.

Hey, cuff him!

I'm pulling the tank
off the wall anchors.

[muffled cries]

It's Johnston.
I got Johnston inside.

I'm going to pull him out.

(Joe)
Give me a hand, Frank.

Oh, thank god!

Fry admitted he was
in partnership with Haskell.

They used your money, Tony,
to finance the Jet Star.

To just add
salt to the wound,

they overcharged you
every time you chartered.

I'll probably find more evidence of
embezzlement in my other investments.

(Tony) I had some inkling
of what was going on.

That's why I told Carl I wanted
to review all my holdings.

And he had to prevent that.

When I checked out the audio
system for the Jet Star,

I found out that Haskell had
added a high-frequency circuit.

I told him to take it out
'cause it was dangerous.

That's when he grabbed me.

You know,
when someone saves your life,

words aren't easy to find.

(Tony)
What can I do for you guys?

Say, why don't you invite
them to your next concert?

It'll be in London.

A deal's a deal.

It won't take us long to get
our things out of the van.

I doubt very much

if London knows what's
going to hit them.