(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?
? 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.