Original subtitles

FRANK: Previously on Hardy Boys...

The symbol Mom drew.

This was on the box that the Astghik pulled out of the water.

Whatever Mom was working on, this has to be a part of it.

MS. DIAZ: She said her family was running the town.

FRANK: You're making them sound like-- DEAN: They're a secret organization.

That's what they are.

- They called themselves The Circle of the Eye,

the Nabokovs, the Khans, and the Estabrooks.

GEORGE [on recording]: Laura, you must never let anyone

reassemble The Eye.

FRANK: Mom wanted to expose the truth and bring down The Circle.

Let's finish what she started.

Why did my mother's investigation lead her to Rosegrave?

CALLIE: We decoded a secret message,

and it mentioned an experiment called Project Midnight

that happened in a place called The Sleeper.

The Sleep Room's at Rosegrave.

They were experimenting on students!

CODY: We were attempting to transfer one person's consciousness

into another person's body.

Adrian Munder was never part of Project Midnight.

Patient B was his brother, Aaron.

They're twins.

- Mr. Munder is going to use the crystal

to transfer his brother's consciousness to Frank's body,

just like Project Midnight.

- Burelli said there's no vessel strong enough.

- Frank will be strong enough. - Because of The Eye.

ANGELA: Frank never had The Eye. He is The Eye.

[gasps]

- I've been picturing this moment, Francis.

The transfer is about to begin. And then, I'll be free.

The power of The Eye belongs to me once again.

- No, no, no, no, no! No!

[distorted] No...

I'm not happy. I want to break up.

- Who do you think you are?

FRANK: It worked.

My darling daughter.

Where did you hide my scrolls?

[flatline]

FENTON: Olivia stole the codex from one of the buildings.

TRUDY: What's in the Codex? FENTON: Scrolls.

She tried to get McFarlane's scroll, but he died protecting it, gave it to me.

- Keep it... safe.

- You're working for the Circle of the Eye?

- No, I'm working to destroy them. just like you.

I've been collecting the codexes for someone

who won't be corrupted by the Relics.

- I want to meet this person.

[door creaks open]

[cocks gun]

- Don't move.

Turn around.

- Which is it? Don't move or turn around.

- Turn.

♪ dramatic music ♪

- Laura?

[scoffs]

SAM [through megaphone]: Fenton Hardy!

- What are you doing?

SAM: This is the Dixon City Police! [grunts]

♪

[thunder rumbling]

- What about the rest of The Circle, sir?

- They're nothing without The Eye.

Tonight, we ensure they'll never learn of the other Relics.

♪

Take the idol to my island. Keep it safe.

- Yes, sir.

[metal cracks]

[exhales]

- Is it done?

CHAUFFEUR: It's done.

[thunder rumbling]

- Mayday! Mayday, I'm going down! Mayday!

[indistinct chatter] [faint beeping]

- Deliver these to Gloria when it's time.

Tell her to follow my instructions to the letter.

- Yes, sir.

What if it doesn't work?

- Have faith. I've seen the end.

When I come back, I'll be forever in your debt.

- And the doctors? - Have they shown you what to do?

- Yes, sir.

- No loose ends.

♪ dramatic music plays ♪

[gun cocks]

[three bullets fired]

[powering up]

[powering down]

- Hey, Package came from Grandma's estate lawyer.

- What type of package?

- I guess there's some tape we're supposed to watch after the funeral.

A little help?

[Frank clears throat]

[indistinct chatter on radio]

[sniffles]

- Were you crying?

- Well, I loved my, um... grandma.

[sniffs] Didn't you?

- Yeah, I guess. But it's not like Mom's funeral.

It's not a tragedy, you know?

Ah, easy! - Sorry.

There.

- Thanks.

- Of course. What are brothers for?

- I'm still in here!

Help me! Help!

♪ mysterious theme playing ♪

[groaning]

- So... - Yeah?

- The good news is you're off the hook for the murders.

[Fenton sighs] - Olivia confessed, to all of it.

- Oh. Thank you, Sam. Thank you.

- Yeah. Now, the bad news is, she's being released.

- Oh, come on.

- It seems Olivia Kowalski has friends in some very high places.

- She got some kind of diplomatic immunity?

- Whatever she's got, it's above my pay grade.

- No, Sam, I got to talk to her.

- What? - There was a black sedan.

I-I didn't catch the driver, but I did get partials on the plates.

Can you please run it for me and try to track her down?

Sam, please.

- You gotta go home, Fenton.

Your family needs you. - I know.

[phone ringing, voicemail beeps]

LAURA [on voicemail]: Hey, you've reached the Hardys. Leave a message after the beep.

[beep]

FENTON [on voicemail]: Hey, guys, it's me.

I got a new lead on this Olivia Kowalski thing.

I need to run it down before the trail grows cold.

I'm okay, but I am not going to make it home for the funeral.

I love you. Talk soon.

[beeping]

[shutter clicks]

[shutter clicks]

OFFICIANT: Thank you all for gathering here today

to pay your respects to Gloria Estabrook.

[continues, indistinct]

- Is this how it's gonna be now?

Hmm? All awkward and tense.

[sighs] Why'd you dump her anyway?

- Our lives were diverging. I can't be tied to some girl.

- If you're watching this, it means I'm dead.

And to those I may have hurt, I am sorry.

As per my father's wishes,

my entire estate passes to my eldest grandson, Francis.

Everything.

- Seriously? - Quiet.

GLORIA [on video]: It's yours to do with as you wish.

As long as you preserve my father's first apartment in Dixon City,

his first shipping warehouse, and the Rosegrave campus

where his desk must remain for all time.

Which brings us to the house where it all started.

Where my father spent the best, and happiest, years of his life

as a codebreaker.

It's been condemned.

I tried to save it with the Heritage Act,

but it was no use.

I know this wasn't the plan.

Goodbye, my family, until we see one another again.

[Trudy sighs]

JOE: I'm sorry,

how is it fair that Frank gets Grandma's entire estate

and I get nothing?

- She must have had her reasons. Um,

excuse me. I have to go find Jesse.

I'll see you two later on at home, okay?

- What's with her?

- That's an excellent question.

♪ suspenseful music playing ♪

[indistinct chatter]

TRUDY: Oh, hi! Yeah, how are you?

- Hey! So I've been thinking about it.

I think I'm going to tell Biff I like her. - Oh, don't do that.

It-- Uh, it's just going to mess up the group dynamic even more.

- You're just assuming that she doesn't like me back.

- That's correct. - I think she likes me.

- Not in that way. - No, no. She touched my arm.

- Touched your arm? - Yeah!

TRUDY: Nice seeing you. - Well, I guess... good luck.

- Thank you.

- Hey. Hi. Um, can we talk?

- Yeah. Yeah, I'll leave you guys-- - No, I, I actually want to talk to you.

- Um...

- Very good.

[Callie sighs]

- I'm leaving for the summer. - What?

- I'm going to Rosegrave.

- After everything that happened?

What do you possibly have to gain?

- It's just something I have to do.

[thumping]

♪ mysterious music playing ♪

- The flash stone crystal. How'd that fall?

[sharp inhale]

[sighs]

[deep exhale]

- Don't go.

Uh, what if another mystery comes up? We need you here.

- Frank made it pretty clear he doesn't need me. At all.

- He-he's just messed up from being kidnaped

and downloaded into a crystal.

You should hear the dumb stuff he says.

He's an idiot.

Breaking up with you is the worst mistake he's ever made.

- I'm gonna miss you too, Joe.

- You could just talk. Figure it out.

Eh, I don't know. You could get back together

and everything can go back to how it was before.

'Cause right now... it's the worst.

- Just because I'm not with Frank

doesn't mean I'm not here for you.

- You leaving literally means that.

- If you really need me,

this is the number to the Rosegrave dorm. [Joe sighs]

- I'd tell you to stay out of trouble, but I know you won't.

- [sighs] I'm gonna miss you.

- I'll be back soon.

[Joe sighs]

♪ ominous music ♪

STACY: Hey, Frank.

I was hoping to catch you outside, where I could keep a lower profile.

- Uh...

- Don't tell me you've forgotten me already.

Stacy. Nabokov?

- Of course not, Miss Nabokov.

What do you want?

- Well, Mr. Hardy,

I want you to take your rightful place in The Circle of the Eye.

- We can't talk about this now.

Meet me here, tomorrow.

- Why would Gloria leave her buildings to Frank?

The apartment. The warehouse. That's where the codexes were hidden.

- Where the codexes now? - Uh, they're safe.

I hid them in the laundry room.

- Are you sure that's the best place for them?

- I'm sure.

It's the one place I can guarantee no Hardy boy would ever look.

- [chuckles] Yeah.

♪

[grunts, pants]

[panting]

- Ha!

- What are you doing?

[heavy breathing]

- Are those codexes like the one you found at Rosegrave?

- Yeah, I think so. I overheard Aunt Trudy talking.

They said they found these in the buildings

Grandma was talking about, the apartment and the warehouse.

- Well, open 'em.

- I can't. - You opened the one at Rosegrave.

- I told you The Eye was guiding me then.

I don't remember much from the past six months.

- It's a good thing you wrote the combo down in your notebook.

Right. Right. Forward. Left.

Down, down, down. Push till it clicks.

♪ suspenseful music playing ♪

[Frank sighs] - More scrolls.

Just like the one with the crystal.

- You have the crystal scroll?

- It's got to be in here.

Everything from the mystery board is in these boxes.

[Frank breathing heavy]

- I'm telling you that it's not in there.

When did you see it last?

- Okay. Phil had it with Munder.

I took it from him. It was definitely on the board when--

- When?

- I was planning the boat heist with JB.

[Frank sighs]

[machine beeps]

HURD [on answering machine]: I'm disappointed. Mr. Cox.

You're not the only person I have on this job.

But you are the only one running out of time.

Find the codexes or there's no reason to keep you alive.

You have 24 hours. [chuckling scoff]

[machine beeps] - It's always 24 hours.

Some things take longer than 24 hours!

[beep]

JOE [on answering machine]: JB, it's Joe.

I know you took the crystal scroll, and I want it back.

- Yeah. Fat chance, Joey.

JOE: Before you say, "What's in it for me?"

you should know that Frank and I have two other scrolls, [chuckles]

and my gut says they're no good to anyone unless they're all together.

So meet us at Wilt's, tonight, after close.

[machine beeps]

[sighs]

- [groans] Oh.

This milkshake is disgusting. What did you do to it?

- What do you mean? It's a regular milkshake.

- Why does it taste like this? FRANK: Like what?

- Like gross, Frank.

What's in it? - Ice cream, malt, and water.

- Malt and water?

It's called a milkshake. Where's the milk?

- The milk is in the ice cream.

- Are we in a recession? Are we rationing milk?

Make it again. Normally. No malt.

- I'm not making it again. Is he gonna show up?

- He'll show.

- What makes you so sure?

- 'Cause he's a weasel and a snake. Can't resist the grift.

- Ouch! That was harsh, Joey.

The last part was pretty accurate,

but the first two were just kind of mean.

That's not like you.

How you guys doing? You look dapper.

Prom?

- Hm. Funny. Did you bring our scroll?

- Well, that depends. Where are the other two?

And what makes you think they're no good unless they're together?

[Joe sighs]

♪ mysterious music playing ♪

- Well, well, well. Look at that.

- It's a map. [slight chuckle]

JOE: [sighs] So George Estabrook drew a map.

Too bad he's not here to decipher it.

- Doesn't matter.

The map's no good without a starting point.

It's incomplete.

- Now, how do you know that?

- Well, the gaping hole in the top corner was my first clue.

- Allow me to rephrase.

How do you know that the gaping hole in the top corner

is the starting point?

- You see another starting point?

- I don't even know what I'm looking at here.

- Well, how'd you know how to find the scroll at Rosegrave?

- I didn't find the scroll at Rosegrave.

- How did you know where to look? Who told you?

- You-- I can't give you my clients, guys.

- Can't or won't? - Both, smart guy.

For a number of reasons.

For starters, all of my work is done through answering machines.

There are no faces, no names. - Hey, stop.

For starters.

Grandma, she said, "the house where it all started,"

where George spent his best years as a codebreaker.

It's a code.

Grandma's telling us where the final scroll is.

We need to round up the gang and watch the video again.

- Until we see one another again.

JOE: That's where Aunt Trudy stopped the tape.

Wait. Let it play.

♪ mysterious music ♪

- Look at the clock. She set it to midnight.

- You mean noon? It's daytime.

- The windows face west.

The way the light's coming in, it's sunset.

- [scoffs] I don't care if it's noon or midnight.

The sun doesn't set at 12 o'clock.

- Look where the hands are pointing.

JOE: The painting.

A house on a cliff?

Th-That's got to be the house where it all started. Right?

We've got to check that out. - How?

It's a painting. - No, I know that Cliff.

It's in Bridgeport, but-- - There's nothing there.

- How do you know?

- I was hired to retrieve a codex from the house on the cliff.

There is no house on the cliff. It was destroyed.

- We're just supposed to take your word for it?

- He's telling the truth. There's nothing there.

- Well how do you know? - Because I've been up there before.

Focus on JB's client.

Whoever hired him, knew about the house,

but they had old intel.

JOE: What about Olivia?

Olivia killed McFarland for his scroll

and we know she found two others.

She's probably looking for the last one, too.

- Or she's already found it.

- Or she doesn't know about it.

I was hired to find two of these things.

I didn't know there were four until a second ago.

- So JB's client knows the scrolls add up to a map.

Might even know what the map leads do.

- Still all useless without the last codex.

So where is it?

[Joe sighs]

- The Heritage Museum! Gloria said she wanted

to have the house preserved using the Heritage Act.

- Right. She couldn't save the actual house,

so she did the next best thing.

- She preserved the painting. With the codex.

- So you think the codex is in the painting?

- I think there's only one way to find out.

- Good luck. Place used to be a bank.

- Yeah, it's no problem.

I just gotta jet over to my safe house,

pick up a couple tools.

[sucks teeth]

- What are you waiting for? Go get your gear.

- Yeah. I'm not going anywhere without that map, Joey.

- Why not? It's no use to us unless we have the last piece.

- Yeah, which you can't get to without my tools,

so I guess we agree.

I can just take it.

- [stammers] Nice try.

We're not just going to let you swoop into the museum without us.

- You still don't trust me?

- All you do is double-cross me.

- You are the one who swapped out The Eye relic on me.

- Yeah, and you only know that 'cause you tried to steal it from me.

- Yeah, 'cause I was trying to protect you.

- You said, "Sorry, Joe."

- Yes, "Sorry, Joe" as in, "Sorry, I have to take this relic

so that bad people don't come and kill you for it."

- Oh, so I guess that's why you stole the crystal scroll from me too!

- No, I stole the scroll so that my client doesn't kill me!

- Silence! Both of you.

JB doesn't trust us, and we don't trust him.

So we will lock the codexes and the scrolls in the safe.

- Great plan. Your safe, your attic.

That's real fair, Frank.

- The safe is secure.

The lock is customizable.

The safe stays here.

You'll be the only one who knows the combination.

- Okay, that's fair.

No peeking. No peeking. No peeking.

No peeking.

♪ dramatic music playing ♪

♪ None of Your Business by Salt-N-Pepa playing on headphones ♪

- ♪ If I want to take a guy home with me tonight ♪

♪ It's none of your business ♪

♪ And she want to be a freak and sell it on the weekend ♪

♪ It's none of your business ♪

♪ Now you shouldn't even get into who I'm givin' skins to ♪

♪ It's none of your business ♪

♪ So don't try to change my mind, I'll tell you one more time ♪

♪ It's none of your business ♪

♪ Now who do you think you are ♪

♪ Puttin' your cheap two cents in? ♪

♪ Don't you got nothin' to do than worry 'bout my friends? ♪

♪ Check it... ♪

[song continues on headphones, muffled] PROFESSOR: So, until the cat is observed,

its fate is linked

to a random quantum event that may or may not occur.

Can anyone elaborate on this for me?

You.

Not you, Miss Shah. Our late arrival, Miss Darrow.

Unless, of course, Miss Darrow wasn't listening.

- A quantum particle exists in all possible states simultaneously

until it's measured,

which collapses its superposition,

and the particle chooses one state to be in.

Basically, the cat is both dead and alive until we see it.

Oh, and I was both listening and not listening.

[students snickering]

- Wow.

I am both impressed and not impressed.

Okay. Where were we?

- This is wrong.

I gave you everything you need to expose Project Midnight.

- Yes, but my bosses have, you know, bosses

who want to keep it classified

in case they ever need to resurrect it.

- But it's not gonna happen... probably.

But the agency likes to keep its options open.

- I made sure the Sleep Room was preserved.

That the evidence was intact, for you. I trusted you.

- Hey, don't do that.

Don't use past tense. You can trust me.

But I'm telling you, the... Circle of The Eye,

the Sleep Room, Project Midnight?

This case is a dumpster fire.

Look, I'm not saying no,

but you need to bring me something concrete here.

Something impressive enough to convince the agency

that pursuing this is worth the mess it'll make.

- I don't have the Eye Relic.

- [sighs] Then what happened to it?

- It was vaporized in the Sleep Room.

- Of course, it was. Well, that's too bad.

Well, if it unvaporizes, you know where to find me.

- Why did you tell Driscoll that the Eye Relic vaporized?

- Because that's what happened to it?

That's what Joe Hardy told me happened to it.

- Joe told us he gave it to you for it to be destroyed.

- [scoffs] Oh, I see what's happened here. You need to get it back.

- We need to get it back? - Yes.

I'll keep working on Driscoll. He's an asset to us.

You two get the Eye back... without Joe knowing.

[nervous short breaths]

- You know, when you said you wanted me to take my place in The Circle,

I was expecting a few more of you.

- [scoffs] Well, someone's been working to diminish our numbers.

- I heard it's the Kowalski woman.

- I hear your father has a hand in it.

- Let's get to it, shall we? - Very well.

George was a liar.

He didn't break The Eye for the greater good.

He discovered the existence of other relics.

It seems Gloria was the only person he trusted with that secret.

- Then how do you know it?

- Well, McFarlane had a little fail-safe.

If anything happened to him,

The Circle was gonna find out the truth.

And now we want what is rightfully ours.

- And what happens to me when you get it?

- Well... I'm willing to let bygones be bygones.

If you are.

- You're wrong about George Estabrook.

He never trusted Gloria.

He used her need for his approval to further his greater plans.

He never intended for her to touch real power.

That was left for me.

The Eye was merely the beginning.

There's a power out there beyond any imagination.

A means for fusing the mystical and the technological.

With it, we could be gods.

And there's a map that leads right to it.

How quickly can you gather the remaining members of The Circle?

- Kanika Khan's already on her way.

- Good, because I can get the map tonight.

Bring her to the chamber at midnight.

The Circle of the Eye will rise again.

♪ dramatic crescendo ♪

[indistinct chatter]

- Callie Shaw, right?

I recognize you from your photo in the newspaper.

You helped catch that Madman Munder guy.

- Oh, uh, yeah. I didn't realize my picture made the paper.

- Oh, uh, no, not in Bridgeport.

The Herald tends to focus on the Hardy Boys. [chuckles]

You know, between you and me, your town paper

could really learn a thing or two from River Heights.

Our newspaper posted a group shot on the front page.

The whole game was in it. It was a super cool story.

It was deranged, but,

it's cool.

I'd love to hear more about it.

- Uh, sorry. Who are you?

- I am your roommate. Drew.

- Oh, I didn't-- I didn't think I had a roommate. [chuckles]

- Mm, well, that makes two of us.

I was supposed to have a single room, too.

Guess that's what Rosegrave does with the scholarship students.

- Mm. - Sticks them together

so they don't lose money on housing from the rich kids. [chuckles]

- Mm. - Anyways, uh,

I won't bug you. I've got a ton of writing to do,

but it was nice to meet you, Callie.

- Yeah, uh, nice to meet you, too,

Drew from River Heights.

♪ electronic music playing ♪

HURD [through TV]: It's light as air. Fast as lightning.

And completely untethered.

It can go everywhere you go.

And with it, you can go... anywhere.

The Passenger, by Sparewell.

The future is coming.

- Oh, I want that so bad. - Why?

- Because it's a computer you could take with you.

- So you could do homework everywhere?

- That just sounds terrible, and heavy.

- No, no, no. It's only 16 pounds.

You heard the man. The future is coming!

[TV playing indistinctly]

[turns off TV] - Where have you been?

We need to go over the plan again.

- Why? It's quite straightforward.

- Yeah-- FRANK: Has something changed?

- No. - Do you not understand something?

- Can we just go over the plan again? Please?

Phil, where are you? - I'm right here.

- In the plan, Phil, where are you in the plan?

- Oh, I-I'm with Beth on walkies.

- By the fountain, playing lookout.

- Okay. Meanwhile, JB will get on the roof,

cuts through the skylight, repels down.

Lets me and Frank in through the front door.

We locate the final codex, sneak it out together.

Chet? - Guarding the safe with Belinda.

- That way, JB can't double-back and double-cross us.

- And then we rendezvous here with the codex.

We open it together, lay it out with the map.

And then all bets are off. - Right.

Us versus JB.

May the best treasure hunter win.

♪ tense music playing ♪

JOE: All right, let's find the painting. FRANK: Split up.

- I'd say we got about an hour.

So, come on, let's get snooping for The Eye.

- If he's got The Eye, he's got to be keeping it close by.

- Uh, do you want to stay with the safe or check his room?

- No, safe. Definitely.

I don't need to be creeping through anyone's underwear drawer.

- Yeah, right. Okay.

♪ Cannot Hold Us Back by Bradford Ellis, George Stephenson, and Sterling Price plays on headphones ♪

- ♪ You can't hold us back ♪

CALLIE: Hey. - ♪ You can't hold us back ♪

- Hey!

[song fades, continues playing muffled]

- Um, what time do you think you're gonna call it a night?

- Uh, it's gonna be a while.

I can turn off the light if you want.

- Oh, um... no, it's fine. Me too.

Just didn't want to disturb you. - I'm good.

♪ rap music continues on headphones ♪

[Callie sighs]

♪ suspenseful music plays ♪

- [sighs] It's the painting.

- The codex has to be hidden in the backing of it.

- Let's take it off the wall.

Easy! Easy, easy.

It has a tripwire.

- Can you cut it? - Not without setting off the alarm.

I have to cut the canvas out of the frame. - No, we can't do that.

What if the canvas is the scroll?

- It's not. - We don't know that.

Grandma was improvising. Right?

What if she ditched the codex

and had the scroll painted on the back of the canvas?

We can't risk cutting up the map. - Relax.

I am just gonna cut a tiny little hole.

We'll take a peek, see if the codex is in there.

I will go nice and slow. Okay?

- How long is this going to take? - About as long as it takes, Frank.

- I'm gonna go sweep the halls. - JB: Okay.

That's a great idea.

Making me anxious.

- Hey. So, uh, I've been meaning to talk to you.

Remember when you were on the phone with your birth mom

and you, you touched my arm? - Wait, what's this?

PHIL: Uh, maybe it's just a pass-by?

BIFF: No, they're stopping.

They're getting out. [distant police radio chatter]

- Hey, guys. We've got trouble.

Two cops at the front door on the perimeter.

[indistinct police radio chatter]

♪ dramatic music playing ♪

PHIL [through walkie-talkie]: Joe, did you hear me?

You're burnt, get out of there!

[walkie-talkie static]

- What do you think tipped 'em off? - I don't know.

You think maybe they saw Frank's flashlight sweeping the halls?

- Or you triggered the alarm when you cut into the canvas.

- I barely cut into anything.

- When you broke in, then. Maybe there's motion detectors.

- Mo-- It's a small-town museum, Frank. Why would they have those?

- The cops are running around the side. Get out!

- Okay, we got to go. - No, we need the codex tonight.

Cut the wire.

- We don't even know that the codex is in there.

And if we cut this wire, everybody is going to know

that this painting was the target.

- Guys, they're coming in! Hide or bail?

- Hide! - Bail! [grumbles]

- We can't leave that codex.

- We can come back when the heat dies down.

PHIL: Another cruiser just pulled up.

- I'm out.

Follow me if you're smart.

- Forget him. He's on his own. [Joe sighs]

JOE: Okay. How do we get out? FRANK: We don't.

Now, just stay quiet. I'll lead the officers away.

- Okay, okay! - Don't leave without the codex.

[Joe sighs]

[Belinda sighs]

- I looked everywhere! Can't find The Eye.

Any luck? - Nope. [sighs] Nothing up here.

♪ mysterious music playing ♪

CHET: Oh... um, okay.

Okay. Uh, you stay with the safe. I'll go check... the breaker.

- Okay.

[sighs]

[sighs]

♪ mysterious music crescendos ♪

[heavy breaths]

- What is happening out there?

BIFF [through walkie-talkie]: More cops keep showing up.

They're circling the building. Get out now!

- Did JB get caught? BIFF: Yeah, The cops grabbed him.

- [sighs] What about Frank? Did he make it out?

BIFF: Don't know. We didn't see him.

[Joe sighs]

[whispering] Frank?

[grunts]

[sighs]

Frank?

[sighs]

[louder] Frank?

[heavy breaths]

♪ mysterious music playing ♪

♪

[sighs]

PHIL: Why's the power out? - Chet? Belinda?

BIFF: Something's wrong.

CHET [muffled]: In here! In here! In here!

[indistinct shouting and grunts]

[Chet coughing] - What happened?

- We're okay! Thanks for asking.

- [panting] Power went out. I went to check the breaker.

Next thing you know, lights out for me, too.

- Did you see anyone? BELINDA: No.

One minute I was with the safe, next thing I'm waking up here.

- The safe.

♪ tense music ♪

- Where's the scrolls?

Where's Frank?

♪

- It's almost midnight.

Still no sign of the kid. [sighs]

I sincerely hope I didn't come here for no reason.

- [scoffs] Relax. He'll show.

And when he does, we'll have the map.

And then Frank Hardy will just be a bloodstain on the floor.

[footsteps approaching]

- Speak of the devil.

- Sorry I'm late.

But I think you'll be very pleased with the reason for my delay.

♪ dramatic boom ♪

[Stacy gasps]

[explosion, debris rumbling]

[debris crashing]

[door grinding open]

[Frank gasping, panting]

FENTON: Tracked your car.

You're not as smart as you think you are.

- You're a real cockroach, aren't you, Fenton?

- Why was Laura in that warehouse?

- I was as surprised by that as you.

- That's unlikely. You said you had a partner.

Has it been Laura this entire time?

[distant siren blaring]

- No. - I want the truth. All of it.

- Laura was my asset. I'm an intelligence agent.

- What agency?

- You've never heard of it. - Try me.

- DSA. Defense Support Agency.

- I've never heard of it. - Told you.

[Fenton sighs]

- Laura stumbled onto something bigger than The Circle.

Something to do with the codexes and the relics.

- What was it? - We don't know.

Laura believed her life was in danger.

We were ready to protect her if she brought us something concrete.

But she turned up dead.

- Except she's not dead, is she?

There's something wrong with her. I saw it in her eyes.

Why did she attack me?

Why did she run from me at the warehouse?

You know the answers.

- Maybe she wasn't running from you.

Whoever faked Laura's death would need resources,

access, and motive.

Do you remember the day of the crash? - Like it was yesterday.

Laura's body was... [sighs]

It was badly burned.

- But you ID'd her. - A few days later.

Dental records.

- How did you find out there'd been a crash

if Laura's body couldn't be ID'd at the scene?

- Sam told me.

- Who told Sam?

- He got a call.

- So someone knew it was Laura driving and called Sam?

Why not call you? - Uh...

What are you saying?

- It's not the only time Sam has been ahead of the game, is it?

- No.

No.

[sighs]

Sam knew that I was at the Grand Hotel before I told him.

And he also tracked me to the warehouse where Laura showed up.

- What if he wasn't tracking you?

Laura didn't run when she saw you, Fenton.

She ran when she heard Sam's voice on the megaphone.

Maybe you need to ask your old partner exactly why that is.

[insects chirping outside]

♪ mysterious music playing ♪

♪

[panting]

[clicking]

[panting]

DREW: Hey, roomie.

- Drew. You scared me. What are you doing here?

- You know, I'd ask you the same question.

But I've got a pretty good idea.

I know what this place is, Callie.

Secret societies. Secret experiments.

Rosegrave is a hotbed of mysteries.

Now, let's talk about

why you were trying to get into the Sleep Room.

[Frank panting]

[grunts]

- What are you doing here? - [panting] Oh, Joe.

Thank goodness you made it out.

I went straight to the attic.

Chet and Belinda were nowhere to be found.

The safe was open. The scrolls, the codex, they're all gone.

- So you came here? - Yes.

I had to see if the crystal was safe.

But it's gone, Joe.

We've been double-crossed.

- By who? - It's gottta be JB, right?

JOE: JB was arrested. [Frank panting]

- Or, um, someone from... Grandma's funeral.

From the Circle.

[panting]

- Grandma.

Never sounds quite right when you say it.

I know you double-crossed us.

And now

I want to know who I'm talking to.

Who did Munder upload out of the crystal? 'Cause it's not my brother.

[deep exhale]

- [smacks lips] I always knew you were gonna be a problem.

♪ ominous music playing ♪

- You're just too smart for your own good.

[gun cocks]

- I didn't want to have to do this.

You left me no choice. [gun cocks]

♪ dramatic crescendo ♪

♪