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Nancy Drew: Girl Detective

Story by Carolyn Keene

Adapted for the Stage by Marisha Chamberlain

Nancy Drew: Girl Detective was first presented by The Children’s Theatre Company for the 1989-90 season.

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Nancy Drew: Girl Detective by Marisha Chamberlain 1

Characters

Nancy Drew

Carson Drew, Nancy’s father

Miss Willoughby, Carson’s temporary secretary (doubled with Tammi Whitlock)

Hamilton Spencer, Director of the Barn Theater

Margo Spencer, Hamilton’s wife

Emily Spencer, the 18-year-old daughter of Margo and Hamilton

Bob Simpson, Emily’s boyfriend/leading man of The Footlighters

George Fayne, Nancy’s friend and able assistant

Bess Marvin, George’s cousin and Nancy’s assistant

Ned Nickerson, Nancy’s boyfriend

Emmet ‘Cally’ Calhoun, friend of the Spencers’

Tammi Whitlock, leading lady of The Footlighters

Tom Tozzle, crook

Bushy Trott, goon

Chief McGinnis, of the River Heights Police Department

Other Footlighters: Yvonne, Phyllis, Ivy, Ulric, Otto and Jamie

TIME AND PLACE:

River Heights, a small town somewhere in America. Early 1940s.

SETTINGS:

Carson Drew’s law office in River Heights and in the nearby countryside.

The Van Pelt estate

The Barn Theater


ACT ONE: SCENE ONE

As the act curtain rises, the Footlighters, amateur stage hands under the direction of their stage

manager, Jamie, set the furniture for Carson drew's law office. Carson drew, Hamilton Spencer

and Margo Spencer, and miss Willoughby enter and Jamie positions them for the top of the show.

JAMIE Go music!

Musical intro.

CARSON DREW (To the audience) Once again, mystery had invaded our little town of

River Heights where I, Carson Drew – ‚ the outstanding criminal

lawyer. A tall, distinguished man of middle age who raise a

daughter alone because of the untimely death of my wife many

years ago.‛ This daughter of mine, Nancy, has proven to be an

exceptional girl with powers of observation so keen I often

discussed my cases with her; in short, she is a born detective.

(Lights up on Hamilton Spencer, seated in Carson's office.) I’d come to

my office expecting a quite morning, no appointments, but there I

met –

HAMILTON - Mr. Hamilton Spencer, actor. Tall, slender, meticulously slightly

graying, yet ever possessing a youthful vitality and a winning

smile. (Exhibits smile.)

Lights up on Margo Spencer.

MARGO - and his worried wife, the actress Margo Spencer.

CARSON DREW They seemed on that morning to be the victims of some illusion,

some apparition on the grounds of the old Van Pelt estate, home of

the Footlighter’s Barn Theater.

HAMILTON A puppet. A puppet. A dancing puppet.

MARGO A ghost, Hamilton. A ghost.

CARSON DREW The old Barn Theater stood on the estate of Leander Van Pelt who

had been my client before his decease – a peculiar man, stodgy and

puritanical, who had found freedom creating strange inventions


and speculating in precious gems. As executor of his estate, I knew

he had accumulated a fortune. But it was peculiar that so few gems

remained in the estate, with the exception of a casket of diamonds,

bequeathed to Hamilton and Margo’s daughter Emily on her

eighteenth birthday. (The secretary, Miss Willoughby draws closer to

Carson, hanging on his every word.) - of a handsome casket of

diamonds -- Yes, Miss Willoughby? (Startled, Miss Willoughby shakes

her head and withdraws.) At any rate, when Van Pelt died, rumors

abounded that a hidden cache still existed of diamonds, rubies,

emeralds and sapphires. Now, rumor of a ghost.

MARGO Not a rumor! I’ve seen her with my own eyes!

HAMILTON Margo! A dancing puppet. Mr. Drew, I have worries on my mind. I

need the power of the law. We’re being plagued by a puppet –

MARGO A ghost!

HAMILTON A nuisance, really. A life-sized dancing ballerina puppet that only

comes out at night and –

MARGO It’s not a puppet. It’s Althea! Althea’s ghost! Our daughter, our

darling Althea. She was a dancer, you see, but we never should

have allowed her to dance.

HAMILTON She had to dance, darling. It was what she loved.

MARGO She had a weak heart and was stricken in the middle of a

performance - struck down dead by a heart attack. Althea! And

now her lonely ghost visits us, night after night.

HAMILTON (To the others, while the sobbing Margo buries her face in his shirt front)

But is a puppet. You can see the joints. It moves just like a

marionette.

CARSON DREW I’d better have you tell my daughter.

HAMILTON Your daughter?


Miss Willoughby, returns, preceded by Bess Marvin and her cousin, George Fayne, Nancy's

tomboy friend.

WILLOUGHBY I told them to wait but they –

GEORGE - barged in. Didn’t want to miss –

BESS - any clues!

CARSON DREW (To Hamilton) May I introduce –

GEORGE George Fayne, a bright-eyed athletic girl, born adventurer with an

above aptitude for –

BESS - and her cousin, Bess, quite pretty but possessing an unfortunate

weakness for –

GEORGE For mystery!

BESS For sweets, actually.

GEORGE Bess!

BESS Mr. and Mrs. Spencer! What are you doing here?

MARGO Why, hello Bess –

HAMILTON Miss Marvin. What are you doing here?

CARSON DREW You know each other?

BESS I’m working as a scene painter for the Footlighters this summer.

Nancy called us –

GEORGE And said to meet here. To come directly.

George and Bess sit.

CARSON DREW Mmmhmm. (To Miss Willoughby.) Tea for the girls?


BESS Forgive me, Miss but –

WILLOUGHBY Yes?

BESS - have you ever been on stage?

WILLOUGHBY Why, no.

BESS Do you have perhaps a twin sister who’s an actress?

WILLOUGHBY Certainly not.

CARSON DREW Oh, forgive me for neglecting introductions. Girls, this is Miss

Willoughby. The agency sent her over while the regular secretary is

on vacation.

Miss Willoughby "exits", remaining nearby to eavesdrop.

CARSON DREW Ah. Here she is, finally. Here’s –

BESS - the golden haired, blue eyed –

GEORGE - fiercely intelligent and courageous –

BESS - and dressed for action with an eye to fashion –

Nancy Drew enters, followed by Ned Nickerson.

NANCY Nancy Drew, detective.

MARGO Nancy Drew?

NANCY Sorry to be late. Look who I ran into on the way –

NED Ned Nickerson, the tall handsome football captain from Emerson

College.

BESS Nancy's best beau.


NED Nancy’s only beau.

NANCY Dreadfully sorry to barge in late.

HAMILTON That girl can help?

CARSON DREW You’d be surprised. This is Hamilton and Margo Spencer. Nancy

Drew.

His arms still around Margo, Hamilton extends a hand to Nancy and she shakes it, gravely.

NANCY Would someone care to tell me what it’s all about?

GEORGE (At the same time as Bess, Margo, and Hamilton.) You know, they’re

out at the Barn Theater, and at night this thing appears – a puppet

or something – a ballerina puppet. He says it’s got jointed arms and

legs so it couldn’t be real.

BESS (At the same time as George, Margo and Hamilton.) They’re, you know,

actors and actresses and they can’t sleep at night because of this

ghost. He says a puppet but it reminders her of her daughter

Althea, who was a ballerina and so –

HAMILTON (At the same time as Bess and George.) It appears every night –

MARGO (At the same time as Bess and George.) Not it, she appears, high in the

air –

HAMILTON (At the same time as Bess and George.) Always beyond reach, you see.

We can’t capture it, we can’t sleep at night, and my wife as you can

see, is on the point of breakdown!

NANCY Hmmhmm. Yes, I see. Maybe it is the ghost of your daughter, Mrs.

Spencer. Or maybe somebody is trying to frighten you.

HAMILTON And succeeding.

NANCY It’s possible, isn’t it? (Margo still sniffling, nods) Myself, I don’t

believe in ghosts. Might I have permission to investigate?


HAMILTON You?

MARGO Nancy Drew, dear. You’ve heard of Nancy Drew.

HAMILTON I didn’t think she’d be so young. Isn’t she supposed to be white-

haired and British?

MARGO You’re thinking of Agatha Christie. This is Nancy Drew.

HAMILTON Very well. Very well. Come out to the estate, Miss Drew.

Investigate away. We’ve got to get some sleep at night. My poor

wife –

MARGO She’ll have to stay over. It only goes on at night. Can you come at

once? We’ll put you up –

NANCY May I, Father?

CARSON DREW I don’t know, Nancy. If someone is trying to frighten people, it

could be dangerous to stay out at the theater.

NANCY Bess is out there every day anyway, painting scenery. George could

get permission – (To George.) – couldn’t you? Safety in numbers,

Father. (To Margo) Have you room for us?

MARGO Certainly.

GEORGE We’ll need a cover, Nance.

BESS Why don’t we just tell everyone she’s helping me paint the

scenery?

NED What about the college dance tonight, Nancy?

NANCY Oh, dear.

HAMILTON Then, if that’s settled, you’ll excuse us. We have a play to rehearse.

MARGO We’ll expect you this evening? (Margo and Hamilton exit.)


NANCY Sorry, Ned. I’ll come up to the college dance next week – and I’ll

dance every dance with you.

NED Awww, Nancy ...

NANCY Now, Ned. . .

NED I know – it’s a mystery. Myself, I’m interested in reality. In football.

And in... uh, in you, Nancy. You’ll come next weekend?

NANCY It’s a promise. (Ned exits.) Father? May I go? ...Pardon me, have we

met?

Nancy crosses quickly and extends her hand to the lurking Miss Willoughby. Miss Willoughby

shakes Nancy's and turns quickly away.

CARSON DREW Miss Willoughby, my daughter, Nancy.

WLLLOUGHBY Mr. Drew, with your permission, I’ll be off on errands? (Carson nods

‘yes’ and she exits.)

CARSON DREW Those temporary secretaries are so nervous and anxious to please.

NANCY Your regular secretary returns from vacation soon?

CARSON DREW Tomorrow morning.

NANCY That’s good. So. Father, what’s your answer? May I go?

CARSON DREW I don’t know.

NANCY I’m always careful.

CARSON DREW Well, I remember one time you were locked in a closet and left for

dead, and another time you were chloroformed and nobody heard

from you for three days and a third time you were lashed to a tree

all night in the pouring rain and –

NANCY But none of those times were my fault. And I always managed to

get free.


CARSON DREW Yes. Every time so car. Do remember you’re the only detective I’ve

got. Alright, you may go.

NANCY (kisses him) You’re a peach!

SCENE TWO

Montage: Music, no dialogue.

Backstage at the Barn Theater on the Van Pelt Estate, home of the Footlighter’s theater company.

Tammi Whitlock and Bob Simpson, leading lady and leading man, rehearse a love scene.

Lights up in the hayloft on Emmet ‘Cally’ Calhoun, retired actor, sitting on a hay bale, raptly

reading an ancient diary. The lights flicker. Cally takes out a pen light and continues reading.

Emily, the Spencers’ melancholy daughter, hesitantly enters to watch the rehearsal. Bob

brightens and waves to Emily as Tammi retreats a few steps and begins the scene again.

In the hayloft above, Cally slips the diary into a hole in the hay.

Nancy, George and Bess enter upstage from between the proscenium curtains.

NANCY We arrived that evening, as promised, at the Van Pelt Estate, home

of the Footlighters Theater. Okay, Bess, what else can you tell us?

Anyone suspicious?

BESS Well... there’s this actress named Tammi. Tammi Whitlock. The

star, really. The leading lady. She’s the best actress ever, really, I

think she could be in the movies.

GEORGE Get to the point.

BESS Well, she gets the leading man, Bob Simpson, and makes him

rehearse their love scene over and over – Tammi seems awfully in

love with him – but I don’t think he loves her back, because of

Emily.


NANCY Bob loves Emily?

BESS Emily is his fiancé. I don’t think he even likes Tammi – and she’s

grumpy and mean any time she’s not on stage with him. But aren’t

great stars always grumpy and mean?

NANCY If they are, they don’t deserve our admiration.

Cally steps onto the stage floor, approaches Tammi, takes her hand and attempts to kiss it. She

shakes him off and exits as Jamie signals the shift into scene three.

SCENE THREE

Lights up in the kitchen on the van pelt estate. Margo ushers Bess, George and Nancy into the

kitchen.

GEORGE What a house!

BESS (aside) Mansion, George. It’s a mansion.

NANCY (aside to the audience) We arrived that evening, as promised, at the

Van Pelt Estate, home of the Barn Theater.

MARGO Yes, I suppose it is a mansion.

NANCY You’ve always lived here?

MARGO Oh, no. The estate belong to Hamilton’s uncle, Old Mr. Van Pelt.

We’ve only lived here since his death and since Emily – here she is.

Come and meet –

Emily enters, on Bob's arm.

BOB Till after rehearsal, sweetheart. Chin up?

BESS There he is... the leading man.

BOB (to audience) Bob Simpson, "Artist. Romantic. Idealist.‛


BESS Isn’t he dreamy?

Rob winks at Bess and exits. Bess gasps.

MARGO May I present – let’s see –Bess Marvin –

BESS What? Oh -- (extends her hand to Emily)

EMILY But I know you. You’re with the Footlighters – you’re an actress?

BESS Only a scene painter. And this is my cousin, George Fayne.

GEORGE A stagehand, or about to be. I move scenery – pound nails –

anything you require.

EMILY Oh, you don’t have to apply to me. I’m not with the theater.

GEORGE You’re not?

BESS Why not? Don’t you like it?

MARGO (Quickly) And this is Nancy Drew.

NANCY (Overlapping) Just Nancy.

EMILY Mother said – the Nancy Drew – here to solve our mystery.

NANCY Here to paint scenery. I’m sure I can count on your discretion.

EMILY Ah, I see. Of course. So good to have you. Mother, she’s very nice –

MARGO Would you like to invite them to your party? Emily turns eighteen

tomorrow.

BESS Jeepers, do you?

GEORGE Golly!

NANCY Congratulations!


MARGO And we're having a dress-up affair.

EMILY Oh, Mother – no. Not a dress-up party when everyone is so

frazzled working so hard to get the play ready.

MARGO Oh, but –

EMILY Please. Let them come in their rehearsal togs. I really would prefer

it. That way, I’ll feel more. . . part of things . . .

MARGO Tomorrow's the day she gets her diamonds. Our Emily is a heiress.

EMILY Oh, Mother, they're not interested in that!

BESS Diamonds? Can we see them?

GEORGE Of course we're interested!

EMILY I haven't seen them myself. But I'd he thrilled if you'd come to my

party tomorrow evening –

MARGO When the diamonds will be presented.

EMILY Will you?

MARGO And we'll have a lovely celebration -- a little picnic in the garden?

EMILY Yes. Just a little picnic.

BESS Of course we’ll come –

MARGO - and everything will be alright, won’t it dear?

EMILY Yes, of course. I’m simply... thrilled.

NANCY (aside to audience) But she didn’t seem thrilled... Emily, I’d like to

ask you something.

MARGO Why don’t you show them up to their rooms, dear?


EMILY Oh, of course. Follow me.

NANCY If we could speak – just the two of us?

Emily exits with Nancy. Bess tries to follow but George detains her, to allow Nancy to question

Emily alone.

GEORGE We’ll be along in a minute. This is such a large kitchen, Mrs.

Spencer.

MANGO Yes, and a good thing too. We have to feed the entire company. I

cook for them myself.

GEORGE That sounds like a lot of work.

MARGO Emily helps me. Even if I’m not able to sleep – I have to – believe

one must keep busy.

BESS But aren’t you an actress? I heard you were great.

MARGO Were?!? Yes – well – so some said. But all that is out of the question

now. I can’t even remember lines.

Lights up in Nancy’s bedroom. Outside, the sun begins to set.

EMILY I’ve always liked this room. Look – (indicates window)

NANCY Spectacular view. Tell me something, Emily. I don’t mean to pry,

but there you are, a lovely girl, about to turn eighteen and inherit a

fortune, and engaged to be married to a handsome man who

appears to adore you and yet you don’t seem at all –

EMILY Happy?

NANCY Is it the puppet?

EMILY I’d leave in a minute – go anywhere – fly to the moon – but Father

would never forgive me. He wants me to have the money.

NANCY Money?


EMILY Because he’s never had any, you see – having been an actor all his

life. The money. Forgive me. I’m muddled. We haven’t been

sleeping.

NANCY The puppet –

EMILY The will – the power of a last will and testament. Great Uncle had

no children of his own and he was enraged that his only nephew,

my father, would ‘waste his life’ on stage. You’ve met Father. A

great talent. A born actor. Not himself, just now. He hasn’t been

sleeping.

NANCY The puppet.

EMILY Great Uncle Van Pelt, reaching past the grave. For some reason he

chose me. He left the diamonds and the entire estate to me on two

conditions: I must live on the grounds, and I must never, never go

on the stage.

NANCY Not a puppet, you think. Your Great Uncle’s ghost?

EMILY I don’t know what it is. It appears. It floats. It frightens us and all I

know is that my poor parents wouldn’t have to endure this if it

weren’t for me, having to live here –

NANCY In order to receive the inheritance.

EMILY Nancy... could I tell you a secret?

NANCY Of course.

EMILY Just for myself, I rather think the stage is the best thing there is in

life... Childish fantasy. Don’t worry, I know my place. I have

responsibilities. Fate made me a heiress.

Full sun set.


SCENE FOUR

Night. Backstage perspective. Up in the loft in a pool of light, the notorious criminal, Tom Tozzle

searches the floor. Tom finds the book Cally had tucked into a hay bale.

SCENE FIVE

Moonrise. Lights up in Nancy’s bedroom on Nancy, George and Bess in shorty pajamas. George

yawns.

GEORGE Time to turn in. C'mon Bess.

BESS (To Nancy) Are you going to bed?

NANCY Certainly. Goodnight, sleep tight. Don’t let the puppet bite.

BESS Nancy – don’t. Puppets don’t bite, do they?

GEORGE They do if they have teeth. Big, sharp ivory teeth!

BESS George!

GEORGE Don’t worry. I’ll guard you with my judo. Remember, I’ve got a

green belt in judo.

BESS Oh, you’ll just fall asleep.

GEORGE And so will you. You sleep like a rock.

BESS Do not!

GEORGE (To Nancy) We’re rooming together – we’ll be fine. (To Bess) You

sleep like a rock – and you snore.

NANCY Goodnight!

Nancy looks out the window a moment, places her robe on the bedpost, lies down on top of the

covers. The moon moves across the sky.


A woman is heard crying.

Nancy gets up and crosses quickly to the window, looks out left, sees something, exclaims under

her breath. Stage right, the puppet floats into view. A ballerina puppet, played by an actress, but

making mechanical movements. Margo enters left, into the yard.

MARGO Althea. Oh, Althea. Is it you? Speak to me. Oh, darling girl. Dear

ghost. What can I do for you? Tell me.

Nancy hurriedly puts on her robe and exits. Down of the puppet, an unlit figure enters from left

and crosses the yard. The puppet moves upstage. A second unlit figure enters down right and

starts across the yard. The two figures collide. Two flashlights snap on, illuminating Nancy and

Hamilton. The puppet vanishes.

HAMILTON Oh, it’s you . . . Nancy Drew.

NANCY Good evening, Mr. Spencer.

MARGO (offstage) Hamilton? Hamilton. Did you see? She’s here with us

again. Oh, Althea.

HAMILTON Go back to bed, darling. I'm coming. (TO NANCY) And now it’s

gone. No point in standing in the yard all night, is there? You’ve

seen all there is. Goodnight, Miss Drew.

NANCY Good night.

Nancy exits. Hamilton remains standing in the yard. George arrives in the yard, Bess in tow,

both in pajamas, no robes.

HAMILTON No point standing in the yard all night...

GEORGE Here we are. Where is it?

HAMILTON Gone.

GEORGE Rats! We missed it.

BESS Good. Fine with me.


GEORGE Bess! Mr. Spencer, what exactly did you see? Could you describe it?

HAMILTON I told you. A ballerina. A ballerina puppet. Or, if you ask Mrs.

Spencer, a ghost. You girls aren’t dressed to be out. Good night.

GEORGE Rats.

They exit. Stillness. Lights up slowly on Nancy in her bedroom, gazing out the window. The

puppet once again floats on right and beckons to Nancy.

NANCY Puppet. Perhaps. If a ghost, I’d say you’re a ghost with a brain.

SCENE SIX

Morning. Lights up in the kitchen on Emily and Margo, preparing breakfast.

EMILY Mother, who's that in the yard?

MARGO The new gardener, dear.

EMILY I thought you liked to do the garden yourself.

MARGO Well, yes, I did until yesterday. But Tammi said –

EMILY Tammi said?

MARGO She said I try to do too much.

EMILY I suppose she’s right about that.

MARGO Too much heavy work in the garden. And what do you think, the

very same day, a gentleman comes to the door and asks for a job as

gardener.

Nancy, George and Bess enter.

NANCY (gazing through the window) He’s got the build for heavy work.


BESS But not a very pleasant expression.

NANCY Good morning, Mrs. Spencer.

MARGO Good morning, Nancy!

NANCY Emily.

MARGO Nancy – last night – you saw her? Our ghost?

NANCY I saw something.

MARGO And . . . ? (Nancy shrugs.)

BESS (To audience) The following morning, we were no closer to solving

the mystery. What could we do but eat? (To Margo) Sweet rolls! My

I put the icing on?

MARGO They need icing?

BESS Let me do it. I know all about icing.

Cally enters with Hamilton.

CALLY ‘Tis an ill cook that cannot lick his own fingers.’

HAMILTON Too early in the morning for quotations, Cally ol’ boy.

CALLY Too early! ‘Night’s candles are burnt out, and jocund day –

NANCY ‘Stands tiptoe on the misty mountaintops.’

CALLY Romeo and Juliet. Very good.

NANCY ‘Foolery, sir, does walk about the orb like the sun; it shines

everywhere.’

CALLY As You Like It. A girl after my own heart.

HAMILTON Allow me to present –


CALLY Emmet Calhoun.

HAMILTON - Cally ol’ boy. Shakespearean actor –

CALLY (to audience) Claiming, of course, great former glory – semi-retired

through no wish of his own; by the slings and arrows of outrageous

fortune, beaten down, discouraged and, frankly, out of work.

MARGO Not at all. Building costumes for the Footlighters. (Introducing)

George, Bess and Nancy.

CALLY Not an actress – pity. Nancy Drew, Detective.

NANCY As apparently everyone knows.

CALLY Be glad I know. I can tell you a few things. A detective might have

a field day, here.

NANCY You don’t say?

CALLY This old estate is full of secrets. I know some of ‘em. Learned a new

one yesterday.

Lights up slowly in the hayloft. In the dim light, Bushy Trott, notorious criminal, searches the

wall, floor and ceiling for a secret panel.

Tammi enters the kitchen. Cally goes dreamy-eyed.

TAMMI Well. Good morning, Nancy Drew.

CALLY Miss Whitlock.

NANCY Hello, Tammi.

MARGO Why, Tammi. You’re here early.

HAMILTON Go back home. Rehearsal’s not for hours.

TAMMI A true professional can be found rehearsing at any hour.


Hamilton clears his throat, ironically.

BESS With Bob Simpson?

TAMMI If he’s available.

Emily gives Tammi a cold stare. Tammi meets the stare.

NANCY (aside, to Cally) Answer something for me, Mr. Calhoun. It’s an

enormous barn out there, isn’t it? Surrounding the theater? Mr.

Calhoun?

CALLY ‘If ever thou shalt love, in the sweet pangs of it, remember me,’

Twelfth Night.

NANCY The barn.

CALLY Yes, enormous. We turned the milking stalls to dressing rooms,

with space behind for the costume and scene shops.

Tammi takes Margo aside.

TAMMI I don’t mean to alarm you, Mrs. Spencer, but you look a bit unwell.

MARGO Oh, really?

TAMM I Pale and drawn. I wonder why?

NANCY What’s above?

CALLY Nothing but an old hay loft.

NANCY I think I’ll take a look around – and speak to you later. I’m pleased

to have met you, Mr. Calhoun. (exits)

TAMMI You’re doing too much. You’re doing the work of a gang of

servants.

MARGO I hired a gardener.


TAMMI How about a cook? Have you thought of hiring a cook?

MARGO I hate to spend Emily’s inheritance.

EMILY Spend it, Mother. It’s only money.

TAMMI You ought to hire a cook.

A wedge of light opens on the stage floor. Nancy steps into the barn.

MARGO We take breakfast in the garden. Follow me, girls. Will you join us,

Cally? ...Tammi?

TAMMI In a moment.

With breakfast on trays, all exit except Tammi. She goes quickly to the phone and dials. In the

barn loft, a panel opens in the ceiling and a witch head drops down. Hearing Nancy’s foot on the

barn floor, Bushy closes the panel and exits with the witch puppet.

TAMMI (over the phone) You found the... well, tickety boo! You found the

thing... You didn’t find the thing... You found a little thing but not

the big thing. Well, keep looking... Yeah, he knows something – the

old wheezer – the Shakespeare guy – but he’s too dumb to do

anything about it... Give me two minutes, then buzz... You know

what I said to her – she looks tired – she works too hard. Uh-huh,

she’s gonna crack!

Cally enters the kitchen, looking for Tammi. She drops the phone into the cradle and glares at

him.

TAMMI Can’t a person make a private call?

CALLY I missed you at the table. Aren’t you hungry at all? You must eat.

You’re but a child; ‘A child of our Grandmother’s Eve, or, for thy

more sweet understand, a woman,’ Love’s Labour’s Lost.

TAMMI So, Mr. Calhoun. You’ve found out something? Something new

about the estate?


CALLY Perhaps I have.

Nancy enters the loft and looks around. In the hidden staircase, Tom begins, slowly, to dial the

phone.

TAMMI Well, what? What have you found?

CALLY Oh, but if I tell you, you’d have to be courteous.

TAMMI Alright – please.

CALLY More than courteous, you’d have to show sweet understanding.

Bess enters the kitchen.

BESS ‘Scuse me. Forgot the sugar bowl. (The kitchen phone rings.) I’ll get it.

Cally and Tammi exit. Emily enters. Bess answers the phone.

BESS Hello? . . . Where's Nancy? It’s for Nancy.

EMILY I think she went out to the barn. (calls out the kitchen door) Nancy!

You’re wanted on the telephone.

George and Margo enter the kitchen.

GEORGE Did you ask who's calling?

BESS No, I didn’t.

GEORGE No one’s supposed to know we’re out here.

NANCY Coming!

Nancy reluctantly abandons the search. Exiting the barn, Nancy encounters bushy Trott, the

"gardener" leaning on his rake. He gives her a hard stare.

BESS (telephone) Who’s calling, please? (covering the mouthpiece) ‚A secret

admirer.‛ But he sounds sort of old to be a boyfriend.


Nancy enters the kitchen. Bess hands her the phone.

NANCY Yes? (covers the mouthpiece with her hand, transmitting the

conversation.) ‚I am the dancing puppet. If you know what’s good

for you, Nancy Drew, you’ll pick up and leave – (Bess reacts with

alarm; George shushes her.) – ‚you and your defenseless little

friends– ‚

GEORGE Defenseless! (demonstrates a judo chop)

NANCY ‚If you value your health, you’ll bug out! Amscray! Chase

yourselves! Do you take my meaning?‛ (she takes a breath, speaks into

the receiver) If you mean you’d prefer us to go home, I think I

understand. You’ll forgive me for observing that you don’t sound

much like a ballerina – and I don’t find a ballerina frightening in

the first place. (cackles like a witch, imitating the caller) What? A

Halloween Goblin? Well, trick or treat to you. You’d better brush

up on your acting if you really wish to frighten anyone at all. (slams

the receiver down.) Playacting. Empty threats.

BESS How do you know it’s an empty threat?

NANCY Because if they really intended to hurt us, they wouldn’t warn us;

they’d just strike.

BESS Jeepers Creepers, we’d better get out of here.

NANCY Now it’s getting interesting. Tell me, Margo. How many phones do

you have?

MARGO Just this one in the kitchen.

NANCY Really. Do you mind if I confirm that? (Dials) Phone company.

Hello – yes, can you tell me how many lines you have coming in to

the Old Van Pelt estate? Two separate lines? And what’s the second

number? Unlisted? No, I know you can’t tell me. Thanks, anyway.

MARGO A second line? How can that be?


NANCY Not how, but where? The question is – where is that second

telephone?

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