The Hardy Boys/Nancy Drew Mysteries (1977–1979): Season 2, Episode 5 - Mystery of the Hollywood Phantom: Part 2 - full transcript
Frank, Joe, and Nancy are at a detective's convention when they discover a mysterious phantom who snatches one detective after another.
Astor tells me the kidnapper
wants you to deliver the ransom.
NANCY: I'm going to.
I wish you wouldn't.
(SCREAMS)
(MAN CACKLING)
There has been a kidnapping?
No question about it.
Well, I hope
you're not accusing me.
We'll have to wait until he lets us
out before we can make a move.
That's if he lets us out.
Frank Hardy's missing.
Did you see him?
Make it a good kiss
if you can handle it.
DIRECTOR: Go, and action!
Where have you been?
I've been worried about you.
You have been?
Always glad to help,
particularly when there's
a beautiful girl in distress.
How can I ever repay you?
We'll think of something.
Oh!
Excuse me, ma'am. I'm
sorry, I was in a hurry here
and we're doing some night
shooting and I didn't want to...
Excuse me, ma'am, but if
you don't mind my saying so,
you look like
you've seen a ghost.
It's just really scary in those
sound stages at night, you know.
MAN: Joe! Look out!
He's been involved
in a lot of tough cases.
But not as the victim.
NARRATOR:
Tonight on the Hardy Boys,
The Mystery
of the Hollywood Phantom 2.
And now, a few scenes from Part 1 of
The Mystery of the Hollywood Phantom.
(GRUNTS)
I believe that's my bag.
I know, there was a man
just trying to break in here.
What seems to be
the trouble here?
Is she with you?
Airport police,
Juvenile Division.
Thought we told you never
to work this airport, Trixie.
You're probably
all in this together.
What is it?
Remember that elaborate
practical joke you were talking about?
Welcome to the club.
TOUR GUIDE: Welcome to our
studio tour, ladies and gentlemen,
we're going to take you into a new
world, a new world of motion pictures.
Come on, Nancy.
He's gone.
Who's gone?
Arlo Weatherly.
Excuse me, ma'am, sir, we're going
to be shooting here in just a minute,
you'll be right in the way
and you could get hurt.
Oh, we're sorry, we're just looking for
somebody who disappeared from our party.
Is that right?
We're big fans of your show.
Oh, thank you very much,
you're very kind, thank you.
(MAN CACKLING)
(RATTLING)
Somebody in a truck just tried to run
over this young lady on the back lot.
Did Mr. Hardy leave
a message with you?
I haven't seen Mr. Hardy
since earlier this evening.
Fox is gone
and the room's wrecked.
Wrecked?
What are you talking about?
About kidnapping, I'd say.
What's the note say?
"Three of your detectives already
gone, $500,000 will free them.
"Don't call the police,
details will follow."
Isn't that blood
on the medallion?
Yes, probably from
the broken glass.
What are we going to do now?
Call the police.
Nancy's right.
We have no choice.
We worked together once,
let's do it again.
Let's go.
NARRATOR: In Part 2, Frank and Joe
Hardy team up with Nancy Drew to solve
the mystery
of the Hollywood Phantom.
NANCY: It's all of us at
the Detective's Convention.
They're trying to
pick us off one by one.
We keep popping up all over,
it's incredible.
It's insane.
I know it.
Well, somebody knows all
the details of the convention,
like what detectives
would be here.
They must want the kidnappings
to look like the ones in the movie.
If it all wasn't so bizarre, I'd
be flattered to be included.
Why would he leave this
around for anybody to see?
No one should be
in here on weekends.
He must be trying to
live out some sort of fantasy.
Unless he wanted us to see it.
No matter how it's dressed up,
it's still a simple case of kidnapping.
It matters how it's dressed up. You
said yourself, insanity, a psychotic mind.
(MAN CACKLING)
That's the laughter
I was telling you about.
Look!
Come on.
Go back to the hotel and let
Jason Fox know what's happening.
You sending me
out of danger again?
I'm asking you
to get some help.
What are you doing here?
I'm after...
This may be hard to explain.
You can explain it
to the head of security.
NARRATOR: And now The Mystery
of the Hollywood Phantom
There's got to be something
I can do, Lieutenant.
Well, my men are questioning
the hotel staff.
What you can do is tell me everything you
know about the people at this convention.
Mr. Fox.
Nancy, sit down,
have something.
Well, ...
Where have you been?
I had to go back
to the studio.
Studio? What's the studio
got do with this? Who is she?
This is Nancy Drew,
one of our detectives.
Really?
Yes, really.
That's all I need on this
case, another detective.
This is Lieutenant Astor of the LAPD. He
doesn't care much for private detectives.
Miss Drew also got a
mutilated photograph of herself.
You haven't answered
my question.
The studio is doing a remake of The
House on Bracken Moor, Stage 24.
Don't you remember
the story?
Eight people are lured to an
old house on an English moor.
They each receive a photograph
of themselves and a threat.
They find a circular table
with dinner for eight
and a large photograph
on it with everybody in it,
even though they've never
met one another.
And one by one
the guests start to disappear.
It's exactly
what's happening to us!
Miss Drew, I realize this has all been
pretty upsetting for you tonight, but...
Listen to me, I know it seems crazy,
it seemed crazy to me at first, too.
But that was before I found the photograph
on Stage 24 with all of us in it.
The detectives
at the convention.
You've got to believe me. Frank and
Joe Hardy saw the photograph, too.
Where are they now?
We weren't alone
on Sound Stage 24,
and when the person saw us, he
ran away and they're chasing him.
All right, let's get down
there. You show me this stage.
Doesn't look like
there's a soul in here.
I know, but this is
the way it was earlier.
And you're telling me
that we're gonna
find your father
and two detectives
held prisoner
on a sound stage?
Yeah, I think so.
Now, we clocked this place a little
while ago, Bob. There's no one here.
You better check
around outside.
All right.
Show us where you found that
photograph with yourselves in it.
It was down this way.
It's right in here.
Turn on all the lights.
Here.
This is impossible! This isn't
the same picture I saw before.
There's no one else here, Bob.
Just like it was
Friday afternoon.
I'm Lieutenant Astor, LAPD.
What did you find here?
Nothing, Lieutenant. Nothing
that isn't supposed to be here.
The picture has
been switched.
Are you Frank Hardy?
Yes, I am.
BOB: Lieutenant,
what is going on here?
We don't know for sure, yet. But
it has nothing to do with the studio.
But there has been
a kidnapping?
No question about it.
It remains to be seen.
I'm sorry you've been troubled.
You better come back with us.
My brother hasn't
returned yet.
Well, where is he?
I told you, he chased after
a figure that ran out of here.
Well, which way did he go?
He went towards the back lot.
All right, we'll find him.
Look, you boys are not
allowed on this lot without a pass.
Now, the next time you want to
come in here, particularly at night,
you do it through me.
You understand?
Oh, Frank.
Do you have any news?
Now, don't worry,
we'll find your father.
Did you take a look
at Dad's ring? A good look?
There was dried blood around the edges
of it. That means they tore it off of him.
Frank, I've known him
for a long time,
since he was a lieutenant
with the NYPD.
And he's been involved in a lot of
tough cases, some of them kidnappings.
But not as the victim.
But he's dealt
with kidnappers.
Has Astor? What I want to
know is what's Astor doing?
I'm not sure he believes
there's been a kidnapping.
Even you said detectives sometimes
play practical jokes on each other,
the ring, the bracelet,
all part of a hoax.
What's Astor doing? Waiting
for Dad to come walking back
through the front doors
of the hotel?
You'll have to wait. We all will.
We're in the kidnapper's court.
And what about the money?
$500,000, who's raising that?
Mr. Fox, I'd like to
talk to you. Alone.
We'll find him Frank.
WOMAN ON PA: Mr. Walters
to the front desk.
Is there any word from Joe?
No, nothing.
Well, I'm not going to wait
anymore. I'm going to find him myself.
Wait a minute, Frank.
Studio security is out there,
they've got
two or three cars out there.
You're not going to do
any better than that.
I can try,
at least I can try.
All right, well,
then I am going with you.
I'll do better on my own.
Frank will you stop
trying to protect me?
Somebody has to.
Frank!
He thinks I'm stubborn.
(HUFFS)
$500,000.
Oh, we've got to
try and raise it.
This is the most successful detective
group in the world. We're good for it.
Not a chance.
The FBI will be
on the case within 24 hours,
and they'll have
their own ideas about that.
We can't take a chance
with their lives.
We don't have any choice.
Now, there's got to be
something you people can tell me.
Somebody with a grudge
against one of you.
Maybe somebody here. He seems to
come and go as he pleases in this hotel.
I've alerted all the staff to be
on the lookout for strangers.
Aren't hotels always filled
with strangers, Mr. Hargrove?
I meant among the staff.
I think the staff should be
questioned, all of them.
That had occurred to me. I'd
like to speak to Mr. Fox alone.
Wait a minute,
I'm a part of this.
I'm the only one who even saw
the photograph on Stage 24.
We've already looked into that,
Miss Drew. You were imagining things.
Now, I don't blame you
under the circumstances.
I called you in because
you received a photograph,
but let the police
handle this.
It may be hard for a detective
like yourself to understand,
but we sometimes
solve cases all by ourselves.
I see.
WOMAN ON PA: Mr. Armstrong
to the front desk...
Miss Drew?
When talking about my staff, I hope
you weren't suggesting that anyone
employed by the hotel could
be involved in this matter.
Well, Mr. Hargrove, you seem to be on
top of just about everything around here.
I can't imagine anything going
on without you knowing about it.
After all, who was it
who arranged that studio tour?
The one that Mr. Weatherly
disappeared from.
Well, I hope
you're not accusing me.
I'm not accusing anyone,
yet.
(SCREAMS)
(MAN CACKLING)
Nancy, you're trapped.
Give up, Nancy.
(MAN CACKLING)
You can't get out,
Nancy.
(CACKLING)
(MAN CACKLING)
You're next,
Nancy.
(CACKLING)
Oh!
Oh!
Excuse me, ma'am. I'm
sorry, I was in a hurry here
and we're doing some night
shooting and I didn't want to...
Excuse me, ma'am, but if
you don't mind my saying so,
you look like
you've seen a ghost.
I feel safer
now that I've seen you.
Since you've seen me...
Wait a minute.
Wait. You know who I am.
I saw you this afternoon,
right?
We talked today.
You're the girl, the detec...
Hey, look, what's wrong?
What happened?
Oh, it's just really scary in those
sound stages at night, you know.
Well,
let me tell you something.
They are creepy scary
at night, my dear.
Those walls talk to you.
They're really scary.
By the way, did you ever find
that fellow you were looking for?
No, I didn't, but I will.
Hey, you're not going to
believe this.
You know, after we
talked this afternoon,
I decided, "That's it. No
more day-playing for me.
“I'm going to Europe. Gonna
be a big Western star in Europe.”
Excuse me, ma'am. You don't
see me as a Western star in Europe?
Oh, no!
I think you'd be great.
Thank you very much, ma'am.
Thank you very much.
Listen, can I walk you
back to your hotel?
No, that's okay.
I'll be okay.
You sure?
Thank you.
Bye-bye.
MAN: Charlie's Angels,
37 Denver, Take 2...
That's good, thanks. Tim will be
coming around the corner, right?
Now, let him get real close,
real close, real close,
then turn around and give him a
big kiss. Okay? Can you handle that?
Okay, got it.
And remember, it's part of
the con, part of the setup,
so make it a good kiss if you can
handle that. All right? Can you do that?
Don't I always?
I'll ask Aaron.
MAN: This will be picture.
Let's do it, come on.
MAN: Roll sound.
Hey, hey, wait.
MAN: Charlie's Angels,
37 Exeter, Take 1.
DIRECTOR: You ready, Jaclyn?
Here we go, and action.
(STAMMERING) Wait a
minute. Cut it. Cut it. Wait! Wait!
Any other time I'd discuss
spending the rest of my life with you,
but right now I'm in a hurry.
Thanks.
Hey, who are you?
You mean that wasn't Tim?
No, who was that?
Not again.
What are you doing here?
Aren't you the kid that
jumped the tour this afternoon?
I'm looking for my brother.
His name is Joe Hardy.
That's right, we're looking for
a kid by the name of Joe Hardy.
If we find him, we'll get
in touch with you right away.
You don't understand
I've got to find him.
Now listen, son.
I'm not giving you a choice.
Now, it's dangerous to wander
around this studio late at night.
There's been
too many break-ins.
And the kids they hire for these
security guards, they're jumpy.
They get too nervous watching
all the television they make here.
They get trigger-happy
in the shadows.
You understand
what I'm saying to you?
Yeah, I catch your drift.
Good, come on.
Jump in. I'll take you
back to the main gate.
WOMAN ON PA:
Miss Koff to the front desk.
Miss Koff to the front desk,
please.
Nancy!
Yes.
We've been so worried
about you!
You simply disappeared
without a word to anyone.
We thought you were the next
victim. Where have you been?
I'd like the answer
to that question.
I don't want you leaving this hotel
again without notifying someone.
Well, I didn't realize
I was a prisoner.
Miss Drew, we're dealing
with a kidnapper.
A man who sends mutilated
photographs to his victims
and appears to
come and go like a shadow.
We're not dealing
with a rational mind.
I know that. He tried
to get me tonight.
What are you talking about?
I went back to the studio,
to Sound Stage 24.
We've already been there
tonight. There was nothing.
Nothing but what the kidnapper
wanted you to find.
He was expecting me
to return there.
So he'd arranged his photographs
and recreated his fantasy.
I found this. It's the
negative of Frank's picture.
No, wait a minute, wait
a minute. Don't bother.
He's probably already
changed it back by now.
I barely got out of there
tonight.
Did you get a look at him?
A good look at him?
He was dressed up
as Phantom of the Opera.
He had this really
strange laugh.
But he was for real. And you can be
sure that he will carry out his threats.
Frank Hardy's missing.
Did you see him?
He hasn't returned?
Returned?
From where?
Where did he go?
He went back to the studio
to try and find his brother.
Doesn't he know what kind
of man we're dealing with?
Get me Bob Townsend at
the studio security right away.
I want to get this down
to forensic.
I don't suppose there's
any chance of a clear print?
I picked it up by the corner.
You should be able to get a print.
But I want to check it out
for something else.
They left him tied up in here.
Come on, I'll show you.
So where is he?
What happened?
He was right here
10 minutes ago.
We better pick him up.
He couldn't have gone far.
Let's check the others,
make sure they're still there.
Take a look.
ASTOR: What is it?
Makeup. Theatrical makeup.
And there's also
an index fingerprint
on the left hand side
of the photograph.
Your forensic team ought to
be able to isolate it and clarify it.
What do you think
we're dealing with, Nancy?
A studio makeup man?
Or an actor.
Okay, Bert,
get it down to them.
If you find a print,
try to match it.
I've got a full studio employee
list coming over from Townsend.
Right, Lieutenant.
This was just dropped off at the
desk. No one saw who delivered it.
It's addressed
to Nancy Drew.
Thanks.
(NANCY READING)
"You, Nancy, no one else.
"Take the studio tour
at 10:00 "
Why would they want me to
deliver the ransom money?
It doesn't matter. I'll put a
policewoman in your place.
We'll be watching.
But you can't do that.
(PHONE RINGING)
Lieutenant Astor.
This is Bob Townsend.
Yes, Bob.
Any word on Joe Hardy?
No, not a thing.
What about Frank Hardy?
Well that's why I called you.
One of my men picked him up
and took him back to the main gate.
Good. I want a meeting with your
full staff in your office in a half-hour.
We got the drop note.
Tomorrow on the tour. 10:00.
This is going to
take some organization.
We'll be there.
Frank?
Security guard found him.
Sent him back to the hotel.
Excuse me.
Joe! Look out!
Don't ever sneak up on me like that
again! You scared me half to death.
Well, you deserve to be
scared. You left your door open.
I could have been anyone
walking in here, the kidnapper...
Well, the lock's broken. I've
already called maintenance,
and where have you been?
I've been worried about you.
You have been?
Yes.
Did you find Joe?
No, but he left a message.
A license number.
I think I know
who our kidnapper is.
Who?
The security guard that threw us
off the lot today. His name's Brandon.
He just tried to
do it again to me.
I've given all the information to
Lieutenant Astor and Bob Townsend.
Townsend says that Brandon's only
been working for them for six months.
But if Joe had to leave a message
and he was supposed to meet you here...
It makes him
victim number four.
That means he took my place.
The kidnapper tried to get me tonight.
I thought I told you
to be careful.
I thought I told you
I can take care of myself.
Astor tells me the kidnapper
wants you to deliver the ransom.
I'm going to.
I wish you wouldn't.
Is it all there?
Yes, sir.
I found this under my door
this morning.
(ASTOR READING)
Now, how could he
possibly know?
It's a logical step.
You're going to have to
let me go through with it.
I mean, the kidnapper has been
one step ahead of you all the way.
And if you put somebody in
my place, he'll know for sure.
All right,
but you'll be wired for sound.
And we'll be listening
to every heartbeat.
There'll be plain-clothes
detectives on the tour with you.
And I'll be there.
He'll smell a trap if you are.
If we make no moves at all
he certainly will.
Very well.
It's almost 10:00. Let's move.
I'm coming, too.
That's out of the question. I'm not
risking any more lives than I have to.
It's my father and my brother
you're trying to rescue.
I'm going to be there with
or without your permission.
Unless of course you're
intending to lock me up.
Stick close to me.
Welcome to our studio tour,
ladies and gentlemen.
We are about to take you
into another world,
the make-believe world
of motion pictures.
Are you ready?
Here we go.
As well as the fascinating
displays and shows
we have set up for you,
there may be a number
of surprises along the way.
Relax, my dear.
He can't possibly make contact
until you're off the tram.
I wouldn't put
anything past him.
This is the hardest part,
isn't it?
Waiting?
Especially when you don't
know what you're waiting for.
Brandon's car has been
parked here since this morning.
I'm worried about her.
Oh, Nancy?
Seems like a girl
with a lot of spirit.
It doesn't mean
she's any less vulnerable.
You think a lot of her,
don't you?
Yeah, I do.
This is Bert.
No contact yet.
They're returning
to the tram now.
Sit tight, Bert.
Hawkins, they ought to
be coming into your area.
HAWKINS ON RADIO: The
tram's coming this way now.
How can they make contact
in a moving tram?
It might as well be real.
This is a set. Why can't you just
kick your way through this stuff?
FENTON: No, we already
tried that. It's too solid.
We'll have to wait until he lets us
out before we can make a move.
And that is
if he lets us out.
I'm sorry you found us.
I knew this thing would
come in handy someday.
HAWKINS ON RADIO: They're
entering the ice funnel. No contact.
ASTOR ON RADIO: All right.
Pick them up at the next one.
TOUR GUIDE:
Ladies and gentlemen,
we're about to undergo
a multi-sensory adventure.
If you feel at all queasy...
They're coming out the ice
tunnel now. Still no contact.
ASTOR ON RADIO: All
right. Pick them up at point five.
OFFICER ON RADIO: They're
entering the property warehouse.
Still no contact.
ASTOR ON RADIO: All
right. Pick them up at point six.
TOUR GUIDE: A prop's defined as anything
placed on the set that is not nailed down.
They can range from pencils
and art objects,
to chandeliers
and oriental rugs.
Our Property Department
contains more than five million props,
200000 of which are books.
Many of our props are brought
to the Painting and Refinishing
Department on the right
before they're used on set.
The talented people
in this department
make old things look new
and new things look old.
Their names rarely appear
on the credits,
but their contribution to the
authenticity of the set is great.
Hey, what's happening?
This isn't supposed to happen.
That really wasn't
supposed to happen.
That wasn't supposed
to happen...
Is everybody okay?
In the back, you're okay?
Okay, let's continue
with the four.
Don't start the tram!
But I...
I said
don't start this tram!
MAN: Right here, quick!
Get the microphone.
(NANCY GASPING)
Come on, let's go.
OFFICER ON RADIO: They're
still in the property warehouse.
But we've lost our radio link,
Lieutenant.
ASTOR:
All right, check it out.
PHANTOM: You're a
very elusive young lady.
Sorry we had to rough you up,
but we had to get you off of the tram
before it went
through the warehouse.
Quickly!
Let's go!
I never taught you
to do that.
We better go.
OFFICER ON RADIO:
Still no radio link, Lieutenant.
Something must have
happened to her.
Contact's been made. Converge
at property warehouse immediately!
Come on, come on.
PHANTOM:
Get down, on the floor!
I gotta get to Security.
SECURITY GUARD ON RADIO:
Lieutenant. there's some kid here who said
he just saw the Phantom take off with
the girl from the property warehouse.
They're headed for the New
York Street in a yellow sedan.
I see him heading
toward the back lots.
Okay, we'll cut him off.
(TIRES SCREECHING)
(HIGH-PITCHED TONE)
Okay, let's go.
Get around the other side of
the lake. We gotta cut him off.
(TOUR GUIDE CHATTERING)
(TIRES SCREECHING)
(PEOPLE SCREAMING)
ASTOR: All right, hands
on the car! Spread 'em!
(PEOPLE CHATTERING)
Lieutenant Astor, LAPD. You're
Robert Wagner, aren't you?
That's right. You just helped
stop a kidnapping, a real one.
Always glad to help,
particularly when there's
a beautiful girl in distress.
How can I ever repay you?
We'll think of something.
I don't believe it.
She owes him?
What about me?
Well,
you're not a movie star, kid.
But I got
some good news for you.
Your father and brother
and the others are okay.
They weren't hurt?
No, they're all right.
They're fine.
And I guess that just
about wraps it up, doesn't it?
Not quite.
Oh, the young detectives.
If I wasn't paling a little under
the shadow of your triumph,
I'd congratulate you
with more fervor.
Well, you may not want to
congratulate us
after you've heard
what we have to say.
Oh?
Well, I am intrigued.
Go on, go on.
Hamilton wasn't in this alone.
I know, that security guard,
Brandon, yeah, was in it with him.
Merely as an accomplice.
He was being used by Hamilton.
Hamilton was also being used.
(CHUCKLES) Now you have
piqued my interest.
Used? By whom?
By you, Mr. Fox.
You engineered
this whole plot.
Hamilton wasn't smart enough
to do it on his own.
It's an intricate puzzle, one
that needed a master's touch
with all of the theatricality
for which you're famous.
Go on, go on, please.
Hamilton needed to know who
was gonna be at the convention
so he could have pictures of
everybody for his photograph
and you provided him
with those.
He always seemed to be one
step ahead of us and he was.
Brandon changed cars this morning
because he knew we had his license number.
Only someone here, someone on
the inside, could have told him that.
The kidnapper even knew that a policewoman
was being substituted for Nancy.
You see, they were one
step ahead all the time.
Well,
it's an interesting theory,
but one I think would be
most difficult to prove.
Not with you to help us.
When I came down from Bronson's
room, I said the room had been wrecked.
Mr. Hargrove commented on the fact
that there was blood on the medallion.
You said it was probably
from the broken glass.
I never said anything
about broken glass.
The only way someone would have known
that is if they'd seen the room themselves.
Someone who helped
with Bronson's kidnapping.
When you tell me that
a room has been wrecked,
naturally I assume there might
be broken glass lying around.
(CHUCKLES)
Hardly conclusive evidence.
And besides, what
possible motive could I have?
NANCY: I'm sure if we checked
your finances,
we'd find out that
you're deeply in debt.
You're bankrupt, Mr. Fox.
That's why you insisted
real ransom money be raised.
Well, I think I've heard
enough of this fairy tale.
If you'll excuse me.
We did get one piece
of physical evidence.
Bronson's medallion.
In the lobby, when you
removed it from the box,
you picked it up
by the chain.
Well, it was sent right
out to the forensic lab.
And they found
a fingerprint on it.
It matched up to one of
yours and they were identical.
The only way you could've
handled that is
if you'd pulled it from his
throat during the kidnapping,
after he was knocked out.
Well, may I congratulate you,
this time with fervor.
You are three of the most remarkable
detectives I've ever worked with.
FENTON: Jason had been
planning this for months.
Hamilton had no idea
who hired him.
He was going to Europe
with his share of the proceeds
and reactivate his career.
Jason was going to keep
the major portion of it.
It was all very theatrical,
meticulously planned.
FENTON: I still can't
believe it of the Fox.
Although, I'm sure he would
have carried out every threat.
Excuse me.
What kind of a cut do you
think Brandon was getting?
I'm sure he was facing the
same fate as the rest of us.
Hey, where are you going?
I'm going for a drive.
I'm sure there's more to Los
Angeles than the studios and this hotel.
If that's all right
with you?
No, it isn't.
You didn't ask me.
I didn't know I needed
to clear it with you first.
You didn't ask me
if I wanted to go with you.
If you'd like to.
What I'd like to do
is thank you.
For what?
For saving my life.
Thank you.
You're welcome.
Hi, there.
Well, where are we off to?
wants you to deliver the ransom.
NANCY: I'm going to.
I wish you wouldn't.
(SCREAMS)
(MAN CACKLING)
There has been a kidnapping?
No question about it.
Well, I hope
you're not accusing me.
We'll have to wait until he lets us
out before we can make a move.
That's if he lets us out.
Frank Hardy's missing.
Did you see him?
Make it a good kiss
if you can handle it.
DIRECTOR: Go, and action!
Where have you been?
I've been worried about you.
You have been?
Always glad to help,
particularly when there's
a beautiful girl in distress.
How can I ever repay you?
We'll think of something.
Oh!
Excuse me, ma'am. I'm
sorry, I was in a hurry here
and we're doing some night
shooting and I didn't want to...
Excuse me, ma'am, but if
you don't mind my saying so,
you look like
you've seen a ghost.
It's just really scary in those
sound stages at night, you know.
MAN: Joe! Look out!
He's been involved
in a lot of tough cases.
But not as the victim.
NARRATOR:
Tonight on the Hardy Boys,
The Mystery
of the Hollywood Phantom 2.
And now, a few scenes from Part 1 of
The Mystery of the Hollywood Phantom.
(GRUNTS)
I believe that's my bag.
I know, there was a man
just trying to break in here.
What seems to be
the trouble here?
Is she with you?
Airport police,
Juvenile Division.
Thought we told you never
to work this airport, Trixie.
You're probably
all in this together.
What is it?
Remember that elaborate
practical joke you were talking about?
Welcome to the club.
TOUR GUIDE: Welcome to our
studio tour, ladies and gentlemen,
we're going to take you into a new
world, a new world of motion pictures.
Come on, Nancy.
He's gone.
Who's gone?
Arlo Weatherly.
Excuse me, ma'am, sir, we're going
to be shooting here in just a minute,
you'll be right in the way
and you could get hurt.
Oh, we're sorry, we're just looking for
somebody who disappeared from our party.
Is that right?
We're big fans of your show.
Oh, thank you very much,
you're very kind, thank you.
(MAN CACKLING)
(RATTLING)
Somebody in a truck just tried to run
over this young lady on the back lot.
Did Mr. Hardy leave
a message with you?
I haven't seen Mr. Hardy
since earlier this evening.
Fox is gone
and the room's wrecked.
Wrecked?
What are you talking about?
About kidnapping, I'd say.
What's the note say?
"Three of your detectives already
gone, $500,000 will free them.
"Don't call the police,
details will follow."
Isn't that blood
on the medallion?
Yes, probably from
the broken glass.
What are we going to do now?
Call the police.
Nancy's right.
We have no choice.
We worked together once,
let's do it again.
Let's go.
NARRATOR: In Part 2, Frank and Joe
Hardy team up with Nancy Drew to solve
the mystery
of the Hollywood Phantom.
NANCY: It's all of us at
the Detective's Convention.
They're trying to
pick us off one by one.
We keep popping up all over,
it's incredible.
It's insane.
I know it.
Well, somebody knows all
the details of the convention,
like what detectives
would be here.
They must want the kidnappings
to look like the ones in the movie.
If it all wasn't so bizarre, I'd
be flattered to be included.
Why would he leave this
around for anybody to see?
No one should be
in here on weekends.
He must be trying to
live out some sort of fantasy.
Unless he wanted us to see it.
No matter how it's dressed up,
it's still a simple case of kidnapping.
It matters how it's dressed up. You
said yourself, insanity, a psychotic mind.
(MAN CACKLING)
That's the laughter
I was telling you about.
Look!
Come on.
Go back to the hotel and let
Jason Fox know what's happening.
You sending me
out of danger again?
I'm asking you
to get some help.
What are you doing here?
I'm after...
This may be hard to explain.
You can explain it
to the head of security.
NARRATOR: And now The Mystery
of the Hollywood Phantom
There's got to be something
I can do, Lieutenant.
Well, my men are questioning
the hotel staff.
What you can do is tell me everything you
know about the people at this convention.
Mr. Fox.
Nancy, sit down,
have something.
Well, ...
Where have you been?
I had to go back
to the studio.
Studio? What's the studio
got do with this? Who is she?
This is Nancy Drew,
one of our detectives.
Really?
Yes, really.
That's all I need on this
case, another detective.
This is Lieutenant Astor of the LAPD. He
doesn't care much for private detectives.
Miss Drew also got a
mutilated photograph of herself.
You haven't answered
my question.
The studio is doing a remake of The
House on Bracken Moor, Stage 24.
Don't you remember
the story?
Eight people are lured to an
old house on an English moor.
They each receive a photograph
of themselves and a threat.
They find a circular table
with dinner for eight
and a large photograph
on it with everybody in it,
even though they've never
met one another.
And one by one
the guests start to disappear.
It's exactly
what's happening to us!
Miss Drew, I realize this has all been
pretty upsetting for you tonight, but...
Listen to me, I know it seems crazy,
it seemed crazy to me at first, too.
But that was before I found the photograph
on Stage 24 with all of us in it.
The detectives
at the convention.
You've got to believe me. Frank and
Joe Hardy saw the photograph, too.
Where are they now?
We weren't alone
on Sound Stage 24,
and when the person saw us, he
ran away and they're chasing him.
All right, let's get down
there. You show me this stage.
Doesn't look like
there's a soul in here.
I know, but this is
the way it was earlier.
And you're telling me
that we're gonna
find your father
and two detectives
held prisoner
on a sound stage?
Yeah, I think so.
Now, we clocked this place a little
while ago, Bob. There's no one here.
You better check
around outside.
All right.
Show us where you found that
photograph with yourselves in it.
It was down this way.
It's right in here.
Turn on all the lights.
Here.
This is impossible! This isn't
the same picture I saw before.
There's no one else here, Bob.
Just like it was
Friday afternoon.
I'm Lieutenant Astor, LAPD.
What did you find here?
Nothing, Lieutenant. Nothing
that isn't supposed to be here.
The picture has
been switched.
Are you Frank Hardy?
Yes, I am.
BOB: Lieutenant,
what is going on here?
We don't know for sure, yet. But
it has nothing to do with the studio.
But there has been
a kidnapping?
No question about it.
It remains to be seen.
I'm sorry you've been troubled.
You better come back with us.
My brother hasn't
returned yet.
Well, where is he?
I told you, he chased after
a figure that ran out of here.
Well, which way did he go?
He went towards the back lot.
All right, we'll find him.
Look, you boys are not
allowed on this lot without a pass.
Now, the next time you want to
come in here, particularly at night,
you do it through me.
You understand?
Oh, Frank.
Do you have any news?
Now, don't worry,
we'll find your father.
Did you take a look
at Dad's ring? A good look?
There was dried blood around the edges
of it. That means they tore it off of him.
Frank, I've known him
for a long time,
since he was a lieutenant
with the NYPD.
And he's been involved in a lot of
tough cases, some of them kidnappings.
But not as the victim.
But he's dealt
with kidnappers.
Has Astor? What I want to
know is what's Astor doing?
I'm not sure he believes
there's been a kidnapping.
Even you said detectives sometimes
play practical jokes on each other,
the ring, the bracelet,
all part of a hoax.
What's Astor doing? Waiting
for Dad to come walking back
through the front doors
of the hotel?
You'll have to wait. We all will.
We're in the kidnapper's court.
And what about the money?
$500,000, who's raising that?
Mr. Fox, I'd like to
talk to you. Alone.
We'll find him Frank.
WOMAN ON PA: Mr. Walters
to the front desk.
Is there any word from Joe?
No, nothing.
Well, I'm not going to wait
anymore. I'm going to find him myself.
Wait a minute, Frank.
Studio security is out there,
they've got
two or three cars out there.
You're not going to do
any better than that.
I can try,
at least I can try.
All right, well,
then I am going with you.
I'll do better on my own.
Frank will you stop
trying to protect me?
Somebody has to.
Frank!
He thinks I'm stubborn.
(HUFFS)
$500,000.
Oh, we've got to
try and raise it.
This is the most successful detective
group in the world. We're good for it.
Not a chance.
The FBI will be
on the case within 24 hours,
and they'll have
their own ideas about that.
We can't take a chance
with their lives.
We don't have any choice.
Now, there's got to be
something you people can tell me.
Somebody with a grudge
against one of you.
Maybe somebody here. He seems to
come and go as he pleases in this hotel.
I've alerted all the staff to be
on the lookout for strangers.
Aren't hotels always filled
with strangers, Mr. Hargrove?
I meant among the staff.
I think the staff should be
questioned, all of them.
That had occurred to me. I'd
like to speak to Mr. Fox alone.
Wait a minute,
I'm a part of this.
I'm the only one who even saw
the photograph on Stage 24.
We've already looked into that,
Miss Drew. You were imagining things.
Now, I don't blame you
under the circumstances.
I called you in because
you received a photograph,
but let the police
handle this.
It may be hard for a detective
like yourself to understand,
but we sometimes
solve cases all by ourselves.
I see.
WOMAN ON PA: Mr. Armstrong
to the front desk...
Miss Drew?
When talking about my staff, I hope
you weren't suggesting that anyone
employed by the hotel could
be involved in this matter.
Well, Mr. Hargrove, you seem to be on
top of just about everything around here.
I can't imagine anything going
on without you knowing about it.
After all, who was it
who arranged that studio tour?
The one that Mr. Weatherly
disappeared from.
Well, I hope
you're not accusing me.
I'm not accusing anyone,
yet.
(SCREAMS)
(MAN CACKLING)
Nancy, you're trapped.
Give up, Nancy.
(MAN CACKLING)
You can't get out,
Nancy.
(CACKLING)
(MAN CACKLING)
You're next,
Nancy.
(CACKLING)
Oh!
Oh!
Excuse me, ma'am. I'm
sorry, I was in a hurry here
and we're doing some night
shooting and I didn't want to...
Excuse me, ma'am, but if
you don't mind my saying so,
you look like
you've seen a ghost.
I feel safer
now that I've seen you.
Since you've seen me...
Wait a minute.
Wait. You know who I am.
I saw you this afternoon,
right?
We talked today.
You're the girl, the detec...
Hey, look, what's wrong?
What happened?
Oh, it's just really scary in those
sound stages at night, you know.
Well,
let me tell you something.
They are creepy scary
at night, my dear.
Those walls talk to you.
They're really scary.
By the way, did you ever find
that fellow you were looking for?
No, I didn't, but I will.
Hey, you're not going to
believe this.
You know, after we
talked this afternoon,
I decided, "That's it. No
more day-playing for me.
“I'm going to Europe. Gonna
be a big Western star in Europe.”
Excuse me, ma'am. You don't
see me as a Western star in Europe?
Oh, no!
I think you'd be great.
Thank you very much, ma'am.
Thank you very much.
Listen, can I walk you
back to your hotel?
No, that's okay.
I'll be okay.
You sure?
Thank you.
Bye-bye.
MAN: Charlie's Angels,
37 Denver, Take 2...
That's good, thanks. Tim will be
coming around the corner, right?
Now, let him get real close,
real close, real close,
then turn around and give him a
big kiss. Okay? Can you handle that?
Okay, got it.
And remember, it's part of
the con, part of the setup,
so make it a good kiss if you can
handle that. All right? Can you do that?
Don't I always?
I'll ask Aaron.
MAN: This will be picture.
Let's do it, come on.
MAN: Roll sound.
Hey, hey, wait.
MAN: Charlie's Angels,
37 Exeter, Take 1.
DIRECTOR: You ready, Jaclyn?
Here we go, and action.
(STAMMERING) Wait a
minute. Cut it. Cut it. Wait! Wait!
Any other time I'd discuss
spending the rest of my life with you,
but right now I'm in a hurry.
Thanks.
Hey, who are you?
You mean that wasn't Tim?
No, who was that?
Not again.
What are you doing here?
Aren't you the kid that
jumped the tour this afternoon?
I'm looking for my brother.
His name is Joe Hardy.
That's right, we're looking for
a kid by the name of Joe Hardy.
If we find him, we'll get
in touch with you right away.
You don't understand
I've got to find him.
Now listen, son.
I'm not giving you a choice.
Now, it's dangerous to wander
around this studio late at night.
There's been
too many break-ins.
And the kids they hire for these
security guards, they're jumpy.
They get too nervous watching
all the television they make here.
They get trigger-happy
in the shadows.
You understand
what I'm saying to you?
Yeah, I catch your drift.
Good, come on.
Jump in. I'll take you
back to the main gate.
WOMAN ON PA:
Miss Koff to the front desk.
Miss Koff to the front desk,
please.
Nancy!
Yes.
We've been so worried
about you!
You simply disappeared
without a word to anyone.
We thought you were the next
victim. Where have you been?
I'd like the answer
to that question.
I don't want you leaving this hotel
again without notifying someone.
Well, I didn't realize
I was a prisoner.
Miss Drew, we're dealing
with a kidnapper.
A man who sends mutilated
photographs to his victims
and appears to
come and go like a shadow.
We're not dealing
with a rational mind.
I know that. He tried
to get me tonight.
What are you talking about?
I went back to the studio,
to Sound Stage 24.
We've already been there
tonight. There was nothing.
Nothing but what the kidnapper
wanted you to find.
He was expecting me
to return there.
So he'd arranged his photographs
and recreated his fantasy.
I found this. It's the
negative of Frank's picture.
No, wait a minute, wait
a minute. Don't bother.
He's probably already
changed it back by now.
I barely got out of there
tonight.
Did you get a look at him?
A good look at him?
He was dressed up
as Phantom of the Opera.
He had this really
strange laugh.
But he was for real. And you can be
sure that he will carry out his threats.
Frank Hardy's missing.
Did you see him?
He hasn't returned?
Returned?
From where?
Where did he go?
He went back to the studio
to try and find his brother.
Doesn't he know what kind
of man we're dealing with?
Get me Bob Townsend at
the studio security right away.
I want to get this down
to forensic.
I don't suppose there's
any chance of a clear print?
I picked it up by the corner.
You should be able to get a print.
But I want to check it out
for something else.
They left him tied up in here.
Come on, I'll show you.
So where is he?
What happened?
He was right here
10 minutes ago.
We better pick him up.
He couldn't have gone far.
Let's check the others,
make sure they're still there.
Take a look.
ASTOR: What is it?
Makeup. Theatrical makeup.
And there's also
an index fingerprint
on the left hand side
of the photograph.
Your forensic team ought to
be able to isolate it and clarify it.
What do you think
we're dealing with, Nancy?
A studio makeup man?
Or an actor.
Okay, Bert,
get it down to them.
If you find a print,
try to match it.
I've got a full studio employee
list coming over from Townsend.
Right, Lieutenant.
This was just dropped off at the
desk. No one saw who delivered it.
It's addressed
to Nancy Drew.
Thanks.
(NANCY READING)
"You, Nancy, no one else.
"Take the studio tour
at 10:00 "
Why would they want me to
deliver the ransom money?
It doesn't matter. I'll put a
policewoman in your place.
We'll be watching.
But you can't do that.
(PHONE RINGING)
Lieutenant Astor.
This is Bob Townsend.
Yes, Bob.
Any word on Joe Hardy?
No, not a thing.
What about Frank Hardy?
Well that's why I called you.
One of my men picked him up
and took him back to the main gate.
Good. I want a meeting with your
full staff in your office in a half-hour.
We got the drop note.
Tomorrow on the tour. 10:00.
This is going to
take some organization.
We'll be there.
Frank?
Security guard found him.
Sent him back to the hotel.
Excuse me.
Joe! Look out!
Don't ever sneak up on me like that
again! You scared me half to death.
Well, you deserve to be
scared. You left your door open.
I could have been anyone
walking in here, the kidnapper...
Well, the lock's broken. I've
already called maintenance,
and where have you been?
I've been worried about you.
You have been?
Yes.
Did you find Joe?
No, but he left a message.
A license number.
I think I know
who our kidnapper is.
Who?
The security guard that threw us
off the lot today. His name's Brandon.
He just tried to
do it again to me.
I've given all the information to
Lieutenant Astor and Bob Townsend.
Townsend says that Brandon's only
been working for them for six months.
But if Joe had to leave a message
and he was supposed to meet you here...
It makes him
victim number four.
That means he took my place.
The kidnapper tried to get me tonight.
I thought I told you
to be careful.
I thought I told you
I can take care of myself.
Astor tells me the kidnapper
wants you to deliver the ransom.
I'm going to.
I wish you wouldn't.
Is it all there?
Yes, sir.
I found this under my door
this morning.
(ASTOR READING)
Now, how could he
possibly know?
It's a logical step.
You're going to have to
let me go through with it.
I mean, the kidnapper has been
one step ahead of you all the way.
And if you put somebody in
my place, he'll know for sure.
All right,
but you'll be wired for sound.
And we'll be listening
to every heartbeat.
There'll be plain-clothes
detectives on the tour with you.
And I'll be there.
He'll smell a trap if you are.
If we make no moves at all
he certainly will.
Very well.
It's almost 10:00. Let's move.
I'm coming, too.
That's out of the question. I'm not
risking any more lives than I have to.
It's my father and my brother
you're trying to rescue.
I'm going to be there with
or without your permission.
Unless of course you're
intending to lock me up.
Stick close to me.
Welcome to our studio tour,
ladies and gentlemen.
We are about to take you
into another world,
the make-believe world
of motion pictures.
Are you ready?
Here we go.
As well as the fascinating
displays and shows
we have set up for you,
there may be a number
of surprises along the way.
Relax, my dear.
He can't possibly make contact
until you're off the tram.
I wouldn't put
anything past him.
This is the hardest part,
isn't it?
Waiting?
Especially when you don't
know what you're waiting for.
Brandon's car has been
parked here since this morning.
I'm worried about her.
Oh, Nancy?
Seems like a girl
with a lot of spirit.
It doesn't mean
she's any less vulnerable.
You think a lot of her,
don't you?
Yeah, I do.
This is Bert.
No contact yet.
They're returning
to the tram now.
Sit tight, Bert.
Hawkins, they ought to
be coming into your area.
HAWKINS ON RADIO: The
tram's coming this way now.
How can they make contact
in a moving tram?
It might as well be real.
This is a set. Why can't you just
kick your way through this stuff?
FENTON: No, we already
tried that. It's too solid.
We'll have to wait until he lets us
out before we can make a move.
And that is
if he lets us out.
I'm sorry you found us.
I knew this thing would
come in handy someday.
HAWKINS ON RADIO: They're
entering the ice funnel. No contact.
ASTOR ON RADIO: All right.
Pick them up at the next one.
TOUR GUIDE:
Ladies and gentlemen,
we're about to undergo
a multi-sensory adventure.
If you feel at all queasy...
They're coming out the ice
tunnel now. Still no contact.
ASTOR ON RADIO: All
right. Pick them up at point five.
OFFICER ON RADIO: They're
entering the property warehouse.
Still no contact.
ASTOR ON RADIO: All
right. Pick them up at point six.
TOUR GUIDE: A prop's defined as anything
placed on the set that is not nailed down.
They can range from pencils
and art objects,
to chandeliers
and oriental rugs.
Our Property Department
contains more than five million props,
200000 of which are books.
Many of our props are brought
to the Painting and Refinishing
Department on the right
before they're used on set.
The talented people
in this department
make old things look new
and new things look old.
Their names rarely appear
on the credits,
but their contribution to the
authenticity of the set is great.
Hey, what's happening?
This isn't supposed to happen.
That really wasn't
supposed to happen.
That wasn't supposed
to happen...
Is everybody okay?
In the back, you're okay?
Okay, let's continue
with the four.
Don't start the tram!
But I...
I said
don't start this tram!
MAN: Right here, quick!
Get the microphone.
(NANCY GASPING)
Come on, let's go.
OFFICER ON RADIO: They're
still in the property warehouse.
But we've lost our radio link,
Lieutenant.
ASTOR:
All right, check it out.
PHANTOM: You're a
very elusive young lady.
Sorry we had to rough you up,
but we had to get you off of the tram
before it went
through the warehouse.
Quickly!
Let's go!
I never taught you
to do that.
We better go.
OFFICER ON RADIO:
Still no radio link, Lieutenant.
Something must have
happened to her.
Contact's been made. Converge
at property warehouse immediately!
Come on, come on.
PHANTOM:
Get down, on the floor!
I gotta get to Security.
SECURITY GUARD ON RADIO:
Lieutenant. there's some kid here who said
he just saw the Phantom take off with
the girl from the property warehouse.
They're headed for the New
York Street in a yellow sedan.
I see him heading
toward the back lots.
Okay, we'll cut him off.
(TIRES SCREECHING)
(HIGH-PITCHED TONE)
Okay, let's go.
Get around the other side of
the lake. We gotta cut him off.
(TOUR GUIDE CHATTERING)
(TIRES SCREECHING)
(PEOPLE SCREAMING)
ASTOR: All right, hands
on the car! Spread 'em!
(PEOPLE CHATTERING)
Lieutenant Astor, LAPD. You're
Robert Wagner, aren't you?
That's right. You just helped
stop a kidnapping, a real one.
Always glad to help,
particularly when there's
a beautiful girl in distress.
How can I ever repay you?
We'll think of something.
I don't believe it.
She owes him?
What about me?
Well,
you're not a movie star, kid.
But I got
some good news for you.
Your father and brother
and the others are okay.
They weren't hurt?
No, they're all right.
They're fine.
And I guess that just
about wraps it up, doesn't it?
Not quite.
Oh, the young detectives.
If I wasn't paling a little under
the shadow of your triumph,
I'd congratulate you
with more fervor.
Well, you may not want to
congratulate us
after you've heard
what we have to say.
Oh?
Well, I am intrigued.
Go on, go on.
Hamilton wasn't in this alone.
I know, that security guard,
Brandon, yeah, was in it with him.
Merely as an accomplice.
He was being used by Hamilton.
Hamilton was also being used.
(CHUCKLES) Now you have
piqued my interest.
Used? By whom?
By you, Mr. Fox.
You engineered
this whole plot.
Hamilton wasn't smart enough
to do it on his own.
It's an intricate puzzle, one
that needed a master's touch
with all of the theatricality
for which you're famous.
Go on, go on, please.
Hamilton needed to know who
was gonna be at the convention
so he could have pictures of
everybody for his photograph
and you provided him
with those.
He always seemed to be one
step ahead of us and he was.
Brandon changed cars this morning
because he knew we had his license number.
Only someone here, someone on
the inside, could have told him that.
The kidnapper even knew that a policewoman
was being substituted for Nancy.
You see, they were one
step ahead all the time.
Well,
it's an interesting theory,
but one I think would be
most difficult to prove.
Not with you to help us.
When I came down from Bronson's
room, I said the room had been wrecked.
Mr. Hargrove commented on the fact
that there was blood on the medallion.
You said it was probably
from the broken glass.
I never said anything
about broken glass.
The only way someone would have known
that is if they'd seen the room themselves.
Someone who helped
with Bronson's kidnapping.
When you tell me that
a room has been wrecked,
naturally I assume there might
be broken glass lying around.
(CHUCKLES)
Hardly conclusive evidence.
And besides, what
possible motive could I have?
NANCY: I'm sure if we checked
your finances,
we'd find out that
you're deeply in debt.
You're bankrupt, Mr. Fox.
That's why you insisted
real ransom money be raised.
Well, I think I've heard
enough of this fairy tale.
If you'll excuse me.
We did get one piece
of physical evidence.
Bronson's medallion.
In the lobby, when you
removed it from the box,
you picked it up
by the chain.
Well, it was sent right
out to the forensic lab.
And they found
a fingerprint on it.
It matched up to one of
yours and they were identical.
The only way you could've
handled that is
if you'd pulled it from his
throat during the kidnapping,
after he was knocked out.
Well, may I congratulate you,
this time with fervor.
You are three of the most remarkable
detectives I've ever worked with.
FENTON: Jason had been
planning this for months.
Hamilton had no idea
who hired him.
He was going to Europe
with his share of the proceeds
and reactivate his career.
Jason was going to keep
the major portion of it.
It was all very theatrical,
meticulously planned.
FENTON: I still can't
believe it of the Fox.
Although, I'm sure he would
have carried out every threat.
Excuse me.
What kind of a cut do you
think Brandon was getting?
I'm sure he was facing the
same fate as the rest of us.
Hey, where are you going?
I'm going for a drive.
I'm sure there's more to Los
Angeles than the studios and this hotel.
If that's all right
with you?
No, it isn't.
You didn't ask me.
I didn't know I needed
to clear it with you first.
You didn't ask me
if I wanted to go with you.
If you'd like to.
What I'd like to do
is thank you.
For what?
For saving my life.
Thank you.
You're welcome.
Hi, there.
Well, where are we off to?