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INTERIOR DESIGN THESIS RESEARCH

Laney McCullough

Table of contents SECTION 1 Intro Case Study Other Examples

p. 1 p. 3 p. 9

SECTION 2 Problems in Set Design Movability & Sustainability Interview / Takeaways Recommendations / Goals

p. 11 p. 12 p. 13 p. 15

SECTION 3 Design Implementation Main Settings

p. 16 p. 19

SECTION 4 Appendices References

Summary

“Set design is the creation of the physical space in which the action of a performed event takes place.” (LuPone). It’s important to stay within the constraints of the set and the visual barriers that it creates to try to tell a story. Another constraint to consider is how sound, lighting, sustainability, and other elements affect the design/production.

p. 22 p. 29

intro

“Set design's roots trace back to theater, but its transition into film during the silent era marked a significant evolution. Early films like The Cabinet of Dr. Caligari (1920) demonstrated the power of set design in enhancing narrative and mood.” (DeGuzman et al.) “The Golden Age of Hollywood (1930s-1950s) saw set design flourish.” (DeGuzman et al.) When Technicolor was introduced, it allowed viewers to actually see what the sets look like in better detail, allowing them to see all of the colors used in the film. Scenic & Set/Stage Design – Referred to in set design for theatrical or stage performances. Film Set – “The enclosed space in which a film scene is shot.” (Admin). Difference Between Set Designers & Production Designers “Production designers have high-level oversight across all creative aspects that contribute to the movie's style and help tell the story. Meanwhile, the set designer has a more focused role centered on the physical sets used during filming.” (Kelvin). Set Designers, as well as other members of a production team are involved with the process of creating a set. Set design helps visualize the story and plot. It also informs each character. “Characters will each have a different relationship to their surroundings and set design can reveal certain characteristics that may not be said out loud in the script.” (Admin). Set design can be overlooked in film. “People don’t often recognize the production design, which encompasses building and designing the sets, set decoration, and props as well as costume design, hair, and makeup. It’s all the texture you see on-screen that moves you toward one emotion or another in complement with the story.” (page 13 Hannah Beachler) It’s important to distinguish “the settings that enable life to take place versus the setting as a coincidental backdrop.” (page 53 Toni). “...sense of intimacy and sense of place within an interior…” (page 53 Hannah Beachler) It’s critical for a designer to understand the story and the subtext of the screen-play “so they are able to translate vague descriptions on a page into a visual statement.” (Doyle).

PROCESS 1 . Reading & Understanding the Script

2 . Conceptualizing & Drawings

Read and break down the script, getting into the director’s head, understanding their vision. (Doyle, Mogul).

The concept phase is an iterative process, that slowly brings the story to life. “A designer will bring in sketches of set design ideas for other production members to peruse.” (Admin).

3 . Budgeting

4 . Location Searching

The budget can vary depending on the film. “The size of the budget will create very real opportunities or obstacles for any film.” (Admin).

Finding the right locations for any film that works well and stays in budget is an important part of the process.

“Depending on whether a film has unlimited access to everything or little access to anything, a film set may be more minimal or extravagant.” (Admin).

“Make a preliminary determination with the producer and director as to which sets are to be locations, which are to be built, and the extent to which locations are to be modified, as best you can.” (Doyle).

5 . Storyboard

6 . Filming

The storyboard is a visual representation of the overall film, shot, by shot. “The film needs a definitive visual plan for every scene. The final storyboard offers this guide.” (Admin).

The design of a set really affects the way the film looks. “What you see in real life is different on the camera, playing around with the camera and figuring out how it works with the space and the monitors/ lighting.” (Andyax). It’s important that the design reads well on screen. “The filmmakers control the frame. Allow the information you have about the story and characters to create their reality.” (Doyle).

case study BUILT SET IN PRODUCTION STUDIO: WANDAVISION Created by Jac Schaeffer in 2021, starring Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Randall Park, Kat Dennings. Marvel Studios - Disney Plus Original

“Blends the style of classic sitcoms with the MCU [Marvel Cinematic Universe], in which Wanda Maximoff and Vision - two super-powered beings living their ideal suburban lives - begin to suspect that everything is not as it seems. Marvel Studios presents a visionary new age of television.” (IMDb). 3

TRILITH STUDIOS STAGES 3, 9, & 11 FAYETTEVILLE, GEORGIA “Spaces Tailor-Made for Storytellers” - Trilith

Stage 3 Facility Type: Sound Stage Length: 120 ft Width: 166 ft Height: 45ft Area: 20,000 sqf

Stage 9 Facility Type: Sound Stage Length: 165 ft Width: 110 ft Height: 35 ft Area: 18,150 sqf

“Perfectly situated near Atlanta's international airport, our sound stages, workshops, offices, backlots and studio vendors provide everything you need to make the next great story... Our stages were built to accommodate both your indie and your epic production, with state of the art equipment, flexible spaces and endless possibilities.” (Trilith).

Stage 11 Facility Type: Sound Stage Length: 135 ft Width: 110 ft Height: 35 ft Area: 15,000 sqf

Connected Set For this show, they followed a sitcom style of filming and created a connected set, which is commonly used in these types of shows. So multiple rooms and settings are connected into one large set inside of the production studio.

Westview is a town located in New Jersey used for filming location in WandaVision

Hypothetical site for the house in WandaVison

Importance of World Building in Set/Production Design World building is defined by Toni L. Griffin as, “the process of constructing the imaginary. It requires many of the same considerations for the production designer that we consider as architects, landscape architects, urban designers, and planners.” (page 7-8 Toni). Like most design projects you have to consider the site location. In film, sometimes you have to create that location and environment to tell the story. 5

DIFFERENT SETS DESIGNED BY MARK WORTHINGTON For the show, they designed one general layout and transform the set through the different decades. “We wanted to make the space feel like the time period, they even used old wooden chairs and matched the railings for the audience seating ... so much of it is the audience’s experience.” (Baruh).

Assembled the Making of WandaVision Documentary Insight “What’s fun is just the contrast. We started in this very, sort of light sitcom world, which I had never designed before, so that was fun. But then, to then dive right into, sort of, straight-ahead MCU style, visual style, acting style, script, and all that, just is delightful after all of that, in a way, just because, you know, ‘Is this all in the same movie?’ It is. Which is great, but just the design challenges of having to go from that to this, that’s really fun.” (Baruh). “Part of the challenge is that we don’t have a shooting schedule that allows us to shoot two days, go away for two days, turn it around, repaint, come back. We’re doing overnight changeovers. Which means that we have to basically define all of the design changes, all the pieces you’re gonna bring in. Design them, build them, paint them, prefit them probably, so that you know exactly what you’re doing, and everything comes in almost like LEGO in a certain way. All these parts come in and go up very quickly, ‘ cause you’ve only got, maybe, 12 hours to complete this turnaround.” (Baruh). 6

users / demographics “One key for all involved was that WandaVision was shot sequentially, which helped the performers inhabit their evolving roles and Worthington build out the sets. ’We did that for obvious performance reasons, this is Wanda and Vision’s journey through this experience, and sequence is critical to the drama,’ he says. ‘For the sets, we used some of the same builds, ripping everything out and repainting. For The Dick Van Dyke Show set, it’s really sort of a hybrid of that era. Then for the 80s sitcoms, it’s the same thing. As for the geography of the set, where the door is, where the kitchen is, that all remains effectively the same. It’s very important to the audience that it’s Wanda changing the environment for various reasons when she finds one era too constraining for what’s going on. She’s the one who resets everything.’ (Baruh).

PEOPLE INVOLVED WITH PRODUCTION

Live Audience Actors Crew Writers Producers Cinemetographers Editors Production/Set Designers

Production management Art department Sound Department Special & Visual effects Costume & Wardrobe Department Makeup Department Series Script & Continuity Department

design elements

“He [Worthington] was designing a grief-stricken superhero’s memory of what the sitcoms she loved growing up looked like. “The sitcom sets are satisfying and fun and cue memories for the viewer, but they come mainly from Wanda’s response to her own grief and her inability to deal with it...” (Baruh). Looking at the specific time periods and the influences of the period they “wanted to approach it with authenticity, not parody, and to that end we wanted to shoot it the way they shot it.” (Baruh).

set lighting

To give the effect of the changing time periods, the set used “era accurate lighting” used from the specific time periods, both in the design of the set and for filming. 8

other examples SET BUILT ON FILMING LOCATION: SAFE HAVEN

“Safe Haven is a 2013 romance, drama, and thriller based on the best-selling novel of the same name by your one and only Nicholas Sparks.” (Gigster). Majority of the movie is filmed in a small town in SouthPort North Carolina. “It makes the day go by a little quicker when you’re working in a place you really like.” – Josh Duhamel.

This particular set was built for the movie, on location in Pleasant Oaks Plantation, near Town Creek. The shack where the character Katie lives, in the movie. “...one of the most beautiful locations of Safe Haven, reminiscent of the Barkley Cove house in the marshes featured in the 2022 movie Where the Crawdads Sing.” (Moon). The structure was almost donated to the city of Southport, but the offer was declined. The offer was declined because “it would have to be disassembled and moved from its current site at Pleasant Oaks Plantation off N.C. 133 due to its wooded surroundings and the desire of the property owner to leave all trees intact.” (Royal).

REMODEL OF EXISTING SPACE: KNIVES OUT Murder mystery film released in 2019 The film was written, directed, and coproduced by Rian Johnson. “With any whodone-it, there’s always kind of a labrynith of following all these different characters, and all the motives and the twists and turns, and whether you know when. So even if you have the basic structure of it, there’s a lot of math you still have to do. And then making it fun... tonely I wanted to make this a fun movie.” - Rian Johnson

Knives Out - Behind the Scenes Interviews “Certainly the set pieces, certainly the dialogue has a fresh, modern feel to it... I think Rian is that kind of technical director that knows how once you have all these little pieces of these bricks that he builds on set, and he actually puts them all together to make a house, It evolves and strikes a very modern style.” - Chris Evans

Story Designer vs Set/Production Designer: “I consider myself more of a story designer than a production designer. When you go to see a movie, it’s because you want to laugh, or cry, or you laugh through your tears, or you get angry, or you get a sense of inspiration, and everything you see and experience on the screen is contributing to these feelings.” (page 13 Hannah Beachler).

“The attention to detail is so precise, that you show up to a set and feel like that you are part of the unfolding story.” - Don Johnson 10

Problems in set Design

Working with the constraint of the size of the set “...have to keep in mind the camera and blocking, and add details that you won’t even see on film. All those things are in consideration when I design an individual set.” (page 14 Hannah Beachler). “For such a small budget film you really have to be resourceful. Decisions happen on the fly because there isn’t a lot of time in the schedule. You don’t have a lot of time to shoot… I also go with the location manager to find locations that fit within the frame of what we’re doing. And then I’ll go with the director and say: Look at these things. This is what we could do here. Or: This is how we can augment it here.” (page 13-14 Hannah Beachler). You have to be flexible with the space with what you want to show “When you know how much of the room you want to show, you should remove everything that doesn't fit the story.” (Transform). “since this room isn't that big and we want it to be flexible with the camera movements for all the scenes in the library.” (Transform). 11

Difficulties with conceptualizing and visualizing the design of a set based off of the story “Design in a frame of emotion and less the ‘hammer and nail’ of it.” (page 24 Hannah Beachler). Focusing on the emotion and narrative that you’re trying to portray. “You play an incredible translator role when you speak to the larger vision of the film. (page 14 Jacqueline).

Movability

When designing a set you have to consider “where people can come and go, or where the camera can be placed in a particular scene.” (page 14 Jacqueline).

Transportation of built set pieces and the durability of the pieces

Hannah Beachler explains that “there has to be more than one entrance on set, depending on the size of the film and things like the complexity of its crew and sound stage. There can’t be a bunch of people coming in and out of a single door. I have to find hidden ways to integrate doors into the design for those purposes.” (page 14 Hannah Beachler).

You have to also consider the use of recording equipment such as a crane, when filming in existing spaces. You have to consider the weight of the items and how to get them into the space. (page 15 Hannah Beachler).

sustainability

It’s important to consider sustainability of materials and pieces, being able to re-use or borrow pieces. Trying to consider recyclable “material that can be reused, recycled, or entirely donated afterwards, without sacrificing the desired look.” (Giménez).

Props are very important in set design. Some affordable and sustainable ways you can curate props are to make them, borrow them, or buy them second hand. If you buy props second hand, you can resell them after filming. “For props it’s really good if you get them used because it gives that effect that is really being used in the space.” (Andyax). 12

interviews / takeaways ANSLEY MEEKER

3rd Year student at Virginia Tech with experience in theater for 10 years – 7 years of acting experience and last 3 years as stage manager. Her Acting experience helped guide her in stage managing, understanding how the actors interact with the set. Her dad was the technical director throughout her theater experience and worked with him as stage manager. Acting experience helped guide her in stage managing, understanding how the actors interact with the set. Her dad was the technical director throughout her theater experience and she worked with him as stage manager. Problems/Difficulties: Transportation of set pieces Thinking of how pieces can be reused for other plays, also reusing previous pieces and incorporating for the set (sustainability), using borrowed materials

TYLER COWHER 2nd Year Student at Virginia Tech, studying film, with experience in writing and creating small documentaries. Tyler states that since being at Virginia Tech, although the film program is mostly theater arts focused, it has given him the opportunity to be able to borrow gear from the school to be able to create short films. In high school he was only really able to write scripts because filming gear is so expensive. 13

KATHLEEN SENUS 3rd Year Student at Virginia Tech, majoring in Industrial Design and minoring in Theater Arts. Works with the school’s theater arts program, applying the technical and creative skills to the scenic design Works with musical and non-musical plays. Technical aspects of set/scenic design: Thinking of how things have to be built & construction, bringing design plans to technical director “Non-musical plays allow you to be more creative with the design process, more whimsical and outlandish. Musical plays like Frozen for example, have more specific requirements for the design.” (Senus) Process: Idea Final Product Iterative process, narrowing down concept Prototyping Fabrications Renderings With working with set/scenic design in theater, Kathleen has full reign in the decision making for the design. She works collaboratively with the director of the play to make sure it works well with the play. Taking consideration of the lights and where they should be and how the design affects it. Problems/Difficulties: Sometimes hard to come up with concept, understanding the play Use of space and constraints of the stage Problem solving visually

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Recommendations LIGHTING CONTROL

When lighting a set you want to make sure the colors work with the lighting both on and off screen. “You want something with dark tones so you have an opportunity to light those walls...white walls bounce a lot of light making it hard to control.” (Mogul). Lighting helps communicate the story and sets the mood.

SOUND CONTROL Sound stages can be more affordable compared to paying for a location. “... a lot of events that might be happening at a location you have to pay for the adjacent buildings to be quiet and in the case of this set there is not... ’where do you draw the line between historical and fantasy?’ I think as long as you create something that has its roots in something that's historically accurate.” (Mogul).

Goals To design sets that better support actors, and everyone involved with the production. Taking into consideration the lighting, sound control, movability, the constraints of the set, and the visual barriers to help tell a story. Also taking in consideration of sustainability and how pieces or sets can be reused or repurposed. 15

DESIGN IMPLEMENTATION 16

site

AUDURO STUDIOS LOCATED IN AUSTIN, TEXAS Stage A 2,000 square feet of shooting area Largest production facility at Aduro Features a pre-lit cyc wall with full-spectrum RGB lights Grip and Lighting gear accessible on site Muliple Amenities included $12,000/12 hr & $750/6 hr

Stage B 1,400 square feet of shooting area Features a pre-lit cyc wall with full spectrum RGB Lights Grip and Lighting gear accessible on site Some Amenities included $800/12 hr & $550/6 hr 17

film adaptation NANCY DREW - THE BUNGALOW MYSTERY BY CAROLYN KEENE

James D. Keeline Summary of the Bunglow Mystery “The Bungalow Mystery is the third Nancy Drew mystery and the last volume in the initial “breeder set” published in 1930. The publishers issued a condensed and revised version of the text in 1960—although this is one of the instances where there are no significant changes between the two versions. In both stories, Nancy is boating with her friend, Helen Corning, when they hit a submerged log and begin to sink. The girls are nearly drowned but their lives are saved by Laura Pendleton. Laura is an orphan, and she’s about to meet her new court-appointed guardian(s). Later, Laura runs away from her new caretaker(s), and Nancy endeavors to help, eventually discovering that Laura’s actual guardian was kidnapped and trapped in the cellar of a seemingly abandoned bungalow.” (Keeline).

main Settings Small Bungalow Nancy’s House Pinecrest Motel Montewago Hotel Jacob Aborn’s Bungalow Old Shack Beachcliff Hotel

“The intent of world-building can be daring and even confrontational, or it can be functional, practical, or accessible. Place-setting, either through world-building or the reimagination of existing places and spaces, is an integral part of the storytelling process of filmmaking. Place as context can be background or foreground…” (page 9 Toni).

main characters Nancy Drew

Helen Corning

Laura Pendleton

“Mr. Aborn”

“Mrs. Aborn”

Mr. Drew

Hannah Gruen

Jacob Aborn

Jim Donnell

Cathy Donnell

When perfoming, it’s important for actors to believe they’re in the world you created. Considering what is built and what is cgi, how actors interact with the set, and how it affects the performance. Sometimes bringing in actors’ personal items to help connect and interact better with the set. (page 26-27 Hannah Beachler). 19

SMALL BUNGALOW

Hideout, place of sanctuary, getaway

“small concealed building... one and a half storied weather beaten bungalow” “short distance from the water's edge the upper level nestled into the steep wooded hills” “a small window to the right of the door...low enough to the ground for the girls to hoist themselves through easily” “a small bulb in the ceiling disclosed nothing except two canoes and a wooden bench which stood against one wall” “narrow flight of stairs leading to the second floor... was furnished with two cots and blankets a table and chairs tiny refrigerator a sink and a two burner electric stove”

JACOB ABORN’S BUNGALOW the painting in living room had concealed a wall safe “Nancy noted that the second floor wing where the bedrooms apparently were located was in the back” “...the feminine furnishings and good colonial pieces showed evidence of discerning taste they did not fit the Aborn's character” “...ducked out of sight behind a large sofa she was just in time one of the louvre doors opened and laura's guardian came into the living room carrying a suitcase he flicked on a table lamp”

BEACHCLIFF HOTEL “white building with a green lawn slope down to the sandy beach on the stone pillar at the side of the driveway was the sign beach cliff hotel” “pleasant lobby” “comfortable room overlooking the lake”

Keene, Carolyn. The Bungalow Mystery. Grosset & Dunlap, an Imprint of Penguin Random House LLC, 2015.

MONTEWAGO HOTEL New York hotel “beautiful”, “spacious, several stories high, long distance back fro the main road” “...in front stretched a green lawn bordered by beds of multicolored gladioli dahlias and giant asters” “...outdoor swimming pool on the right of the hotel, riding stable behind”

PINECREST MOTEL “Nancy and Helen’s room on ground floor” “tasty dinner in restaurant” “earthy smell of the forest surrounding the motel”

OLD SHACK boarded windows “the room beyond was bare and quiet as a tomb” “a flight of stone steps leading down into complete darkness” “...Nancy anxiously moved the lantern up and down illuminating the dingy walls”

NANCY’S HOUSE large, red-brick house creeky window in ground floor library, located at the far end of the living room. mr drew used this room as study. comfortable room with book line shelves, deep-seated leather chairs and a wide highly polished mahogany desk, yellow club chair

Keene, Carolyn. The Bungalow Mystery. Grosset & Dunlap, an Imprint of Penguin Random House LLC, 2015.

Appendix 1 - resources AUDURO STUDIOS

TRILITH STUDIOS

BOOKS Understanding Design in Film Production

Design in a Frame of Emotion

DOCUMENTARIES/VIDEOS Assembled the Making of WandaVision

How Hollywood Creates Immersive Worlds

How To Transform Any Room Into A Film Scene

Nicholas Sparks’s Safe Haven Set Tour with Josh Duhamel and Julianne Hough

Knives Out - Behind the Scenes

OTHER RESOURCES What Is Set Design In Film?

Springer Link - Set Design Definition - More Information “Set design is the creation of the physical space in which the action of a performed event takes place. Primarily used to describe theater productions, it constitutes all the scenery, furniture, props, appearance, and overall look of the stage. Set design is also known as scenic design, theater design, theatrical design, and stage design. Although these terms are used interchangeably in most instances, set design or scenic design have become more popular in current terminology because they can be applied to television and film as well as theater. A related and more recent term, scenography, encompasses the sound, costume, lighting, and all other technical designs of a theatrical production. Production design is the term used for the comparable craft in cinema or television.” (LuPone). 24

Appendix 2 - Interviews INTERVIEW QUESTIONS What is your experience? (Depending on the interviewee, with film, or set/scenic design) What is the process like? What are some issues in set design? How involved are set/scenic designers with the choices and selections? How does the set affect production?

INTERVIEWEES Ansley Meeker - Interviewed 11/2/2023 3rd Year student at Virginia Tech with experience in theater for 10 years – 7 years of acting experience and last 3 years as stage manager. Her Acting experience helped guide her in stage managing, understanding how the actors interact with the set. Her dad was the technical director throughout her theater experience and worked with him as stage manager. Tyler Cowher - Interviewed 11/7/2023 2nd Year Student at Virginia Tech, studying film, with experience in writing and creating small documentaries. Tyler states that since being at Virginia Tech, although the film program is mostly theater arts focused, it has given him the opportunity to be able to borrow gear from the school to be able to create short films. In high school he was only really able to write scripts because filming gear is so expensive. Kathleen Senus - Interviewed 11/2/2023 3rd Year Student at Virginia Tech, majoring in Industrial Design and minoring in Theater Arts. Works with the school’s theater arts program, applying the technical and creative skills to the scenic design Works with musical and nonmusical plays.

Scenic Design Portfolio

Appendix 3 - book analysis NACY DREW SUMMARIES

THE

BUNGALOW

MYSTERY

CHAPTER

Synopsis Review from Bookmice.net The Bungalow Mystery was originally written in 1930 and revised in 1960.

CH. 01

“Nancy and Helen are in a motorboat. There is a storm coming. Something happens and their boat is hit and it sinks. Helen is hurt. Nancy tries to tow her to shore. A rowboat with a girl in it arrives. She's Laura Pendleton.”

CH. 02

“They avoid a jagged boulder and go to a bungalow for shelter. No one is there but Nancy gets in through a window. Laura's mother died a month ago; her father was already dead. Laura's guardian is Jacob Aborn. Nancy and the girls leave to go to a motel. Some nasty woman shows up and says she's Mrs. Aborn. The woman gets Laura's mother's name wrong.”

CH. 03

“Nancy is suspicious of the Aborns. She plays tennis. Laura's parents may have been rich. A black car leaves the bungalow they had stayed in and nearly hits their car. Hannah has a sprained ankle. Nancy plans to return home and meets with Laura before she goes. Mrs. Aborn says Laura is nearly penniless. Helen recognizes Jacob as the driver of the black car.”

CH. 04

“Helen doesn't like the Aborns. Nancy drives towards home but a bridge is out. A storm starts and a pine tree falls onto the road. The Donnell's drive up and help Nancy move the tree. They talk highly of the Aborns. Nancy gets home. Mr. Drew needs Nancy's help on an embezzlement case.”

CH. 05

“Nancy and Hannah talk and eat dinner. She calls her father at a hotel but he's already checked out. She hears someone in the house, but it turns out to be her father. Mrs. Drew says some bonds are missing in the case he's working on, and he needs Nancy to talk to four people whose securities are missing. Some woman calls Nancy; she hears a cry of pain and a crash.”

CH. 06

“(There was no easy way, when this was written, to find out the phone number of someone who called you, another change in technology.) Nancy goes to talk to Farley, one of the four. An old widow is there and is nice to her. Nancy gets invited to a barbeque by a former classmate. (Nancy has definitely graduated from high school).”

Bookmice. “The Bungalow Mystery.” Review, www.bookmice.net/darkchilde/yadult/drewcompare3a.html. Accessed 5 Dec. 2023.

CH. 07

“Nancy thinks the earlier call was from Laura. The Aborn's phone number has been disconnected. Nancy talks to her father. She goes to see the #3 person on the list.”

CH. 08

“The number three person is okay in Nancy's opnion. The last person she checks on is not there. Laura is at Nancy's home and has run away. She had heard the Aborns talking about getting her jewels. They have been nasty to her.”

CH. 09

“Laura will stay at Nancy's house. Mr. Drew calls. A guy will take Laura instead of Nancy to the party so Nancy can do some snooping. Laura shows Nancy and Hannah the jewels and they put them in the safe. Nancy goes to sleuth and sees Jacob Aborn carrying something, but she loses track of him.”

CH. 10

“Nancy can't find him. She sees a beat-up old shack and Jacob surprises her. He tells her lies about Laura. Nancy hears a noise in the shack. She ends up staying at a hotel.”

CH. 11

“Nancy calls Hannah. A couple is watching Nancy. Later she goes to the Aborn's house. Nancy gets into the house but people arrive. She hides, sees Jacob going through Laura's dresser drawers.”

CH. 12

“He looks into the closet where Nancy is hiding but doesn't see her. He opens a wall safe and it has bank notes and other things in it. Nancy leaves the house to examine the shack. She finds a trap door and goes down and finds the real Jacob Aborn.”

CH. 13

“Her flashlight goes out but she finds a lantern. Jacob is chained up. He says that crooks took over his house, and that the male crook is an actor. Several people are working with the crook. A guy sneaks down the stairs.”

Bookmice. “The Bungalow Mystery.” Review, www.bookmice.net/darkchilde/yadult/drewcompare3a.html. Accessed 5 Dec. 2023.

CH. 14

“The guy hits Nancy and knocks her out. He ties Nancy up and then leaves. Jacob fills her in on Laura's mother and what happened to her. This all ties in to the bank thefts that Mr. Drew is working on. The lantern goes out.”

CH. 15

“Hannah is worried about Nancy. Laura gets back from the barbeque. Mr. Drew arrives. He, Laura and a boy named Don will go look for Nancy. Mr. Drew has found out a lot about the actors (the Dowds). The police are also looking for them.”

CH. 16

“Nancy gets loose of the ropes and frees Jacob. Her car has been messed with. She sees the crooks leaving in a car. Nancy and Jacob go to his house. They hear a car.”

CH. 17

“The Donnells show up. Jacob's wife is returning soon. Nancy's father arrives. Laura meets the real Jacob. A state trooper arrives. Nancy thinks she knows where the crooks are hiding.”

CH. 18

“She thinks they're in the bungalow. Mr. Drew, Nancy and Don head for it. They approach the place on foot, but the crooks leave suddenly in a car. Nancy drives after them and the crooks miss a sharp turn in the road and go over a cliff.”

CH. 19

“Nancy and the others drag the injured out. Nancy tries to save the stolen stuff but the car blows up. The police, etc. arrive. The bags are opened, but there are no papers or bonds in them.”

CH. 20

“False bottoms are found in the bags and the stolen stuff is there. Nancy and her father go to the hotel. Don drives back to their house. The next day they go and see the real Aborns. The police and the bank president arrive. The bank mess is cleared up. The next day Laura comes to Nancy's place to get her jewels and gives Nancy an aquamarine ring.”

Different book cover illustrations from over the years Bookmice. “The Bungalow Mystery.” Review, www.bookmice.net/darkchilde/yadult/drewcompare3a.html. Accessed 5 Dec. 2023.

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