MINKY WOODCOCK:
THE GIRL WHO HANDCUFFED HOUDINI
Series Pitch
An interactive series based on a popular graphic novel series and hit New York City immersive play created, staged and written by Cynthia von Buhler.
Revised Pitch 10.25.19
Merging the reality of true crime with the style of a Jazz Age period drama, Minky Woodcock: The Girl Who Handcuffed Houdini, an immersive television drama, follows wannabe private investigator Minky Woodcock as she dives deep into the facts surrounding the mysterious death of Harry Houdini.
Dead set on proving to her sexist father that she has what to takes to be a private eye, Minky’s full-contact investigative style gets her dangerously tangled up in the case.
As the story unfolds, and Minky meets new characters, the viewer is offered a choice to stay with her or follow one of ten characters involved in the situations surrounding Houdini’s final month of life and his subsequent death. They might choose to follow Bess Houdini, Sir Arthur Conan Doyle or even Houdini himself. Each character tells a different version of the story and offers up new insight surrounding his unfortunate demise.
The viewer, after having been shown the evidence revealed by the path they have chosen to follow, is left to decide where the truth actually lies, allowing them to invest fully and add their own closure to the case. As in real life, depending upon the path they follow, viewers will come to different conclusions about Houdini’s death.
Minky Woodcock: The Girl Who Handcuffed Houdiniaims to keep the viewer thinking about what they have seen long after the credits roll. The cases Minky investigates have been chosen for their bizarre, yet true, facts. The show reveals evidence backing Minky’s findings from actual newspaper articles, medical forms, photographs, letters, autopsy reports and the like – merging reality and fiction.
Dead set on proving to her sexist father that she has what to takes to be a private eye, Minky’s full-contact investigative style gets her dangerously tangled up in the case.
As the story unfolds, and Minky meets new characters, the viewer is offered a choice to stay with her or follow one of ten characters involved in the situations surrounding Houdini’s final month of life and his subsequent death. They might choose to follow Bess Houdini, Sir Arthur Conan Doyle or even Houdini himself. Each character tells a different version of the story and offers up new insight surrounding his unfortunate demise.
The viewer, after having been shown the evidence revealed by the path they have chosen to follow, is left to decide where the truth actually lies, allowing them to invest fully and add their own closure to the case. As in real life, depending upon the path they follow, viewers will come to different conclusions about Houdini’s death.
Minky Woodcock: The Girl Who Handcuffed Houdiniaims to keep the viewer thinking about what they have seen long after the credits roll. The cases Minky investigates have been chosen for their bizarre, yet true, facts. The show reveals evidence backing Minky’s findings from actual newspaper articles, medical forms, photographs, letters, autopsy reports and the like – merging reality and fiction.
SUMMARY
When the door of the Minky Woodcock’s detective agency is darkened by Minky’s literary idol and the creator of Sherlock Holmes, Sir Arthur Conan Doyle, she’s starstruck. He asks her to dig up dirt on his former friend, magician Harry Houdini, but won’t stop spouting off about Spiritualism. Disappointed that he's such a nut case, she declines the job and moves on. However, her curiosity is piqued a few days later when Houdini’s wife, Bess, wants to hire Minky to prove he’s been having an affair. Minky goes undercover on tour with Houdini, whose fetish for being tied up and tortured really turns her crank. When he is mysteriously killed by multiple sucker punches from two seemingly unrelated men, she suspects foul play and goes after Conan Doyle. But the mystery mastermind tricks Minky, who must use all of her wits to exonerate herself.
PILOT - EPISODE ONE
ACT ONE
INT. – WOODCOCK & SONS OFFICE – DAY
An aerial view close-up of Minky typing a letter.
INT.– FUNERAL HOME – DAY
An elegant London funeral home. An attractive auburn-haired woman lies pale and stiff inside a coffin. A priest is giving a sermon over her.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH. (typewriter sounds)
MINKY WOODCOCK (V.O)
October 11, 1926. Dear Mrs. Christie, You may not remember me. We met many years ago when my family was living in London.
EXT.– CEMETARY – DAY
A young Minky, who looks about thirteen years old, with red hair, stands solemnly with her brother at a funeral service in the rain. Minky holds an umbrella over the two them. She holds her brother close to her. Agatha Christie, the famous crime author, stands behind them watching.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
My father is Benedick Woodcock, the private investigator. We met at my mother’s funeral.
One tear drips down the girl’s cheek. Agatha takes out a delicate handkerchief and hands it to Minky.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
You told me to contact you if ever I needed anything.
Minky wipes her eyes. Agatha hands Minky a book with a copy of her business card in it and whispers something to her.
SFX: CLICK, CLICK, CLICK, CLICK...SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
I adore your books. Hercule Poirot, with his waxed mustachio, reminds me of my father.
EXT. – MANHATTAN STREET – DAY
Minky, now twenty, is walking in New York City. She is very attractive and men are looking at her.
MINKY WOODCOCK (V.O) (CONT‘D)
Speaking of father, I was hoping for some advice.I want to be a private detective, but he won’t let me. He’ll only allow me to be his secretary.
SFX: CLICK, CLICK, CLICK, CLICK...SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
He’s made my brother his partner, but Bennie is never at work. He‘s always out in the speakeasies. I don’t drink myself.
EXT. – EAST RIVER PROMENADE - DAY
Minky pulls a flask out of her purse and takes a long swig. She thinks she sees a hand in the water.
GHOST OF MINKY’S MOTHER
Help me…
MINKY WOODCOCK
(to herself)
Mother!
Minky leans in precariously towards the water reaching out her hand. A passing old man grabs her by the waist and pulls her backwards.
OLD MAN
Hey! Be careful, Miss. Feeding seagulls isn’t worth dying for.
Minky squints searchingly into the water. There’s nothing there but a seagull cleaning itself on a floating piece of driftwood. The seagull flies away and the old man walks off.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O.)
My brother is quite the hoofer. I’d say he dances like Fred Astaire, but he’s actually more like his sister. He has no interest in being a detective.
INT.– WOODCOCK & SON OFFICE – DAY
Minky is sitting at a typewriter in her father’s office. The glass door says Woodcock & Son. There is a rabbit jumping around on the desk. The phone is ringing. It’s an unusually warm early October day and a small fan is WHIRRING on a file cabinet. The blinds cast lines of light across the desk and over Minky. RING, RING. She answers the phone.
SFX: RING, RING! RING, RING!
MINKY WOODCOCK
(into the phone, fake cheeriness)
Woodcock & Woodcock, how may I help you?
A shadow of a man approaching is outside the door.
MINKY WOODCOCK (CONT’D)
(into the phone)
I’m sorry. Mr. Woodcock is out of town on vacation. Would you like to leave your name and a number where he can reach you when he returns?
Minky picks up a pencil.
MINKY WOODCOCK (CONT’D)
(into the phone)
Three weeks.
MINKY WOODCOCK (CONT’D)
(into the phone)
Yes, I have it. Murray Hill 4325. Goodbye.
She sighs, jots down a name and hangs up the phone. A dignified man, author SIR ARTHUR CONAN DOYLE, knocks on the already opened door.
SFX: KNOCK, KNOCK
Minky is leaning over the typewriter reading what she has typed. The knock startles the rabbit and she jumps on the typewriter and types a few unwanted letters onto the page.
The man walks into the office. Minky doesn’t notice him.
MINKY WOODCOCK
(frustrated, fussing with the letter)
Agatha, no!
She doesn’t look up. Sir Arthur looks at the rabbit.
SIR ARTHUR CONAN DOYLE
(with a British accent)
A rabbit? Are you making a stew for dinner? I adore a good
(with an excellent French accent)
Lapin a La Cocotte.
Minky finally looks up.
MINKY WOODCOCK
(annoyed)
Do you cook your friends? I don’t!
She is looking down again with her chin in her hands, bored.
SIR ARTHUR CONAN DOYLE
My name is Arthur. I’m an old school friend of Benedict Woodcock. I need him to do an investigation for me.
Minky sits up at attention, surprised. Sir Arthur seems to have expected this response.
MINKY WOODCOCK
(flustered, embarrassed)
Sir Arthur…? Oh, my! I didn’t recognize you. I adore your books!
Minky jumps up.
MINKY WOODCOCK (CONT’D)
Let me take your coat. Have a seat. Do you want coffee…oh wait, you drink tea, yes?
He sits down stiffly and takes off his hat.
SIR ARTHUR CONAN DOYLE
No, thank you. I’m fine.
MINKY WOODCOCK
Perhaps I can help you?
(lying, looking away, not meeting his eyes)
I’m…um…his partner. Mr. Woodcock left me in charge while he’s traveling.
SIR ARTHUR CONAN DOYLE
I see.
He picks up a business card off a little stack on the desk and looks at it as he speaks. It has her father’s and brother’s names on it, not hers.
SIR ARTHUR CONAN DOYLE
Benedick Woodcock II. It’s good to meet you, Bennie. Your father has told me so much about you – and your sister.Tell me, Minky, is your father really away for three weeks?
Minky blushes.
MINKY WOODCOCK
(embarrassed, flushed)
Yes, he’ll be back after Halloween.
(changing the subject, fanning herself with her hand)
Can you believe this warm weather? I had to dig the fans out of the closet and shut the blinds...
SIR ARTHUR CONAN DOYLE
I have a case I want him to work on. It involves
(pause for emphasis)
Harry Houdini.
FLASHBACK:
INT.– THEATER – NIGHT
Harry Houdini is doing his brick wall trick (as envisioned by Sir Arthur). Harry looks see-through as though he is reaching through the wall. There is a massive shocked audience watching.
SIR ARTHUR CONAN DOYLE (V.O.)
I saw him walk through a brick wall with my own eyes.
SIR ARTHUR CONAN DOYLE (V.O.) (CONT’D)
He’s not a magician, he a spiritualist with God-given powers.
FLASHBACK ENDS.
MINKY WOODCOCK
(excitedly)
Oh! I love magic. I saw a magician make a rabbit disappear once.
Sir Arthur points at the rabbit.
SIR ARTHUR CONAN DOYLE
(menacing)
I can make this rabbit disappear if you’d like. Houdini’s going to need a rabbit foot – or four.
Minky grabs her pet protectively.
SIR ARTHUR CONAN DOYLE (CONT’D)
The man’s luck is about to run out.
He looks her up and down.
SIR ARTHUR CONAN DOYLE (CONT’D)
Tell me, what does your father think about spiritualism?
MINKY WOODCOCK
(sarcastic)
You mean talking to dead people? Why would anyone want to do that?
SIR ARTHUR CONAN DOYLE
(calmly patronizing)
My dear, I’d like to think the better question is, who wouldn’t?
MINKY WOODCOCK
I think it’s a lot of baloney and I’m certain my father would agree.
SIR ARTHUR CONAN DOYLE
(impressed at her spunk and lack of fear)
Wouldn’t you like to speak with your deceased mother?
MINKY WOODCOCK
(Biting her lip)
Well, sure, but--
SIR ARTHUR CONAN DOYLE
My dear! Your mother is likely trying to contact you right now, but your lack of belief is blocking her.
Minky thinks about this and her lip quivers slightly.
MINKY WOODCOCK
What’s it got to do with Houdini?
Sir Arthur suddenly gets red in the face and blustery.
SIR ARTHUR CONAN DOYLE
I need to expose him for what he really is – a competitive and vindictive spiritual medium.
MINKY WOODCOCK
I’m confused. Sherlock Holmes doesn’t believe in ghosts, but you do?
SIR ARTHUR CONAN DOYLE
Sherlock Holmes is only a character I write. He isn’t me. He’s based on a man we both know well.
MINKY WOODCOCK
M..my father?
SIR ARTHUR CONAN DOYLE
(smiling, coy)
Possibly.
(serious)
Where can I reach your father? I need him to start working on this immediately.
MINKY WOODCOCK
(lying)
That’s impossible. He’s, um, in Africa, on safari. But I can help you. I can watch Houdini and see if he has anything up his sleeves. My father is too well known anyway. Nobody would suspect me.
SIR ARTHUR CONAN DOYLE
This isn’t like playing with dolls… or bunnies. This is dangerous. Your mother died doing this type of work.
MINKY WOODCOCK
(sitting up)
She wasn’t afraid of anything and neither am I.
SIR ARTHUR CONAN DOYLE
Well, you are attractive and Harry likes the ladies--
MINKY WOODCOCK
and I like the men.
SIR ARTHUR CONAN DOYLE
A boat ride back from Africa will take too long even if I send a telegram now.
MINKY WOODCOCK
It would. It really would.
SIR ARTHUR CONAN DOYLE
You may not be acquainted with spiritualism, but you are spirited. If you are going to do this, you must first be enlightened.
He hands her an envelope. Minky opens it and reads out loud.
MINKY WOODCOCK
Margery, the celebrated spiritualist from Boston, cordially invites you to a séance on October 11, 1926 at 407 Park Avenue at eight p.m.
Sir Arthur puts on his hat, bows stiffly and exits.
SIR ARTHUR CONAN DOYLE
I’ll see you at 8p.m. Good day.
END OF ACT ONE
ACT TWO
INT.– APARTMENT– NIGHT
MONTAGE:
–Minky puts “I’ll See You In My Dreams” on her Victrola.
–She pulls her dress over her head.
–She is taking a bath and drinking a Dry Martini.
–She gets out of the bath and is getting dressed. She puts her makeup on.
–Agatha is watching her.
MINKY WOODCOCK
Goodnight Agatha, I’m off to meet some ghosts.
EXT. – MANHATTAN STREET – NIGHT
Minky is outside a brownstone mansion. Gaslights illuminate the eerie and imposing façade. She rings the door and is ushered into a parlor by a handsome young butler.
INT. – TOWNHOUSE MANSION HALL – NIGHT
He takes her coat. Elegantly attired guests are mingling and sipping cocktails. She is offered a martini by the smiling butler. Sir Arthur is across the room.
BUTLER
May I take your coat?
MINKY WOODCOCK
Thanks!
INT. – TOWNHOUSE MANSION PARLOR – NIGHT
They are ushered into a dark parlor lit only glowing fire behind Margery who is sitting in a hooded, open-backed chair, eyes closed, with lit candles in both of her palms.The light flickers around the edges of her naked body. There are hunting trophies with candle wax dripping from their eyes like tears. The chandelier above the table and candles all around the room are heavily dripping with dried wax.
SIR ARTHUR CONAN DOYLE
(standing)
I’m so glad all of you made it this evening. The celebrated medium, Margery of Boston, is here to bring her deceased brother and spirit guide, Walter, back from the grave to speak with us. I must warn you that Margery does her séances in the nude. If you are offended by nudity, please step outside. Margery is especially adept at manifesting spirit ectoplasm from her orifices.
FEMALE GUEST
Oh!
A female guest flushes at this comment, presses her hand to her chest with one hand and fans herself with the other. There is hushed whispering. The butler gestures an offer for the female guest to leave, but she gestures that she will stay.
SIR ARTHUR CONAN DOYLE
(standing)
Please be seated.
The butler seats the guests around a large circular table. Minky and Sir Arthur sit on either side of Margery. Margery opens her eyes. She blows out the candles in her hands and the butler takes them away.
MARGERY
My darling brother died when we were children. He was riding his beloved pony on a fox hunt with our father and was thrown when the animal became agitated. Walter loved his pony more than anything in the world and it always wore this bell on a ribbon around it’s lovely neck.
Margery points to the bell in the center of the table.
MARGERY (CONT’D)
When I arrived here in Montreal yesterday this room looked like any other hotel room. There was a bronze chandelier, and perfectly normal candelabra and these typical hunting trophies on the walls. I put the candles out and went to bed. This morning when I awoke everything in the room was weeping. My dearest brother Walter is in pain. We will try to reach him now and find out who is hurting him.
MARGERY (CONT’D)
My brother communicates with me through this bell.
The Butler touches the bell on the table.
SFX: DING!
MARGERY (CONT’D)
Please, place your hands flat on the table, palms down. Thumb to thumb, pinky to pinky. All of our hands must be touching.
MARGERY (CONT’D)
Walter, my dearest brother, be guided by the light of this world and visit us! Show us a sign that you are here.
The candles on the table light and float up above the table. Then they abruptly drop down spewing wax on the table cloth.
FEMALE GUEST
Oh!
MARGERY
Walter, my dearest brother, be guided by the light of this world and communicate with us. Ring the bell to answer yes.
MARGERY (CONT’D)
Is this candle wax your tears?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Are you upset?
The bell rings twice.
SFX: DING! DING!
MARGERY (CONT’D)
Dearest Walter, is there a woman hurting you?
Silence.
MARGERY (CONT’D)
Is it a man?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Is this man trying to silence you?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Is it a man we all know?
The bell rings three times.
SFX: DING! DING! DING!
MARGERY (CONT’D)
We will now use the spirit board to figure out who it is who is hurting Walter.
Margery picks up the planchette and places it on the board.
MARGERY (CONT’D)
Walter, my dear, bring your unseen hand and reveal who is trying to silence you.
The planchette begins to move around the board by itself. It lands on H. Arthur holds his hand to his mouth in shock.
SIR ARTHUR CONAN DOYLE
H! It’s Harry Houdini! I knew it! He’s been lying to all of us and now he’s trying to prevent access the spiritual world. We now have witnesses to prove this to the world.
MARGERY
Ohhhh! Ohhhh! The spirit of my beloved brother has left the room. Our communication has ended.
Margery blows out the candles.
MARGERY (CONT’D)
Usually Walter spells out full names. Harry Houdini is making it harder for him to talk to me. Houdini wants to cut off all communication to the spirit world. He is a selfish man who wants all the attention for himself.
She stands up.
MARGERY (CONT’D)
Forgive me, I’m exhausted from the communication and I need a moment.
Margery walks to her butler. She stands with her back to him and he wraps a black cape around her. She goes behind a curtain into an adjoining room.
Sir Arthur leans across the table towards Minky.
SIR ARTHUR CONAN DOYLE
Did you feel Walter’s sadness?
Minky leans towards him.
MINKY WOODCOCK
(to Sir Arthur)
No. But I saw you staring at that woman’s naked body. I can’t believe that the creator of Sherlock Holmes would be taken in by this banana oil.
Sir Arthur angrily draws air in through his nose and breathes out heavily. Minky is surprised and annoyed.
SIR ARTHUR CONAN DOYLE
(aghast)
I find it appalling how little faith you have.
MINKY WOODCOCK
(disgusted, to Sir Arthur)
I’m sorry. I’m not interested in taking this case and I doubt my father would be either.
SIR ARTHUR CONAN DOYLE
(to Minky, under his breath)
You will regret it.
MINKY WOODCOCK
Ha!
Minky walks away from him. The butler approaches Minky with her coat.
MINKY WOODCOCK
(smiling)
She’s screwy. What’s it like working for her?
BUTLER
(smiling)
It has its benefits.
MINKY WOODCOCK
I’ll bet! What’s this obsession with Houdini?
BUTLER
Houdini tells anyone who will listen that spiritualism is a bunch of malarkey. It’s hurting their profits. I actually like the guy, myself.
MINKY WOODCOCK
You know Houdini?
BUTLER
I’ve shared a drink with him a few times.
MINKY WOODCOCK
Where?!
BUTLER
At the speakeasy next door.
Minky stands up getting ready to leave. Margery reappears from behind the curtain.
MARGERY
Wait! I have one more message from beyond!
Margery, in a trance, approaches Minky.
MINKY WOODCOCK
Excuse me, I’m on my way out.
Margery blocks her exit.
MARGERY
The communication is coming from right here.
Margery is standing in front of Minky. They lock eyes. Minky leans back and Margery leans forward as though she is going to kiss (or devour) her face. Minky appears almost mesmerized, but she comes to her senses and pushes her away.
MINKY WOODCOCK
Get away from me!
Margery, her robe now fully off, is spinning with her arms out.
MARGERY
I feel a presence. Spirit, come into me!
Margery is holding her throat. She slides to the floor.
MARGERY (CONT’D)
(in a creepy disembodied voice)
I can’t breathe. Help me… the water…is cold…I’m so cold…
Margery is struggling to breathe. She is coughing and arching her body seductively. Suddenly, Margery begins to pull a long ethereal fishing net-like cloth from her mouth. An impossible amount of the netting continues to slide across her small white teeth and exit through her moist, red lips. She tugs the last bit out and holds the whole frothy length of it out to Minky.
MARGERY (CONT’D)
My daughter…this is for you…
Minky staggers backwards through the parlor door, turns and runs out of the house.
INT. – WOODCOCK & SONS OFFICE – DAY
An aerial view close-up of Minky typing a letter.
INT.– FUNERAL HOME – DAY
An elegant London funeral home. An attractive auburn-haired woman lies pale and stiff inside a coffin. A priest is giving a sermon over her.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH. (typewriter sounds)
MINKY WOODCOCK (V.O)
October 11, 1926. Dear Mrs. Christie, You may not remember me. We met many years ago when my family was living in London.
EXT.– CEMETARY – DAY
A young Minky, who looks about thirteen years old, with red hair, stands solemnly with her brother at a funeral service in the rain. Minky holds an umbrella over the two them. She holds her brother close to her. Agatha Christie, the famous crime author, stands behind them watching.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
My father is Benedick Woodcock, the private investigator. We met at my mother’s funeral.
One tear drips down the girl’s cheek. Agatha takes out a delicate handkerchief and hands it to Minky.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
You told me to contact you if ever I needed anything.
Minky wipes her eyes. Agatha hands Minky a book with a copy of her business card in it and whispers something to her.
SFX: CLICK, CLICK, CLICK, CLICK...SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
I adore your books. Hercule Poirot, with his waxed mustachio, reminds me of my father.
EXT. – MANHATTAN STREET – DAY
Minky, now twenty, is walking in New York City. She is very attractive and men are looking at her.
MINKY WOODCOCK (V.O) (CONT‘D)
Speaking of father, I was hoping for some advice.I want to be a private detective, but he won’t let me. He’ll only allow me to be his secretary.
SFX: CLICK, CLICK, CLICK, CLICK...SWOOSH.
MINKY WOODCOCK (V.O) (CONT‘D)
He’s made my brother his partner, but Bennie is never at work. He‘s always out in the speakeasies. I don’t drink myself.
EXT. – EAST RIVER PROMENADE - DAY
Minky pulls a flask out of her purse and takes a long swig. She thinks she sees a hand in the water.
GHOST OF MINKY’S MOTHER
Help me…
MINKY WOODCOCK
(to herself)
Mother!
Minky leans in precariously towards the water reaching out her hand. A passing old man grabs her by the waist and pulls her backwards.
OLD MAN
Hey! Be careful, Miss. Feeding seagulls isn’t worth dying for.
Minky squints searchingly into the water. There’s nothing there but a seagull cleaning itself on a floating piece of driftwood. The seagull flies away and the old man walks off.
SFX: CLICK, CLICK, CLICK, CLICK... SWOOSH.
MINKY WOODCOCK (V.O.)
My brother is quite the hoofer. I’d say he dances like Fred Astaire, but he’s actually more like his sister. He has no interest in being a detective.
INT.– WOODCOCK & SON OFFICE – DAY
Minky is sitting at a typewriter in her father’s office. The glass door says Woodcock & Son. There is a rabbit jumping around on the desk. The phone is ringing. It’s an unusually warm early October day and a small fan is WHIRRING on a file cabinet. The blinds cast lines of light across the desk and over Minky. RING, RING. She answers the phone.
SFX: RING, RING! RING, RING!
MINKY WOODCOCK
(into the phone, fake cheeriness)
Woodcock & Woodcock, how may I help you?
A shadow of a man approaching is outside the door.
MINKY WOODCOCK (CONT’D)
(into the phone)
I’m sorry. Mr. Woodcock is out of town on vacation. Would you like to leave your name and a number where he can reach you when he returns?
Minky picks up a pencil.
MINKY WOODCOCK (CONT’D)
(into the phone)
Three weeks.
MINKY WOODCOCK (CONT’D)
(into the phone)
Yes, I have it. Murray Hill 4325. Goodbye.
She sighs, jots down a name and hangs up the phone. A dignified man, author SIR ARTHUR CONAN DOYLE, knocks on the already opened door.
SFX: KNOCK, KNOCK
Minky is leaning over the typewriter reading what she has typed. The knock startles the rabbit and she jumps on the typewriter and types a few unwanted letters onto the page.
The man walks into the office. Minky doesn’t notice him.
MINKY WOODCOCK
(frustrated, fussing with the letter)
Agatha, no!
She doesn’t look up. Sir Arthur looks at the rabbit.
SIR ARTHUR CONAN DOYLE
(with a British accent)
A rabbit? Are you making a stew for dinner? I adore a good
(with an excellent French accent)
Lapin a La Cocotte.
Minky finally looks up.
MINKY WOODCOCK
(annoyed)
Do you cook your friends? I don’t!
She is looking down again with her chin in her hands, bored.
SIR ARTHUR CONAN DOYLE
My name is Arthur. I’m an old school friend of Benedict Woodcock. I need him to do an investigation for me.
Minky sits up at attention, surprised. Sir Arthur seems to have expected this response.
MINKY WOODCOCK
(flustered, embarrassed)
Sir Arthur…? Oh, my! I didn’t recognize you. I adore your books!
Minky jumps up.
MINKY WOODCOCK (CONT’D)
Let me take your coat. Have a seat. Do you want coffee…oh wait, you drink tea, yes?
He sits down stiffly and takes off his hat.
SIR ARTHUR CONAN DOYLE
No, thank you. I’m fine.
MINKY WOODCOCK
Perhaps I can help you?
(lying, looking away, not meeting his eyes)
I’m…um…his partner. Mr. Woodcock left me in charge while he’s traveling.
SIR ARTHUR CONAN DOYLE
I see.
He picks up a business card off a little stack on the desk and looks at it as he speaks. It has her father’s and brother’s names on it, not hers.
SIR ARTHUR CONAN DOYLE
Benedick Woodcock II. It’s good to meet you, Bennie. Your father has told me so much about you – and your sister.Tell me, Minky, is your father really away for three weeks?
Minky blushes.
MINKY WOODCOCK
(embarrassed, flushed)
Yes, he’ll be back after Halloween.
(changing the subject, fanning herself with her hand)
Can you believe this warm weather? I had to dig the fans out of the closet and shut the blinds...
SIR ARTHUR CONAN DOYLE
I have a case I want him to work on. It involves
(pause for emphasis)
Harry Houdini.
FLASHBACK:
INT.– THEATER – NIGHT
Harry Houdini is doing his brick wall trick (as envisioned by Sir Arthur). Harry looks see-through as though he is reaching through the wall. There is a massive shocked audience watching.
SIR ARTHUR CONAN DOYLE (V.O.)
I saw him walk through a brick wall with my own eyes.
SIR ARTHUR CONAN DOYLE (V.O.) (CONT’D)
He’s not a magician, he a spiritualist with God-given powers.
FLASHBACK ENDS.
MINKY WOODCOCK
(excitedly)
Oh! I love magic. I saw a magician make a rabbit disappear once.
Sir Arthur points at the rabbit.
SIR ARTHUR CONAN DOYLE
(menacing)
I can make this rabbit disappear if you’d like. Houdini’s going to need a rabbit foot – or four.
Minky grabs her pet protectively.
SIR ARTHUR CONAN DOYLE (CONT’D)
The man’s luck is about to run out.
He looks her up and down.
SIR ARTHUR CONAN DOYLE (CONT’D)
Tell me, what does your father think about spiritualism?
MINKY WOODCOCK
(sarcastic)
You mean talking to dead people? Why would anyone want to do that?
SIR ARTHUR CONAN DOYLE
(calmly patronizing)
My dear, I’d like to think the better question is, who wouldn’t?
MINKY WOODCOCK
I think it’s a lot of baloney and I’m certain my father would agree.
SIR ARTHUR CONAN DOYLE
(impressed at her spunk and lack of fear)
Wouldn’t you like to speak with your deceased mother?
MINKY WOODCOCK
(Biting her lip)
Well, sure, but--
SIR ARTHUR CONAN DOYLE
My dear! Your mother is likely trying to contact you right now, but your lack of belief is blocking her.
Minky thinks about this and her lip quivers slightly.
MINKY WOODCOCK
What’s it got to do with Houdini?
Sir Arthur suddenly gets red in the face and blustery.
SIR ARTHUR CONAN DOYLE
I need to expose him for what he really is – a competitive and vindictive spiritual medium.
MINKY WOODCOCK
I’m confused. Sherlock Holmes doesn’t believe in ghosts, but you do?
SIR ARTHUR CONAN DOYLE
Sherlock Holmes is only a character I write. He isn’t me. He’s based on a man we both know well.
MINKY WOODCOCK
M..my father?
SIR ARTHUR CONAN DOYLE
(smiling, coy)
Possibly.
(serious)
Where can I reach your father? I need him to start working on this immediately.
MINKY WOODCOCK
(lying)
That’s impossible. He’s, um, in Africa, on safari. But I can help you. I can watch Houdini and see if he has anything up his sleeves. My father is too well known anyway. Nobody would suspect me.
SIR ARTHUR CONAN DOYLE
This isn’t like playing with dolls… or bunnies. This is dangerous. Your mother died doing this type of work.
MINKY WOODCOCK
(sitting up)
She wasn’t afraid of anything and neither am I.
SIR ARTHUR CONAN DOYLE
Well, you are attractive and Harry likes the ladies--
MINKY WOODCOCK
and I like the men.
SIR ARTHUR CONAN DOYLE
A boat ride back from Africa will take too long even if I send a telegram now.
MINKY WOODCOCK
It would. It really would.
SIR ARTHUR CONAN DOYLE
You may not be acquainted with spiritualism, but you are spirited. If you are going to do this, you must first be enlightened.
He hands her an envelope. Minky opens it and reads out loud.
MINKY WOODCOCK
Margery, the celebrated spiritualist from Boston, cordially invites you to a séance on October 11, 1926 at 407 Park Avenue at eight p.m.
Sir Arthur puts on his hat, bows stiffly and exits.
SIR ARTHUR CONAN DOYLE
I’ll see you at 8p.m. Good day.
END OF ACT ONE
ACT TWO
INT.– APARTMENT– NIGHT
MONTAGE:
–Minky puts “I’ll See You In My Dreams” on her Victrola.
–She pulls her dress over her head.
–She is taking a bath and drinking a Dry Martini.
–She gets out of the bath and is getting dressed. She puts her makeup on.
–Agatha is watching her.
MINKY WOODCOCK
Goodnight Agatha, I’m off to meet some ghosts.
EXT. – MANHATTAN STREET – NIGHT
Minky is outside a brownstone mansion. Gaslights illuminate the eerie and imposing façade. She rings the door and is ushered into a parlor by a handsome young butler.
INT. – TOWNHOUSE MANSION HALL – NIGHT
He takes her coat. Elegantly attired guests are mingling and sipping cocktails. She is offered a martini by the smiling butler. Sir Arthur is across the room.
BUTLER
May I take your coat?
MINKY WOODCOCK
Thanks!
INT. – TOWNHOUSE MANSION PARLOR – NIGHT
They are ushered into a dark parlor lit only glowing fire behind Margery who is sitting in a hooded, open-backed chair, eyes closed, with lit candles in both of her palms.The light flickers around the edges of her naked body. There are hunting trophies with candle wax dripping from their eyes like tears. The chandelier above the table and candles all around the room are heavily dripping with dried wax.
SIR ARTHUR CONAN DOYLE
(standing)
I’m so glad all of you made it this evening. The celebrated medium, Margery of Boston, is here to bring her deceased brother and spirit guide, Walter, back from the grave to speak with us. I must warn you that Margery does her séances in the nude. If you are offended by nudity, please step outside. Margery is especially adept at manifesting spirit ectoplasm from her orifices.
FEMALE GUEST
Oh!
A female guest flushes at this comment, presses her hand to her chest with one hand and fans herself with the other. There is hushed whispering. The butler gestures an offer for the female guest to leave, but she gestures that she will stay.
SIR ARTHUR CONAN DOYLE
(standing)
Please be seated.
The butler seats the guests around a large circular table. Minky and Sir Arthur sit on either side of Margery. Margery opens her eyes. She blows out the candles in her hands and the butler takes them away.
MARGERY
My darling brother died when we were children. He was riding his beloved pony on a fox hunt with our father and was thrown when the animal became agitated. Walter loved his pony more than anything in the world and it always wore this bell on a ribbon around it’s lovely neck.
Margery points to the bell in the center of the table.
MARGERY (CONT’D)
When I arrived here in Montreal yesterday this room looked like any other hotel room. There was a bronze chandelier, and perfectly normal candelabra and these typical hunting trophies on the walls. I put the candles out and went to bed. This morning when I awoke everything in the room was weeping. My dearest brother Walter is in pain. We will try to reach him now and find out who is hurting him.
MARGERY (CONT’D)
My brother communicates with me through this bell.
The Butler touches the bell on the table.
SFX: DING!
MARGERY (CONT’D)
Please, place your hands flat on the table, palms down. Thumb to thumb, pinky to pinky. All of our hands must be touching.
MARGERY (CONT’D)
Walter, my dearest brother, be guided by the light of this world and visit us! Show us a sign that you are here.
The candles on the table light and float up above the table. Then they abruptly drop down spewing wax on the table cloth.
FEMALE GUEST
Oh!
MARGERY
Walter, my dearest brother, be guided by the light of this world and communicate with us. Ring the bell to answer yes.
MARGERY (CONT’D)
Is this candle wax your tears?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Are you upset?
The bell rings twice.
SFX: DING! DING!
MARGERY (CONT’D)
Dearest Walter, is there a woman hurting you?
Silence.
MARGERY (CONT’D)
Is it a man?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Is this man trying to silence you?
The bell rings once.
SFX: DING!
MARGERY (CONT’D)
Is it a man we all know?
The bell rings three times.
SFX: DING! DING! DING!
MARGERY (CONT’D)
We will now use the spirit board to figure out who it is who is hurting Walter.
Margery picks up the planchette and places it on the board.
MARGERY (CONT’D)
Walter, my dear, bring your unseen hand and reveal who is trying to silence you.
The planchette begins to move around the board by itself. It lands on H. Arthur holds his hand to his mouth in shock.
SIR ARTHUR CONAN DOYLE
H! It’s Harry Houdini! I knew it! He’s been lying to all of us and now he’s trying to prevent access the spiritual world. We now have witnesses to prove this to the world.
MARGERY
Ohhhh! Ohhhh! The spirit of my beloved brother has left the room. Our communication has ended.
Margery blows out the candles.
MARGERY (CONT’D)
Usually Walter spells out full names. Harry Houdini is making it harder for him to talk to me. Houdini wants to cut off all communication to the spirit world. He is a selfish man who wants all the attention for himself.
She stands up.
MARGERY (CONT’D)
Forgive me, I’m exhausted from the communication and I need a moment.
Margery walks to her butler. She stands with her back to him and he wraps a black cape around her. She goes behind a curtain into an adjoining room.
Sir Arthur leans across the table towards Minky.
SIR ARTHUR CONAN DOYLE
Did you feel Walter’s sadness?
Minky leans towards him.
MINKY WOODCOCK
(to Sir Arthur)
No. But I saw you staring at that woman’s naked body. I can’t believe that the creator of Sherlock Holmes would be taken in by this banana oil.
Sir Arthur angrily draws air in through his nose and breathes out heavily. Minky is surprised and annoyed.
SIR ARTHUR CONAN DOYLE
(aghast)
I find it appalling how little faith you have.
MINKY WOODCOCK
(disgusted, to Sir Arthur)
I’m sorry. I’m not interested in taking this case and I doubt my father would be either.
SIR ARTHUR CONAN DOYLE
(to Minky, under his breath)
You will regret it.
MINKY WOODCOCK
Ha!
Minky walks away from him. The butler approaches Minky with her coat.
MINKY WOODCOCK
(smiling)
She’s screwy. What’s it like working for her?
BUTLER
(smiling)
It has its benefits.
MINKY WOODCOCK
I’ll bet! What’s this obsession with Houdini?
BUTLER
Houdini tells anyone who will listen that spiritualism is a bunch of malarkey. It’s hurting their profits. I actually like the guy, myself.
MINKY WOODCOCK
You know Houdini?
BUTLER
I’ve shared a drink with him a few times.
MINKY WOODCOCK
Where?!
BUTLER
At the speakeasy next door.
Minky stands up getting ready to leave. Margery reappears from behind the curtain.
MARGERY
Wait! I have one more message from beyond!
Margery, in a trance, approaches Minky.
MINKY WOODCOCK
Excuse me, I’m on my way out.
Margery blocks her exit.
MARGERY
The communication is coming from right here.
Margery is standing in front of Minky. They lock eyes. Minky leans back and Margery leans forward as though she is going to kiss (or devour) her face. Minky appears almost mesmerized, but she comes to her senses and pushes her away.
MINKY WOODCOCK
Get away from me!
Margery, her robe now fully off, is spinning with her arms out.
MARGERY
I feel a presence. Spirit, come into me!
Margery is holding her throat. She slides to the floor.
MARGERY (CONT’D)
(in a creepy disembodied voice)
I can’t breathe. Help me… the water…is cold…I’m so cold…
Margery is struggling to breathe. She is coughing and arching her body seductively. Suddenly, Margery begins to pull a long ethereal fishing net-like cloth from her mouth. An impossible amount of the netting continues to slide across her small white teeth and exit through her moist, red lips. She tugs the last bit out and holds the whole frothy length of it out to Minky.
MARGERY (CONT’D)
My daughter…this is for you…
Minky staggers backwards through the parlor door, turns and runs out of the house.