A struggling historian embarks on an odyssey of the love, faith and the supernatural when he encounters a ghost in his Brooklyn apartment.

SYNOPSIS:

Ned Conti is living a rudderless life in New York when he answers an ad for a historian. Soon he's embroiled in a mystery involving a Catholic nun, a lost love, and what happened in a Brooklyn apartment many years ago. What follows is a journey of love, memory, and an centuries old legacy which has lain in wait for him.

MADELEINE'S GHOST

OVER BLACK

The sounds of the street, as if heard from many rooms away.

FADE INTO a MS of a woman with her head bowed. Her face is not seen, or what she is doing.

There is a bed in the shot, one which someone moves. THe woman raises her head in response.

RETURN TO BLACK

Street sounds continue...

INt. living room - ned conti’s apartment - brooklyn - day

1995. OVER BLACK - CAPTION: "MARCH"

The sound of a stone hitting the floor.

FADE IN to CU of coffee table, loaded with books and scrawled notes. A smooth stone lays in the wreckage. After a beat, a second one falls next to it.

NED CONTI, 33, pauses from his bowl of froot loops to stare at them. He could probably be good looking if he hadn't given up.

As if anticipating a downpour, Ned gets up, looks around, and finds shelter underneath the kitchen table. Ned watches as the stones begin to rain from the ceiling.

INT. GUEST ROOM - APARTMENT - MINUTES LATER

Ned opens the door to a sub microscopic guest room, the floor of which is piled with rocks.

Int. Bathroom - apartment - minutes later

Ned is looking at a pile of rocks on the bathtub.

INt. Ned’s bedroom - apartment - minutes later

Ned opens the door and looks at his bed. The bed is unmade, and on it is a perfect pile of rocks. After a beat, he finishes his cereal, puts the bowl down and kneels to grab a suitcase from underneath the bed. Flipping it open, he thinks.

Int. Living room - apartment - minutes later

Ned has his shoes on, and is tugging two suitcases into the room. He puts the suitcases next to the door, and then unzips the larger one. It’s full of stones.

He begins to pile stones from the living room into the suitcase. He takes them from the desk, which has some loose pictures of a younger Ned, a happier Ned, with friends. There's evidence of his former life on the table, like a binder which reads“Graduate Theses Proposal." Letters postmarked New Orleans.

Int. Apartment Hallway - third floor - later

The hall has seen better days. In addition to the general rot, there’s a fair amount of graffiti.

Ned starts to lug the suitcases outside.

EXT. Garden - apartment house - later

The apartment house is a mass of scaborous paint, rain swept wood and cloudy glass. In the distance the cold and looming boxes of the Decateur Projects loom, swamping the place as if it’s Willie Loman’s house.

CREDITS ROLL as Ned lugs the suitcases outside, and puts them down at the end of the walk. He unzips one of the cases and begins to pile the stones int the garden.

Ext. front door - st. Basil’s cathedral - day

Ned is dressed in ill fitting clothing. He carries a battered briefcase. He knocks on the front door.

The peephole opens and someone blocks the light. An unpleasant woman’s voice caws out from it.

Mrs. Schnadenlaube (O.S.)

State your business.

Ned

I’m here to see Father Porter-Rose...I’m sorry, I’m here to see Father Rose.

MRS. SCHNADENLAUBE (o.S.)

Good for you, you got it right. But I’m sorry, Father Rose is busy.

NED

But I have an appointment.

MRS. SCHNADENLAUBE (o.S.)

Then back up.

Confused, Ned backs up.

MrS. SCHNADENLAUBE (o.S.) (CONT’D)

Five more steps.

Ned complies, and in doing so he notices a a reddish discoloration on the white marble.

MRS. SCHNADENLAUBE 65 and scary opens the door. Ned hesitates.

MRS. SCHNADENLAUBE (CONT’D)

What are you waiting for, doom?

Ned looks down on the stain, then up at her.

Ned (V.O.)

I’m wondering if it’s already here.

INT. HALLWAY - ST. BASIL’S - MINUTES LATER

Ned follows her through a dark hallway. It's a stereotypical Church hallway, which is the same everywhere and hasn't changed in 50 years. On the wall of an office, Ned notices a poster of an airplane, the caption of which reads “Are You Sure Where You’re Going?”

He sees notices ancient copies of “Highlights for Children” on a table.

Ned

Beautiful.

There is a the sound of a golf ball being chipped behind a door.

Father Rose (O.S.)

Saints almighty!

Ned and Mrs. Schadenlaube stare at each other.

MrS. SCHNADENLAUBE

I’ll see if he’s in.

Ned nods and sits down to wait. There is a conversation behind the door. Ned reaches for the Highlights and reads while the conversation continues, looks.

Ned

Aw, Goofus...

The door opens and Mrs. Schnadenlaube ushers him in.

INt. Office - st. BASIL’S cathedral - contINUOUS

Father Rose’s is more of a sportsman’s office than a priest’s, with pictures of golfers.

FATHER ROSE, a stout man of about 45, is lining up a putt. There is an astro turf green set up next to the window, with a large aluminum daisy hole.

Ned

Father Rose? I’m Ned Conti, I called yesterday...

Not the time to speak. Rose misses the shot.

Father Rose looks up, sighing.

Father ROSE

Putting is like grace. You’ve either got the knack or you don’t.

He shakes Ned’s hand. The club stays in the other hand.

FaTHER ROSE (o.S.) (CONT’D)

So what can I do for you, Mr. Conti?

He pulls a copy of a magazine from his briefcase, shows it to him.

Ned

Your ad in US Historian. It’s a research position, and...well, I’m your guy.

Father ROSE

Ah yes, the project. Two things I love, golf and church. One thing happens to compliment the other.

Ned

How so?

FATHER ROSE

I was owed a favor from the Bishop, so he let me join the PGA tour a couple months. I’m not him-

He points to Fuzzy Zoeller.

Father ROSE (cONT’D)

Or him-

He points to Arnold Palmer.

FATHER ROSE (cONT’D)

But I did alright. Seven thousand, four hundred dollars. And that’s what allows be to indulge in my other passion.

Ned nods.

Ned

What sort of work?

Pause.

Rose

I hope you’re not squeamish.

Ext. Graveyard - st. BASIL’S cathedral - 10 minutes later

Father Rose, hearty and hale, leads Ned down a footpath between graves. Ned’s facade of interest is flagging by the minute.

Rose is reading Ned’s resume.

FATHER ROSE

(Reading)

B.A, Loyola University...New Orleans is wil, I hear...you must know the city well...

Ned

I don’t think I’ll get lost.

FATHER ROSE

Knowing New Orleans is useful!

(Reading)

Catholic grammar school, Catholic high school, P.H.D candidate in French History, Georgetown. A man of solid convictions!

He turns back to Ned, whose non-committal shrug he records.

They walk through the grave stones. While Rose speaks, lost in his own thoughts, Ned’s eye is caught by a stone half obscured in the distance, one that’s out of keeping with all the others in size, shape and color.

FaTHER ROSE (CONT’D)

All vice and poverty. Two little boys killed each other on the front steps.

It dawns on Ned what he saw before.

Father rose

A prostitute died in the arms of Sister George. Heroin. Among other things.

Rose stops and examines Ned up close.

Father ROSE (CONT’D)

Tell me; after all that Catholic education, do you still believe in God?

Ned looks unhappy.

Ned

Sometimes.

He shakes his head, unable to give Father Rose more.

FATHER ROSE

Can I be honest with you?

Ned nods.

Father ROSE (CONT’D)

We don’t have a lot of examples of people who rise above this shit. People who overcome. Can you think of any?

Ned looks sheepish.

Ned

No.

FatHER ROSE

But what if you could? What Brooklyn had someone who could assist in our deliverance?

Ned tries to look supportive, but Rose doesn’t find what he’s looking for.

FatheR ROSE (CONT’D)

Yes...well...I guess we’ll see. Thank you.

He opens the gate door and lets Ned out. Ned, shoulders slumped, starts out. He turns to face Father Rose when a bus passes.

Ned

You have my num-

The bus belches smoke that envelopes him. Ned coughs, covered in smoke and fumes, and starts to walk away.

FATHER ROSE

(After pause)

Wait...come back.

Ext. ST. basil’s church - later

As the door slams shut behind him, Ned stands at the top of the steps. After a pause, he smiles triumphantly and begins the stride away, feeling good.

INT. APARTMENT - 93rd and 3rd, Manhattan - night

The apartment is a cold chrome and glass expanse, so often favored by people with a lot of money and never spend a lot of time at home.

An exec, KATHERINE, unlocks the door, followed by Ned. They are both dressed for the nightly bar crawl. They’re both very drunk and very sloppy. Katherine is somewhat flirtatious.

Their sex is cold and mechanical, a refuge for two people who'd rather not be alone.

INT. BEDROOM - APARTMENT, 93RD AND 3RD - MORNING

Ned starts awake. He sits up and looks around.

Kat strides in the bedroom, dressed in the finest Wall Street business attire money can buy. She holds a glass of orange juice.

Ned

What time is it?

KatHERINE

Time to go home.

Ned looks apprehensive. In defeat, he takes the juice and downs it in a gulp. He hands her the glass and she gestures for him to leave.

KatherINE (CONT’D)

I got a big day and you’re not a part of it. Sorry.

Ned

Don’t I rate a goodbye?

(He makes kissing noises at her)

C’mon, was it that bad?

She relents and kisses him on the forehead.

KatherINE

No, but it wasn’t that good, either. Move.

He stands up, grabbing his clothes.

INT. ELEVATOR - later

Ned is standing at the front of an elevator. Hhe’s dishevelled and sick looking. In contrast, everyone else is well dressed and put together. His Walk of Shame is acutely felt.

EXT. APARTMENT - 93RD AND 3RD - street level - later

Ned appears on the sidewalk, bleary eyed, and begins walk.

EXT. Brooklyn - navy Yards - 1846

The great unwashed city of New York, all brick and wood and sweat and tears rises like a jungle. Everything is raw and salty.

A stage makes its way through the crowded streets. It’s a cavalcade of violence. A mugging. Prostitutes.

Father ROSE (V.O.)

She came from New Orleans in 1846. No one knows her birth name. And if you think it’s bad now...

EXT. Old church - brooklyn, 1846 - day

The doors of the old church fly open. A brutally beaten priest is being dragged out by a group of thugs. There is a mixture of horror, protest and indifference in the crowd.

Father ROSE (V.O.)

No Catholic was safe. Not even at Mass. The Know-Nothings saw to that. Nothing but vice and violence, inhumanity as a part of life.

The thugs beat the priest and tear off his clothes.

EXT. old church - BROOKLYN, 1846 - two weeks later

The stage stops. Without waiting for the driver to open the door, the door opens. The lithe figure of a nun bounds out. The camera does not see her face. She hurries up the stairs and through the door.

Father ROSE (V.O.)

We know that Sister Januarius came to New York two weeks after the priest at the old St. Basil’s church was beat to death in the street.

INT. Old CHURCH - continuous

Januarius hurries through the sparse collection of nuns, poor church goers. She passes a soup line. Her face is still not seen.

FatheR ROSE (V.O.)

The situation was so bad that the Bishop wrote her, telling her that she had to stay away.

She sees The Bishop at the end of the hallway, who shakes his head in worry. She hurries towards him and kneels, kissing his ring.

Father ROSE (V.O.)

She refused.

INt. Basement - st. BaSIL’S cathedral - day

OVER BLACK: CAPTION - "APRIL"

It is a large stone room, redolent of must and forgotten history. There are U-Haul boxes stacked everywhere. The scene is dank and depressing.

Father Rose and Ned are sitting next to a long table. Rose has just paused in the story, waiting for the next line.

Ned

Okay, why?

Father ROSE

St. Benedict and St. Theresa of Avila came to her as hummingbirds. They told her that she had to stay.

Ned’s face is polite.

Ned

Sure.

Father Rose stands. His passion for the story is as palpable as a magnetic field.

FATHER ROSE

Oh, sure. Modern disbelief. The belief in what you can see. I see how you are. You can doubt that part, but the old girl was useful to a higher purpose.

Ned

I’m just not sure where-

Father ROSE

She obtained dispensation to build the holy place you’re standing in right now. A nun from a poor and strict order did all that!

Ned

And I’m impressed, Father Rose.

Father Rose

I want you to be more than impressed!

Ned wipes his face.

Ned

Frankly, Father, I’d be more impressed if I could say that these were more the actions of an administrator. There, I said it.

Father ROSE

Oh, that cynicism may come in handy later. But not now, just when we’re getting started.

Ned looks around.

NED

Faith won’t get my job done.

Father Rose smiles at him.

Father rose

I am not making this up! The Sister healed with a touch! Do you honestly think that the needs of Brooklyn today are any different? Haven't you ever longed for someone to deliver you?

Ned

That doesn't answer my question. My question is "how do I go about documenting your saint?"

Father Rose lines of a chip shot at a pile of boxes. The boxes split apart and fall on the floor.

FATHER ROSE

I meant to do that.

(Pause)

We need a repuation for sanctity. We need need a heroic quality demonstrated by the virtues of the saint. And third, we need to establish the workings of miracles.

NED

And which box might that be in?

Father Rose deflates at Ned's sarcasm, and he points the club at him.

FATHER ROSE

It your job to find that out.

NED

All I'm trying to do is find out how to start.

FATHER ROSE

Tell me what you think of this. I read it in a letter, a letter that may well be in this basement. A letter which tells of miraculous feats.

Ned reaches for a letter on top of a box. It promptly crumbles in his hand.

INT. OLD CHURCH - ALTAR - DAY

1870. A filthy immigrant couple holds their six year old daughter, surrounded by family. Her eyes are white and blind. The wife sets her crying daughter down on the altar, then clings to her husband.

MS of child from above. Her cries are stopped when white hands appear on her chest. The Sister begins to pray, while the child begins to breath faster and faster.

THE SISTER

(In Latin)

Jesus, Master Physician of all times! Eagerly, You resurrected the dead, restoring the health of the sick. Be it physical or spiritual torment, none were a great obstacle to You: for Your loving power is omnipotent. I ask for your abounding healing love; maintain this child's body and soul vigorous!

The child suddenly holds her breath. CU on child as she sits up, eyes clear and normal.

INT. ST. BASIL'S CATHEDRAL - BASEMENT - DAY

The scene continues. Father Rose is still pointing the club at Ned.

FATHER ROSE

It's here.

NED

I hope so.

Rose chuckles and claps two hands on his shoulders.

FATHER ROSE

Mr. Conti, don't you realize that this is what faith is for?

NED

I'm sorry...I meant no disrespect, but-

FATHER ROSE

But you're thinking about how you might be working for a crazy priest, right? Just think about the money.

NED

I am sufficiently chastened.

Father Rose looks stern.

FATHER ROSE

Evidence of things unseen. A letter, a monogram, a telegram, a diary, whatever you can find, it's there. Brooklyn is counting on you.

He leaves. Ned turns towards the boxes nearest to him. As the door shuts, Ned exhales, thinking. Then he looks at the ceiling.

NED

Mysterious ways and a sense of humor. Care to help me out here?

He starts to pull a stack of letters from the box, but the box pops open and the letters fall on the ground. He sneezes.

INT. NED CONTI'S APARTMENT - LATER

LIVING ROOM

Ned walks in, apprehensive. There are 89 messages on his machine. He walks by the machine without pressing PLAY.

BEDROOM

The closet doors are open, and all Ned's clothes are strewn about the room like it exploded. He turns away.

BATHROOM

The bath tub is almost over flowing. He turns the water off and reaches in to pull the plug out, only to find that the plug is a pillow case from his bed.

LIVING ROOM

There are now 104 messages on his machine. Irritated, he pushes play. The messages is a knocking sound, with heavy breathing in the back ground.

VOICE ON TAPE

Please...please...

NED

No.

He runs away.

INT. EMPORIUM TALENT TEMP AGENCY - DAY

A depressing office in midtown Manhattan. There's about forty people in line. The unsmiling CLERK waves Ned to the front of the line. He smiles thinly.

CLERK

Ned...

(Rooting around)

So you finally got one.

Happy to hear that someone wanted you around.

Ned

I know, right? Someone actually did their job and got me a placement.

CLerk

Yeah, that was the problem.

Ned turns and starts to leave.

CLerK (conT'D)

Don't drink it all in one place.

He gives her a guilty, irritated smirk as he goes through the door.

EXT. CRESCENT CITY GRILL - NIGHT

Near Houston and East First, near the Second Avenue F. Colored lights are set up in the asphalt triangle. The trade is downbeat East village. A trio is playing jazz.

Ned, in party mode, sits at a table and addresses a WAITER.

WAITER

Listen, either you order a beer or you're gonna have to wait with the rest of them-

He points at the winos outside the velvet ropes. Ned picks a few singles up from the table.

NED

Beer me.

The waiter takes three singles and rolls his eyes.

WAITER

One light beer, coming up.

Ned watches the trio, tapping his fingers with a drunken rythmn. He's getting up to listen a little more closely when fuse blows.

There's a general note of discontent, along with feedback.

SINGER

'Sokay folks. Happens all the time. Give us a minute, 'kay?

The waiter looks for Ned. Annoyed, he walks up behind him.

WAITER

Your beer.

Ned takes it and toasts the waiter.

NED

Cheers.

(The waiter leaves)

Prick.

Ned catches sight of a woman with short hair and a skeletal frame, seen from behind.

CHASE ZINGARI, 33, is wearing sunglasses and sits across from her, unsmiling. Her face is disfigured by osteospyroplasia.

The mood at the table is appropriately funereal.

NED (CONT'D)

Chase.

The short haired woman turns around. She's JILLIAN SUMNER, once a beauty but now wasted with years of abuse. Jillian is thirty but looks fifty. They are both very drunk.

JILLIAN

Ned.

Ned starts as he recognizes her.

NED

Jillian! Did you know that cadaver chic was last year? It's grunge now, honey. Grunge.

Jillian sneers at him.

JILLIAN

You're a motherfucker, Ned,

(To Chase)

Fuckrag's here, Chase.

CHASE

I don't care, I'm not talking to him.

JILLIAN

(To Ned)

Sit down, motherfucker. We got business to talk about.

He shugs and sits with a smile.

NED

Good to see you, Jillian. Your cold sores have really cleared up.

Jillian flips him off and takes a drink. Behind them, the band starts up again to mild applause.

CHASE

I've been trying to contact you for a month. I left eight messages.

Ned looks rattled.

NED

My machine's messed up.

(She glares at him)

Really.

JILLIAN

Selfish son of a bitch.

Ned gets up.

NED

Fine. I'll leave you two lushes alone.

Quick as lightning, Chase stops him.

CHase

Someone needs to talk to you.

He looks around.

NED

Who?

JILLIAN

Someone from the other side, loser!

NED

New Jersey?

Gillian gets up, throwing up her hands in disgust.

JILLIAN

Be a fucker about it. I'm getting cigarettes.

She stalks away. Ned looks down at a full pack of cigarettes on the table. She disappears in the distance. Ned looks at Chase.

NED

She is not well.

CHASE

Forget it. She'll show up at my apartment tomorrow. Don't worry about it. Sit down.

He sits.

CHASE (CONT'D)

It's a woman. She wants your attention.

Ned pales.

NED

That can't be right.

CHASE

Oh really? Get any weird calls lately? I mean, when you bother to check?

NED

Yeah...um...

(Pause)

Student loan collectors. They're pissed. They want my attention too.

Chase bangs her hand on the table.

CHASE

(Booming)

This is SERIOUS, Ned. You better pay attention to this woman and not take her for granted like you usually do.

NED

Chase, calm down.

CHASE

I'm the only one taking this serious, and that's a damn shame. I see it, Ned. You and me and Gillian, this is serious. Can you be serious?

INT. CAB - LATER

Night has fallen as the cab speeds across The Brooklyn Bridge. Ned is in the back of a cab.

The dialogue from the previous scene continues. Chase has started to cry.

CHASE (O.S.)

People come here, all optimistic, and they want to be a writer, or make it on Broadway, or fashion, or be a bullshit faux intellectual like you.

NED (O.S.)

You sound like Sylvia Plath.

CHASE (O.S.)

Maybe I'll stick my head in the oven, then you'd finally listen to me.

Ned smiles at the skyline and shakes his head. It's clear, though, that in the back of the cab, Ned has dismissed her.