Ghostbusters II Page #4

He hands Venkman the book.

VENKMAN:

Great.

(reading the contents)

So what are you guys working on?

STANTZ:

Oh, just checking something for an old friend.

VENKMAN:

Who?

STANTZ:

(at a loss)

Who? Just -- someone we know.

VENKMAN:

Oh, Ray --

He grabs Stantz by both ears and pulls up.

VENKMAN:

Who? Who? Who?

STANTZ:

Aaah! Nobody! I can't tell you!

VENKMAN:

Who, Ray?

STANTZ:

(giving in)

Dana! Dana Barrett!

Venkman lets go of his ears and smiles. Spengler looks at Stantz and

shakes his head.

CUT TO:

INT. DANA'S APARTMENT - DAY (LATER)

The apartment is old and creatively furnished with a comfortable mix of

modern and traditional pieces. Maria, a young Hispanic woman who does

day care for Dana, is feeding the baby in the kitchen when the DOORBELL

RINGS.

CUT TO:

Dana enters from the bedroom and crosses to the front door. She opens

it and admits Ray and Egon.

DANA:

(hugging Ray)

Hi, Ray. It's good to see you. Thanks for

coming.

STANTZ:

No problem. Always glad to help -- and hug.

DANA:

(to Spengler)

Hi, Egon.

She shakes his hand and is about to close the door when Venkman appears

in the doorway.

VENKMAN:

Hi, Dana.

Dana is caught completely off guard by Venkman's surprise appearance.

VENKMAN:

I knew you'd come crawling back to me.

She regards him coolly, as always amused and amazed at his

presumptuousness.

DANA:

Hello, Peter.

VENKMAN:

(to Dana)

You know, Dana, I'm very very hurt that you

didn't call me first. I'm still into all

this stuff, you know. Haven't you ever seen

my show?

DANA:

I have. That's why I didn't call you first.

VENKMAN:

I can see that you're still very bitter about

us, but in the interest of science, I'm going

to give it my best shot. Let's go to work,

boys.

Stantz and Spengler begin a comprehensive parapsychological work-up on

the baby and the immediate physical environment.

VENKMAN AND DANA

Venkman starts nosing around the apartment. Dana follows him.

VENKMAN:

So what happened to Mr. Right? I hear he

ditched you and the kid and moved to Europe.

DANA:

He didn't "ditch" me. We had some problems,

he got a good offer from an orchestra in

England and he took it.

VENKMAN:

He ditched you. You should've married me,

you know.

DANA:

You never asked me, and every time I brought

it up you'd get drowsy and fall asleep.

VENKMAN:

Men are very sensitive, you know. We need to

feel loved and desired, too.

DANA:

Well, when you started introducing me as "the

old ball and chain," that's when I left.

VENKMAN:

I may have a few personal problems but one thing

I am is a total professional.

He leaves her and crosses to Spengler.

SPENGLER:

He's taking a complete set of body and head measurements of the baby

with a tape measure and calipers.

VENKMAN:

What are you going to do, Egon? Knit him a

snowsuit?

Spengler ignores the remark and hands Venkman a specimen jar.

SPENGLER:

I'd like to have a stool specimen

VENKMAN:

Yeah, you would. Is that for personal or

professional reasons?

VENKMAN:

(picking up the baby)

Okay, kid. Up you go.

He starts clowning with the baby, holding him over his head and pressing

his nose into the baby's belly, pretending that the baby is attacking

him.

VENKMAN:

Help! Please somebody help me! Get him off!

Quickly! He's gone completely berserk!

Dana is amused and somewhat disarmed by Venkman's rapport with the baby.

DANA:

What do you think?

VENKMAN:

There's no doubt about it. He's got his

father's looks. The kid is ugly -- extremely

ugly. And smelly.

(resumes playing with the baby)

You stink! It's just horrible. You are the

stinkiest baby I ever smelled.

(to Dana)

What's his name?

DANA:

His name is Oscar.

VENKMAN:

Oscar! You poor kid!

DANA:

(losing patience)

Peter, this is serious. I need to know if you

think there's anything unusual about him.

VENKMAN:

Unusual?

(holds up the baby and

scrutinizes him)

I don't know. I haven't had a lot of

experience with babies.

He looks at the baby, pulling his feet up, trying to get the sleeper

off.

DANA:

(taking the specimen jar)

I'll do it.

VENKMAN:

I'll supervise.

INT. DANA'S APARTMENT - NURSERY - DAY (CONTINUOUS ACTION)

Venkman enters and finds Stantz monitoring the room.

VENKMAN:

(to Stantz)

Well, Holmes, what do you think?

STANTZ:

It's an interesting one, Pete. If anything

was going on it's totally subdued now.

Spengler enters.

VENKMAN:

(to Spengler)

What now, Brainiac?

SPENGLER:

I think we should see if we can find

anything abnormal on the street.

VENKMAN:

Finding something abnormal on the street

shouldn't be too hard.

CUT TO:

EXT. EAST 77TH STREET - DAY (LATER)

Dana walks down the street with Venkman, retracing the path of the

runaway buggy. Spengler and Stantz follow, monitoring PKE valences from

the pavement and the buildings.

VENKMAN:

(to Dana, nostalgic)

Brings back a lot of sweet memories, doesn't

it?

(pointing out familiar

neighborhood sights)

There's our old cash machine. And the dry

cleaners we used to go to. And the old

video store.

(he wipes away an imaginary

tear)

We really had some good times, didn't we?

DANA:

We definitely had a moment or two.

Dana stops at the intersection and points to the middle of the street.

DANA:

That's where the buggy stopped.

VENKMAN:

Okay, let's take a look.

Venkman walks right out into the middle of the street, completely

oblivious to the CARS HONKING and whizzing past him and starts motioning

like a traffic cop, bringing traffic to a standstill. Then he signals

for Dana, Stantz and Spengler to join him in the middle of the street.

STANTZ:

(reading the PKE meter)

Is this the spot?

DANA:

A little to the left. Right there! That's

where it stopped.

Stantz reads the PKE meter.

STANTZ:

Nothing. Not a trace.

SPENGLER:

Why don't we try the Giga-meter?

VENKMAN:

What's that?

STANTZ:

Egon and I have been working on a gauge to

measure psychomagnetheric energy in GEVs -

giga electron volts.

SPENGLER:

That's a thousand million electron volts.

VENKMAN:

I knew that.

Spengler switches on the Giga-meter, the device he was testing in the

lab, and passes it over the spot on the street where the buggy stopped.

The indicator goes right into the red zone and the DEVICE starts CLICKING

WILDLY.

STANTZ:

I think we hit the honeypot, boys. There's

something brewing under the street.

DANA:

(worried, to Venkman)

Peter, do you think maybe I have some genetic

problem or something that makes me vulnerable

to these supernatural things.

VENKMAN:

You mean like the time you got possessed and

turned into a monster terror dog? No, not

a chance. Total coincidence.

(to Stantz and Spengler)

Am I right?

Stantz and Spengler look at him skeptically, not convinced by the

coincidence theory.

CUT TO:

INT. MANHATTAN MUSEUM OF ART - LATE AFTERNOON

The museum has just closed for the day and the last of the visitors and

employees are leaving.

INT. RESTORATION STUDIO - SAME TIME

Janosz is working late on the painting of Vigo.

VIGO PAINTING:

Unnoticed by Janosz, the eyes of Vigo start to glow.

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