Ghostbusters II Page #9

LOUIS:

(screaming)

Help! There's a thing!

CUT TO:

EXT. CENTRAL PARK RESERVOIR - DAY (LATER)

Runners of both sexes and all ages are huffing and puffing as they jog

along the track that circles the reservoir. One of the runners looks

behind him at the sound of APPROACHING FOOTFALLS and screams.

GHOSTLY JOGGER:

A ghost jogger is loping along at a pretty fair pace. Other runners

stumble and run screaming into the park as he passes them. Seemingly

oblivious to the effect he's having, the ghost jogger puts two fingers to

his skeletal neck and checks his watch as if taking his pulse.

EXT. CLEARING IN PARK - DAY (SAME TIME)

Venkman is sitting on a park bench near the jogging track reading the

newspaper, eating a donut and drinking coffee from a Styrofoam cup.

STANTZ:

He's sitting on a bench opposite Venkman's, casually watching the jogging

track.

GHOST JOGGER:

He approaches the benches where the Ghostbusters are waiting. As the

ghost jogger passes the benches, Stantz and Venkman simultaneously hit

concealed control buttons. A ghost trap buried in the track throws up a

glowing inverted pyramid and catches the ghost jogger in mid-stride.

Stantz and Venkman close the trap and capture the ghost jogger.

VENKMAN:

(checking his watch)

You know he ran that last lap in under six

minutes?

STANTZ:

If he wasn't dead he'd be an Olympic

prospect.

CUT TO:

EXT. JEWELRY STORE - DAY

The Ghostbusters come out carrying smoking traps, wearing cheap

dime-store Santa Claus hats.

STANTZ:

(to the client)

Merry Christmas!

CUT TO:

EXT. FIFTH AVENUE - ORREFORS GLASS STORE - DAY

The Ectomobile is parked at the curb and a curious crowd looks on as the

Ghostbusters enter the store.

INT. ORREFORS GLASS STORE - CONTINUOUS ACTION

All the precious crystal is floating in the air, several feet above the

glass shelves and display tables. Stantz and Venkman are talking to the

manager while Winston and Spengler set up an array of electronic devices

positioned in each corner of the store.

On a signal from Stantz, Spengler and Winston switch on the devices which

throw laser-type beams around the perimeter of the store. The manager

watches in horror as all the GLASSWARE suddenly drops out of the air,

SMASHES through the GLASS SHELVES and SHATTERS on the display tables.

There is a long pregnant pause.

STANTZ:

(to the manager)

So will that be cash or a check?

CUT TO:

INT. MUSEUM - RESTORATION STUDIO - DAY (LATE AFTERNOON)

Everyone else has gone home. Dana is cleaning her brushes and putting

her supplies away.

VIGO PAINTING - CONTINUOUS ACTION

Vigo turns his head and watches Dana as she walks past the painting.

DANA:

She stops, vaguely aware of the movement, and looks up curiously at the

painting. As she starts to walk on, Vigo looks at her again, but Dana

turns suddenly and catches the movement. Frightened now, she hastily

leaves the studio.

INT. FIREHOUSE - DAY

Louis is lurking behind a pillar, peeking out at the office area. We PAN

DOWN TO the floor and see a foot pedal, then PAN ALONG the cord TO a

ghost trap sitting on Louis's desk. Hanging from strings over the desk

are several pieces of Kentucky fried chicken.

WALL:

Slimer partially emerges and furtively sniffs the air, then spots the

chicken bait. He licks his lips, materializes completely and flies to

the chicken.

LOUIS:

His eyes light up and he stomps the foot pedal.

LOUIS:

(shouts)

Gotcha!

DESK:

The trap pops open and shoots out a powerful cone of energy. Slimer

dodges it and escapes as a big section of the ceiling comes crashing down

on Louis's desk.

LOUIS:

(seeing the damage)

Uh-oh.

He slinks off, defeated.

CUT TO:

INT. MANHATTAN MUSEUM OF ART - SECURITY DESK - DAY

The Ghostbusters commercial is playing on a portable TV on the security

desk. Rudy, the Security Guard, is reading a National Enquirer with a

giant front-page headline: GHOSTBUSTERS SAVE JUDGE. Venkman enters.

VENKMAN:

I'm looking for Dana Barrett.

SECURITY GUARD:

Room 304 -- Restorations.

(recognizing him)

Hey! Dr. Venkman -- 'World of the Psychic.'

I'm a big, big fan. That used to be one of

my two favorite shows.

VENKMAN:

(flattered)

Thanks. What's the other one?

SECURITY GUARD:

'Bass Masters.' It's a fishing show. Ever

see it?

VENKMAN:

Yeah, really great. Take it easy.

He exits.

INT. MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)

Dana is working on a valuable Flemish still-life by Ver Meer. Janosz is

at the other end of the room, still working on the painting of Vigo.

Venkman enters and sneaks up behind Dana.

VENKMAN:

(looking at the Ver Meer)

So this is what you do, huh?

DANA:

(glad to see him)

Oh, hello, Peter.

VENKMAN:

You're really good, you know.

DANA:

I didn't paint it. I'm just cleaning it.

It's an original Ver Meer. It's worth about

ten million dollars.

VIGO:

He turns his head and watches Venkman and Dana.

VENKMAN:

Unaware that he's being watched, Venkman squints at the still life,

holding up his thumb like he's seen artists do.

VENKMAN:

You know you can go to Art World and get

these huge sofa-size paintings for about

forty-five bucks.

He starts looking around at the other artwork in the studio.

DANA:

I'm sure you didn't come here just to talk

about art.

VENKMAN:

As a matter of fact, I stopped by to tell

you that I haven't forgotten your problem

and that we're still on the case.

They are interrupted by the sudden appearance of Janosz.

JANOSZ:

(smiling at Venkman)

Dana, aren't you going to introduce me to

your friend?

DANA:

Oh, I'm sorry. This is Peter Venkman.

Peter, Janosz Poha.

Venkman warily shakes his hand, trying to size him up.

JANOSZ:

(avoiding his gaze)

Pleasure to meet you. I've seen you on

television.

VENKMAN:

How are you?

(looking over at the Vigo

painting)

What's that you're working on, Johnny?

Janosz winces at the nickname but lets it go. Venkman and Dana cross to

the Vigo painting. Janosz steps protectively in front of it.

JANOSZ:

It's a painting I'm restoring for the new

Byzantine exhibition. It's a self-portrait

of Prince Vigo, the Carpathian. He ruled

most of Carpathia and Moldavia in the 17th

Century.

VENKMAN:

(staring at the painting)

Too bad for the Moldavians.

JANOSZ:

(defensive)

He was a very powerful magician. A genius

in many ways and quite a skilled painter.

DANA:

He was also a lunatic and a genocidal madman.

I hate this painting. I've felt very

uncomfortable since they brought it up from

storage.

VENKMAN:

Yeah, it's not the kind of thing you'd want

to hang in the rec room. You know what it

needs?

(picking up a brush)

A fluffy little white kitten in the corner.

Venkman reaches toward the painting, but Janosz grabs his hand.

JANOSZ:

(with forced good will)

We don't go around altering valuable

paintings, Dr. Venkman.

VENKMAN:

Well, I'd make an exception in this case if

I were you.

Dana looks disapprovingly at Venkman.

VENKMAN:

(to Janosz)

I'll let you get back to it. Nice meeting

you.

JANOSZ:

My pleasure.

Venkman and Dana cross back to her workspace.

Rate this script:4.7 / 3 votes