Ghostbusters II Page #4

VENKMAN:

Skeptical! Norman, I'm a pushover. I think

professional wrestling is real.

There is a small commotion down the hall as two plainclothes cops come

out of the next studio followed by a group of mayoral assistants.

VENKMAN:

(to Norman)

What's all this?

NORMAN:

They just interviewed the mayor on 'Cityline.'

VENKMAN:

The Mayor! He's a friend of mine.

Venkman starts down the hall as the MAYOR and his principal aide, JACK

HARDEMEYER, come walking out of the studio.

VENKMAN:

(calling to the Mayor)

Lenny!

The Mayor sees Venkman, blanches and hurries off, pretending not to know

him.

VENKMAN:

(starts to follow him)

Lenny! It's Pete Venkman!

The plainclothesmen cut Venkman off and Hardemeyer puts a heavy hand

against Venkman's chest.

HARDEMEYER:

(snide)

Can I help you?

VENKMAN:

(dangerous)

Yeah, you can get your hand off my chest.

Hardemeyer smiles and drops his hand.

HARDEMEYER:

I'm Jack Hardemeyer. I'm the mayor's assistant.

What can I do for you?

VENKMAN:

I'm an old friend of the mayor's. I just

want to say hello to him.

HARDEMEYER:

(scornful)

I know who you are, Doctor Venkman. Busting

any ghosts lately?

VENKMAN:

No, that's what I want to talk to the mayor

about. We did a little job for the city a

while back and we ended up getting sued,

screwed and tattooed by deskworms like you.

HARDEMEYER:

(bristling)

Look, you stay away from the mayor. Next fall,

barring a disaster, he's going to be elected

governor of this state and the last thing we

need is for him to be associated with two-bit

frauds and publicity hounds like you and your

friends. You read me?

Hardemeyer walks off with the two cops.

VENKMAN:

Okay, I get it. But I want you to tell Lenny

that, because of you, I'm not voting for him.

CUT TO:

EXT. MANHATTAN MUSEUM OF ART - DAY

The broad front steps of the museum are crowded with tourists and

visitors. Dana arrives carrying a portfolio and artist's tackle box and

enters the museum.

INT. MUSEUM - RESTORATION STUDIO - DAY (LATER)

We are FULL-FRAME ON a larger-than-life, full-figure portrait of VIGO

THE CARPATHIAN, a demented and sadistic 16th century despot with an

incredibly powerful evil presence. Then we PULL BACK to reveal the

studio, which is a large open space on the top floor of the museum, lit

by large skylights in the ceiling. Working on the Vigo painting is

JANOSZ POHA, a youngish art historian and painter, the head of the

department, quirky, intense and somewhat creepy. Janosz is staring

longingly across the room at Dana.

DANA:

She is carefully cleaning a 19th Century landscape painting, still

preoccupied by the extraordinary near-accident with the buggy. Janosz

watches her for a moment, then comes up behind her and looks over her

shoulder.

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