There have been
This is a speculative script of Ghostbusters 3, sort of how it would be if I was the one writing the film. I wrote most of this myself, with help from Dan Davis, Gage Iwaneic, Simone (I don't know his last name), Aaron Holmgren, and other people countless to mention.
As I must, I need to say that this site and script are not affiliated in any way with Columbia/Sony or any branches thereof. Ghostbusters and related characters (Stantz, Venkman, Winston, Janine, Spengler, Louis, Slimer, Oscar, Dana Barrett and Lenny) are © Columbia Pictures 1984, 1989. The concept of Ghostbusters was created by Harold Ramis and Dan Aykroyd.
The characters of Garrett Miller, Roland Jackson, Kylie Griffin, and Eduardo Rivera are © Columbia Pictures 1998.
This spec script is © M. Scott 1998, along with the characters Stubbs, Doreen, Jake and Art. Plus the countless announcers.
To save this to your computer and read it offline (which I suggest you do, as this is truly a Ghostbusters epic), go up to the "File" menu, and use the "Save as..." feature to save this page to your computer as a .txt file. When it is on your computer, feel free to keep it, but make sure you don't pretend it's your own work. Feel free to link to this site.
After you read this story, please make sure to tell me what you think via e-mail. I didn't write this without some desire to see how people react to it.
Thank you, and enjoy!
Ghostbusters 3
by
M. Scott
July 08, 1998
Last revised February 24, 1999
FADE IN:
EXT. APARTMENT BUILDING
A fairly attractive woman, DOREEN BOYLE, steps out of a taxicab, her
arms heavy with groceries. She nods to the doorman. He nods back but
does no more.
DOREEN
(exasperated)
Could you open the door for me please, Bill?
The doorman sheepishly opens the door.
DOORMAN
Sorry, Miss Boyle.
She nods a curt thank you and walks in.
INT. APARTMENT BUILDING
She walks quickly and confidently across the lobby. Several people tip
their hats, recognizing her. She acknowledges them and crosses to the
elevators.
She fumbles for a moment with the grocery bags, then she drops one.
INSERT - THE BAG
Tumbling in slow motion toward the floor...then a pair of hands whips
out and saves the package from destruction upon the hard marble of the
lobby floor.
BACK TO SCENE
Doreen looks up gratefully. The savior is a good new friend of hers
and a new tenant in the building, HENRY SEDAH. He's a very proper
gentleman, with a very slight British accent but very handsome, "All-
American" features.
DOREEN
(grateful)
Henry, thank God for you.
SEDAH
(grinning)
Aw, shucks ma'am, t'weren't nothin'. The gods
must be on your side today.
DOREEN
Yeah, well, I hope so. Maybe I'll have some
luck contacting Frank tonight.
Sedah's grin falters a little. Doreen doesn't notice.
SEDAH
Doreen, forgive me for forgetting. How long
has Frank been away?
DOREEN
(sighs)
A year so far.
SEDAH
And every time you try to talk to him, he
doesn't talk back?
Doreen doesn't answer but nods semi-sadly.
SEDAH
You want to know what I think? I think you've
gone far too long without male companionship.
What do you say we get together?
Doreen seems reluctant. Sedah pursues.
SEDAH (cont'd)
We'll have great fun together. I promise.
DOREEN
(nods)
All right. I'll think about it.
The elevator arrives with a bell-tone, and Doreen steps on. Sedah
hands her the grocery bag. She yells to him as the doors close.
DOREEN (cont'd)
I guess we can get together some day.
Sedah stands staring at the closed doors for a moment. He turns, and
there is fire dancing in his eyes.
SEDAH
Sooner than you think, my dear. Sooner than
you think.
INT. DOREEN'S APARTMENT (A LITTLE LATER)
Doreen unlocks the door and comes in. She kicks the door shut behind
her. She walks through the living room, pausing to examine the table
to one side.
INT. THE TABLE
On the table is a wood-style Ouija board, possibly but not probably
homemade. Upon it is a plastic planchette, and surrounding it on all
sides are a multitude of black candles, each in various stages of
meltdown.
DOREEN
She sighs and walks through a swinging door on the far side of the
room.
INSERT - CANDLE
Doreen does not see as one candle flickers briefly alight, then
extinguishes itself.
INT. THE KITCHEN (CONTINUOUS ACTION)
Doreen sets down the groceries and unpacks a few items. She then sighs
and heads back out of the kitchen.
INSERT - THE FAUCET
Over the kitchen sink, one of the faucet handles turns of its own
accord and blood pours out in a stream.
The faucet turns on the other handle, and the faucet spews water,
washing the blood down. Both handles turn off. All is as it should
be.
INT. THE LIVING ROOM - NIGHT (LATER)
It is a few hours later. Doreen takes her hand off the planchette of
the Ouija board and uses it to prop her head up. She stares at the
planchette blankly. Then she begins to blow out the candles.
INT. THE LIVING ROOM - NIGHT - LATER
She is busy watching the news. A story is on about the upcoming
mayoral election.
T.V. ANNOUNCER
As it is right now, our present mayor, Leonard
"Lenny" Reid, has no immediate threat in his
opposition, newcomer Gary Stockman.
INT. THE LIVING ROOM - NIGHT - POV SHOT
A strange chord of music accompanies the POV: it is a view of Doreen
through someone's--something's--eyes. Its heavy breathing can be
heard, but Doreen seems not to notice. It seems to be behind the
room's other couch.
ANNOUNCER
Even though Reid missed his bid for Governor
several years back by an OVERWHELMING majority,
we need a real man to challenge him, or we may
just see Reid enter an unprecedented FOURTH
four-year term as Mayor.
The eyes focus on the television, absorbing what it's saying, then turn
back to Doreen.
DOREEN
starts to feel as though she is being watched (and she is!). She
fidgets uncomfortably in her seat, looking around nervously.
DOREEN
Is someone there?
No answer, of course.
DOREEN (cont'd)
(to herself)
You're being silly Doreen. Just watch some
T.V. and calm down.
A good suggestion. She seems about to take it...but then the power
goes out.
DOREEN (cont'd)
Just great.
Suddenly, a hissing sound is heard. She looks. A candle on the table
has flared alight. As she watches in horror, all the other candles
flicker on.
They begin to light and extinguish themselves in rapid succession, in
patterns, but even in the flickering of the light, she can see the
Ouija board. She can see it because it is floating in the air. The
planchette is moving across it quickly, spelling one thing out over and
over again: her name.
In case she didn't get the point immediately, the board also goes up in
flames. When it goes out, six letters have arranged themselves in the
center of the board, surrounded by black carbon burn.
D, O, R, E, E, N.
She gets up, to do what God only knows, but then a grunt comes from
behind the other sofa. She stops. Another sound comes, this one an
unearthly snarl.
She scurries behind her sofa, looking for the phone...and immediately
barks her shin on the phone table, knocking the phone to the floor.
She grabs it, stands up, and dials 911 as she moves away from the
couch...and a huge shadowy shape looms up behind her in the moonlight.
911 OPERATOR
(filter)
911 Emergency.
DOREEN
Hello, this is Doreen Boyle. There's been a
blackout in my apartment and I think there's
someone in my apartment with me.
911 OPERATOR
(filter, speaking quickly)
All right, ma'am, please give me your address
and we will dispatch a unit immediately.
But Doreen doesn't hear this. She has dropped the phone, listening
instead to the heavy breathing behind her.
She turns slowly...and screams as a bright light illuminates her face
and an ungodly roar joins her in hellish harmony.
EXT. NEW YORK CITY STREET - GHOSTBUSTERS LOGO - NEXT DAY
The THEME MUSIC kicks in with the view of the familiar "No Ghosts"
symbol -- without the silly two fingers -- painted on the side of the
Ghostbusters' emergency vehicle, the Ectomobile, as it wails down the
street back home to the Ghostbusters firehouse. The electronic
scrolling words mounted on its side read "ANOTHER SUCCESS FOR THE
GHOSTBUSTERS!"
All the Ghostbusters are inside. RAYMOND STANTZ is driving, EGON
SPENGLER is riding shotgun, and WINSTON ZEDDEMORE is in the back with
PETER VENKMAN. But this is not readily visible, because smoke is
pouring out of all the open windows.
INT. FIREHOUSE GARAGE (CONTINUOUS ACTION)
The Ecto pulls in, turning off its siren, and the Ghostbusters
secretary JANINE MELNITZ walks up to it, as Stantz shuts off the
engine. The Ghosbusters pile out frantically, each of them holding a
pair of smoking traps in each hand -- four traps per Ghostbuster.
JANINE
(coughing)
So how was Amityville?
STANTZ
(wearily)
Possessed.
VENKMAN
If I ever again hear someone call it the
"Amityville Hoax," I won't be responsible for
my actions.
WINSTON
It took all of us to hold Jodie down.
JANINE
Jodie's the pig, right?
SPENGLER
(correcting her)
Jodie WAS the pig, yes.
JANINE
(confidentially, to Spengler)
I was reading up on the Amityville Horror while
you guys were away. I'm really proud of you
guys. How did you plug up that well?
SPENGLER
(to Stantz)
Ray, tell her about the well.
STANTZ
The dimensional portal?
Spengler nods.
STANTZ (cont'd)
(to Janine)
The well was filled with black slime. We
thought of reversing the particle flow, but the
gate had been open too long for that to be
effective. So we sealed the well permanently.
JANINE
How'd you do that?
Stantz gestures to the Ecto. Winston has pulled an empty SLIME-BLOWER
out of the back and is taking it back to the armory.
JANINE
Oh...
SPENGLER
We got some very good readings from the well
before we sealed it.
STANTZ
Can we use them?
SPENGLER
Definitely.
VENKMAN
You do that. I'm going to get some sleep. I
had no idea Amityville was that far away. They
really should have called us sooner.
Venkman walks away, AD LIB griping good-naturedly. Janine walks away
after him with a pair of traps, and Spengler looks at Stantz.
SPENGLER
I'm too old for this.
STANTZ
What? Are you kidding me? I saw the way you
held down that one hellspawn. Remember that?
SPENGLER
Yes. But I don't know if I could do it again.
STANTZ
(sighs)
I know, Egon, but we have to keep going. The
world needs the Ghostbusters.
Spengler nods.
SPENGLER
We need some new blood. To keep the business
going after our lifespans end.
STANTZ
That's an idea! I'll have Janine place a "Help
Wanted" ad in the Times.
SPENGLER
I'm going to retire from ghostbusting in
practice. But I will stay on and work on it in
theory. I'll also train the new recruits.
STANTZ
Training. The lucky bastards.
SPENGLER
We can use the old repair area for the fire
trucks as a training area. We'll just have to
seal up the doors for the trucks with concrete.
(snaps his fingers)
(excitedly)
We could use Slimer as a training ghost.
STANTZ
Good. Put the little spud to use. That's a
plan. I'll tell the others.
Spengler nods in agreement and Stantz walks away as fast as he can with
his traps, coughing. Spengler stares at the traps in his hands and
sighs.
SPENGLER
(quietly)
I am going to miss this, though.
He presses a button mounted on the wall and the garage doors rumble
shut.
He leaves the garage.
INT. RECEPTION AREA (CONTINUOUS)
Spengler walks by Janine's desk. He is about to head down to the
containment unit when something on the wall catches his eye. It is a
mirror.
INSERT -- THE MIRROR
Spengler's reflection, tired and worn, is clearly visible in the
mirror.
Above the mirror is written "THIS IS THE MOST IMPORTANT MEMBER OF THE
TEAM -- SAFETY FIRST!"
Spengler sighs again and leaves.
INT. JANINE'S PHONE (A LITTLE LATER)
It begins ringing. Janine comes up the stairs from the containment
unit and yells, absurdly:
JANINE
I'll get it!
(picks up the phone)
Ghostbusters.
INT. CONTAINMENT UNIT (SAME TIME)
The Ghostbusters are standing around the unit, calmly talking shop over
coffee and donuts.
STANTZ
That was definitely worth the long drive. I
mean, we actually came up against one of the
strongest demonic forces ever to be publicized
and beat it!
He nonchalantly takes a bite of his donut.
VENKMAN
And the pay was pretty good, too.
WINSTON
It wasn't nearly as bad as the books made it
sound.
VENKMAN
Well, the smell was pretty bad.
SPENGLER
But definitely not as bad as Slimer.
SLIMER pokes his head through the wall at the sound of his name.
Venkman looks over.
VENKMAN
I still haven't completely forgiven you for
that slime thing. You know. The little
incident with my roast beef sandwiches last
week.
Slimer frowns. Venkman sighs.
VENKMAN
Oh, hell. Here, have a donut.
Slimer floats over, grabs a donut, and scarfs it down. It falls
through his body and hits the floor. Slimer burps and flies back
through the wall. The Ghostbusters watch him go without interest.
WINSTON
That reminds me. We're out of Mylanta.
Janine yells down the stairs to them.
JANINE
We've got a call, guys!
Stantz groans.
STANTZ
Tell him we just got back from a job. We'll get
there later today.
A beat. And then:
JANINE
They say they won't wait.
VENKMAN
Well, just who the hell do they think they are?
Another pause.
JANINE
The NYPD.
Venkman jumps, caught off guard. He looks at his co-workers. Stantz
looks meaningfully at Spengler. Spengler shrugs.
SPENGLER
I'll retire from field work tomorrow.
Stantz grins and nods.
EXT. APARTMENT BUILDING - LATER
The police have all parked around the building. The Ecto pulls up and
the Ghostbusters, tired but official, get out and shoulder their proton
packs. A police detective, DETECTIVE STUBBS, approaches them. He
introduces himself. the Ghostbusters do the same.
STANTZ
What's the deal?
STUBBS
Well, I'm not really sure what we're dealing
with here. We got a 911 distress call at about
ten-thirty last night. The caller dropped the
phone before we could get the address, but we
have a computer that tracks the address just in
case.
STANTZ
What was the call?
STUBBS
A woman caller told the operator that there had
been a blackout and there was someone else in
the apartment with her.
VENKMAN
That sounds like a normal police case.
STUBBS
Yeah, well, it stopped being normal right about
there. No one else reported a blackout and all
the circuts were checked. They've been working
fine.
STANTZ
That's still no reason to call us in.
Stubbs sighs in resignation.
STUBBS
Just check out the apartment for us, okay? My
men have been informed to let you in. Seventh
floor.
Stantz puts a pair of ecto-detection goggles on his head and walks in.
The others follow.
INT. SEVENTH FLOOR HALLWAY (A LITTLE LATER)
The Ghostbusters step off the elevator and look around. A policeman is
interviewing and elderly couple. Across the hall from him stands a
group of policemen outside an apartment. Stantz motions the others
cautiously forward. He is holding a PKE meter. Spengler clutches the
Giga-meter.
INT. THE APARTMENT (CONTINUOUS)
Looking into the apartment, it is instantly obvious why the
Ghostbusters were called. There are large amounts of ectoplasm on the
walls and some behind the couch. The Ouija board and planchette and
candles are all covered in a film of slime.
Both meters instantly indicate high readings. Stantz swallows and puts
on the goggles. He jumps at what he sees and takes them back off.
STANTZ
Something was definitely here.
WINSTON
I don't need those goggles to know that.
STANTZ
Okay, keep on your guard, fellas.
They begin inspecting the room.
INT. SEVENTH FLOOR HALLWAY (LATER)
The policeman has moved further down the hall and is now interviewing
the "distraught" Sedah.
SEDAH
I can't believe it. I just can't. I talked to
her just yesterday!
The policeman attempts to calm Sedah as the Ghostbusters come out of
the apartment.
THE PKE METER on Stantz's belt reads zero -- until they get near Sedah,
at which point the needle leaps into the red.
STANTZ looks at the meter, then at Spengler.
SPENGLER looks at the Giga-meter and switches it on. The needle flies
into the red and the thing begins to click madly.
VENKMAN
What the hell is going on?
SEDAH looks at the Ghostbusters over the policeman's shoulder. He
looks worried, but the policeman dismisses it as worry over Doreen.
SEDAH
(thinking quickly, to the
officer)
Would you come inside? I need to sit down.
The policeman agrees and Sedah closes the door behind him, sparing a
menacing glance toward the Ghostbusters which no one else sees.
Both of the meters on Spengler and Stantz's belts suddenly drop back
into inactivity. They look at each other in surprise. Stantz
swallows.
STANTZ
Must have been a malfunction in the meters.
SPENGLER
I doubt it.
STANTZ
Uh-huh. So do I.
EXT. DETECTIVE STUBBS - LATER
He is watching the Ectomobile as it pulls away from the curb. He
quietly repeats to himself what the Ghostbusters told him.
STUBBS
"You've got PKE activity, but no ghost. We'll
get back to you."
(snorts disapproval)
Some scientists.
He walks into the apartment building.
EXT. CENTRAL PARK - NEXT DAY
A young man, JAKE MARLEY, is reading the New York Times on a park
bench.
His friend, ART RADLEY, is busy whistling at women as they pass by.
The newspaper headline is "The Amityville Hustle," with the subtitle
"Ghostbusters Conclude the Famous Demonic Case."
A secondary story is "Reid Up Thirty Percent in Latest Poll."
Jake puts down the front page and picks up the classified section. Art
looks away from the women for a minute.
ART
Why do you look through that paper every damn
day, man?
JAKE
I'm tired of having to ask our parents for
cash. I want to get an easy job that pays.
(excited)
Like this one!
Art peers over his shoulder.
INSERT - CLASSIFIED AD
The ad indicated by Jake's finger is headed by the "No Ghost" symbol.
Beneath is written: "Ghostbusters. Help Wanted. No experience
required. Set up an interview at the number below. 555-2987"
BACK TO SCENE
Art looks unbelievingly at Jake.
ART
GHOSTBUSTERS?!
(picks up front page, points to
headline)
THESE Ghostbusters? Jake, are you crazy?
JAKE
Art, there's no such thing as "ghosts."
ART
Yeah, and -- ?
JAKE
AND, since there's no such thing as ghosts,
ghostBUSTING must be a breeze.
Understanding dawns on Art's face.
ART
Okay, let's find a phone.
INT. FIREHOUSE - NEXT DAY
Stantz and Venkman are standing around with the television on in the
background, discussing the first police case they've ever truly been
involved with.
VENKMAN
Okay, Ray, this just doesn't make sense. You've
researched the building. It doesn't have a
history of paranormal activity. No one died in
that apartment. What's the deal?
STANTZ
Well, I noticed that the woman had been using a
Ouija board. Ouija boards are supposedly a way
of contacting the dead.
VENKMAN
What is it about me that makes everyone think
they have to explain everything to me? Is it
my hair? I KNOW what a Ouija board is.
STANTZ
Okay, okay. But unfortunately by calling for
spirits to manifest, you may be inviting demons
into your life. Like in "The Exorcist."
VENKMAN
Well, that wasn't pea soup all over the walls.
(thinks for a moment)
Was it?
STANTZ
(shakes his head)
No, it was definitely ectoplasmic residue.
(beat)
I think that the tenant woman is the first
person ever to be abducted by the paranormal.
VENKMAN
Unless you count toothless people from Inwood,
Iowa.
STANTZ
I'm going to do some research on the tenant.
That might explain the Ouija board, if nothing
else.
Venkman is about to respond when a huge metallic bang comes through the
open window.
VENKMAN
What the -- ?
He walks over to the window and looks out.
EXT. OUTSIDE THE WINDOW (CONTINUOUS)
Venkman looks out to see a huge cement truck pouring cement down the
ramps which lead down to the unused truck repair center.
VENKMAN
(yelling over the noise)
Hey, what are you doing? We've made all our
payments for this month!
He just now notices Spengler standing next to the truck, watching the
cement pour.
VENKMAN (cont'd)
Egon, what the hell are you doing?
Spengler looks up. He motions for the truck driver to keep pouring.
SPENGLER
I'm going to train the new recruits in our
repair garage.
VENKMAN
They get training now?
SPENGLER
If the proton streams hit the doors they would
blast them apart. We need to reinforce the
doors so that no one sues us.
VENKMAN
Why would they be shooting the doors?
SPENGLER
If they're anything like us, they'll be
shooting everything.
INT. THE TELEVISION (SAME TIME)
Venkman and Spengler are arguing in the background, and Stantz is
watching cartoons without interest. The cartoon is interrupted with a
SPECIAL REPORT BULLETIN. The announcer seems a bit shaken by the news
he is about to deliver.
ANNOUNCER
Hello, I'm Trey Holland. Mayoral candidate
Gary Stockman has been found murdered in his
New York home. He was shot in the head
sometime last night.
(a picture of Stockman is shown
onscreen)
Stockman was born and raised in a Brooklyn
home, the only child of a single mother. His
father was killed in the war. This was his
first attempt at any political position. The
police have no leads. We will have a more
fitting tribute to Mr. Stockman tonight at six.
We now return you to your regular programming.
INT. JANINE'S PHONE
It rings and she picks it up.
JANINE
(bored)
Ghostbusters.
(listens)
Uh-huh. Right.
(more excited)
Oh, sure, sure. So, how many arms did you say?
Uh-huh. Okay, just give me the
address...right. They'll be right there.
She hangs up the phone and turns to the button on her desk. It has
written above and below "$$$ CALLS ONLY." She slams her hand down on
the button.
INT. REC ROOM - SAME TIME
The Ghostbusters THEME MUSIC starts and Stantz and Venkman galvanize
into action, riding quickly down the firepole. Winston hurries out of
the bathroom, buckling his belt, and slides down the pole.
INT. FIREHOUSE GARAGE - CONTINUOUS
The Ecto roars and wails out onto the street and the MONTAGE begins.
ANNOUNCER (V.O.)
(fades in)
...whereas the new mayoral candidate, Henry
Sedah, has climbed five percent in the latest
polls.
(changes topic)
But now, on to a less political topic. With
fifteen years of experience under their belt,
the Ghostbusters are still going strong.
Earlier this week they returned from a
successful campaign launched against the spooks
of Amityville.
EXT. TIMES SQUARE
The Ghostbusters proudly hold up a smoking trap for all the witnesses
to see.
ANNOUNCER (V.O.)
Last night they were spotted at Central Park,
where they did away with a dead old man who
frightened the kiddies with his ghostly
doberman.
And just today they were headed for Radio City
Music Hall to grab the diva that wouldn't leave-
a.
INT. RADIO CITY MUSIC HALL
The manager, sobbing, is counting out bills into Venkman's hand.
Behind them, Radio City Music Hall is in total disarray.
ANNOUNCER (V.O.)
(chuckles at his idiotic joke)
Who knows what the Ghostbusters will be up to
next? All I know is that they'd better not
lose steam anytime soon. There're plenty of
people who think they've seen ghosts, and lots
of money to be made. Maybe I should become a
Ghostbuster.
(chuckles again)
On a more serious topic, still no leads as to
the murder of Gary Stockman...
INT. FIREHOUSE REC ROOM - NIGHT
Spengler is busy assembling a huge machine against the wall which faces
the street. He is working under some strain. He wipes sweat off his
forehead with his arm, takes a drink of soda, and sets back to work.
EXT. CENTRAL PARK - DAY
The Ecto takes a sudden detour through the park, sending picnickers and
crack fiends scattering.
EXT. THE BRONX - NIGHT
The Ghostbusters are walking nervously down a dark alley, their proton
guns drawn. Behind them, huddled together in fright, is a gang of the
toughest hoods you've ever seen. With them is a reporter.
A gangster ghost jumps out and pulls a tommy gun on the Ghostbusters.
They fire at him.
INSERT - NEWSPAPER HEADLINE
The headline, with a picture of Stantz firing his weapon, is "Fumble in
the Bronx." The subhead, "Ghost Makes Mistake of Attacking
Ghostbusters."
INT. ELLIS ISLAND
The Ghostbusters are being paid by a greatful groundskeeper.
NEWSPAPER HEADLINE
"Ghostly Immigrant Deported."
INT. EMPIRE STATE BUILDING - GIFT SHOP
The gift shop patrons are looking desperate, and they all get into the
elevators as the Ghostbusters get off and take over.
SOUVENEIR EMPIRE STATE BUILDING MODELS
They are picked up by invisible hands and thrown, needles first, at the
Ghostbusters. The Ghostbusters fire, shattering the glass doors and
vaporizing the models.
EXT. THE STREET BELOW - SAME TIME
Onlookers point and gawk at the lightshow being fired in all directions
from the top of the building.
EXT. ECTOMOBILE
The car pulls up a street to confront a very large spectre looming up
in the center of the street. Civilians are scrambling in all
directions.
The spectre roars -- and the Ectomobile fires a strong proton blast at
it. The ghost is snared, the car fires an energy beam at it, and the
ghost is sucked into a trap mounted on top of the car.
INT. THE GHOSTBUSTERS FIREHOUSE
THEME MUSIC fades out. Spengler and Stantz are putting the finishing
tweaks on a huge machine that seems only half-finished. Wires and
hoses are hanging to the ground and some of the metal plates seem only
half-on.
STANTZ
(excited)
This is it, Egon! The first real glimpse of
the spirit realm! We'll go down in history!
SPENGLER
If history continues to exist after our first
test of this equipment.
Stantz frowns but doesn't respond. He walks over to the other side of
the machine, where there is a large switch and a window. Stantz wraps
a hand around the handle of the switch.
STANTZ
(to Spengler)
Turn on the tape.
Spengler flips on a tape recorder.
STANTZ (cont'd)
(loudly, towards the tape)
Test, test.
Spengler stops and plays Stantz's voice back successfully. He rewinds
and switches the tape back on. He then leans in much closer than
necessary and begins to yell into the microphone.
SPENGLER
Test of inter-dimensional apparatus. We are
now preparing to open the gate to worlds beyond
our own. First test.
He nods to Stantz.
STANTZ
(to the recorder)
Subject: Ray Stantz. First living human to
travel to the spirit realm.
(to Spengler)
Okay, I'm going in. Cover me.
He takes a deep breath, holds it, and throws the switch. For a moment
everything gets psychedelic and the world begins to spin. Then, it
comes back into focus.
Stantz is still in the Firehouse...but it's not right. It's older, run-
down, mouldy. Dark. Stantz doesn't notice. He is too intent on what
he sees out the window.
POV - STANTZ
Outside the window, it seems that the world has gone insane within two
seconds.
Two men are walking down the street; one bumps into the other. The
other, without giving it a moment's thought, pulls a gun and shoots the
first man, not missing a step. The first man continues along his way
with a huge hole in the side of his head.
A red cab purposefully swerves out of the center of the road to run
down a pedestrian. The pedestrian passes through the cab, extending
his middle finger to the back of the cab as it drives away.
A bum across the street is panhandling with a skeletal hand. Someone
kicks him and one of his feet clatters down the sidewalk. He gets up
reluctantly and retrieves it.
And just barely visible in the distance is the Statue of Liberty. She
looks terrible. The metal of her body is a charred black. The points
of her crown appear to be curved, like horns. Instead of a torch, she
holds aloft what appears to be a pitchfork.
STANTZ's face is shiny with sweat. He blinks heavily. He is
frightened out of his mind - but he is also exultant. His eyes are
full of terror, but a grin is plastered to his face. His hand is still
on the switch.
Spengler is still behind him, but, like everything else, something is
not quite right about him.
STANTZ
(turning to Spengler)
We did it! Egon, we--
He breaks off as he finishes turning, and comes face-to-rotting-face
with Spengler's decaying doppelganger.
HELLISH SPENGLER's eyes are glazed but intelligent. His skin his a
disgusting green- yellow, and there are places where dirty bone are
visible. Worms and bugs are crawling around in his thin white hair.
It appears at first that he is grinning, but that proves only to be
because his lips have rotted away, baring his teeth in an eternal
sneer.
He reaches out hands from which great gobs of flesh are hanging and
proceeds to throttle Stantz.
Stantz beats at Hellish Spengler with his free hand, and as he readies
his other hand for the fight, he inadvertantly throws the switch back.
Everything swirls, and the world is suddenly back to normal...but
Spengler -- normal Spengler -- still has his hands wrapped around
Stantz's throat. His eyes are squeezed together with the strain.
STANTZ
(choking)
Egon! EGON!
Spengler opens his eyes, and then opens them wider as he sees Stantz.
He lets go, and Stantz falls to the floor. Spengler stares at his
hands. There is slime on the palms.
Stantz rubs his neck. His hand also comes away with slime on it. His
neck is soaked with it. He coughs, then stands up.
STANTZ
What happened?
SPENGLER
(still shocked)
After you threw the switch, you seemed to decay
right in front of me. I tried to talk to
you...it, and it attacked me. I had just
gotten it... subdued...when you reappeared in
my hands.
Stantz looks at the machine, then at Spengler. He wipes his neck and
stares at the slime for a moment. Then he walks over to the tape
recorder, which is still going. He leans in close and speaks softly.
STANTZ
(calmly)
Test successful.
He switches the tape off.
INT. THE FIREHOUSE (LATER)
Stantz is leading Venkman and Winston into the room with the large
machine. Spengler is busy doing his best to complete the machine's
wiring. Stantz, Venkman and Winston are all wearing a proton pack and
each has a trap attached to his belt.
VENKMAN
THIS is why we went all the way to hell and
back in Amityville?
SPENGLER
(to Stantz)
I'm not too sure, but I think that your double
being sent here was a result of equal mass
displacement, something that probably kept the
universe from collapsing on itself the last
time you crossed over. I think that the
connections I've finished making should be
enough to equalize the mass of both dimensions
without someone having to be sent here.
STANTZ
(to Spengler)
Great.
(to the others)
You guys ready?
WINSTON
(hesitantly)
You know, I think this could be a mistake. I
mean, isn't it dangerous to meet the spooks on
their own turf?
Stantz and Spengler exchange glances. Stantz sighs.
STANTZ
Egon and I have been working on some
experiments concerning our ectoplasmic
containment unit. But to continue the
experiments, we have to have a more
concentrated form of ectoplasm.
SPENGLER
We've determined that ectoplasm is less potent
in this world than in its own. For the purpose
of the experiments, I need you to catch a
ghost.
Venkman is considerably less excited at the chance to travel to the
spirit realm than Stantz was.
VENKMAN
Piece of cake. So why do three of us need to
go?
SPENGLER
If the ectoplasm is of a different
concentration in that world, it's almost
impossible to guess how effective the proton
packs will be in that world.
VENKMAN
I heard the word "almost" in that sentence.
Get on your calculator and figure it out. We
have other calls to get to.
STANTZ
Venkman, if our experiment works, there will
never be any calls again!
VENKMAN
And why is that?
STANTZ
I'll explain as soon as we get back.
Venkman rolls his eyes.
INT. THE SWITCH
Stantz walks over to it and grabs hold. He reaches for Venkman's hand.
Venkman takes his hand reluctantly. Winston grabs Venkman's hand.
VENKMAN
So now what? Do we start singing?
WINSTON
Anything but Kumbaya!
Stantz doesn't answer, but instead flips the switch.
INT. HELLISH FIREHOUSE GARAGE - LATER
The Ghostbusters walk by a car that looks very similar to the
Ectomobile.
They don't notice, but the license plate reads BLOOD-1.
Stantz puts a hand up against the button that opens the door
mechanically. At least some things are the same. He breathes deeply
and pushes the button. The firehouse doors rumble open, and the
squeaking of the hinges uncannily resembles a woman's scream. The
Ghostbusters stare out of the open doors.
EXT. THE STREET
It's even worse than Stantz first saw. A vendor across the street is
selling hot dogs -- or rather, human fingers in a bun.
A skeletal bum, not the same one as before, holds a cardboard sign
written in blood: WILL HAUNT FOR FOOD. PLEASE HELP. HADES BLESS YOU.
As the Ghostbusters walk out of the Firehouse, a wandering, crazy old
man with cobwebs for hair accosts Venkman.
CRAZY GUY
Please, miss, can ya tell me the way home?
Venkman makes to pull his gun, but the old man is already wandering
away, singing "Do You Know the Muffin Man?" in a warbled voice.
Venkman swallows.
VENKMAN
There's some in every universe.
EXT. THE SIGN
None of the Ghostbusters notice that the sign on the Firehouse, like
the firehouse itself, is different. Inside a blue prohibition circle
is... a Ghostbuster?
EXT. THE GHOSTBUSTERS
They're looking around for something to bust. Stantz points down the
street. They look.
A PIMP is standing down the block, surrounded by his skeletal
"escorts." On his rotting fingers are rings of all shapes and sizes.
He is wearing sunglasses despite his lack of a nose, and there are
chains made of gold-dipped bone around his neck.
THE GHOSTBUSTERS start down the block, trying to blend in. No one
seems to pay them any notice. Several pedestrians head toward them.
Venkman and Winston dodge out of their beeline, but Stantz isn't fast
enough. He prepares for impact...
...but instead, he passes right through one of the pedestrians. He
feels himself to make sure he's still solid, and then follows the other
two. A red hand covered in scales reaches out from the darkness of an
alley and grabs his ankle.
He looks down and sees a demon bum sitting crosslegged in the alley.
One of the animal horns growing out of his skull is broken, the other
looks infected. He holds out a cup and shakes it. Coins jingle
inside.
DEMON BUM
Can ya spare some?
Stantz, not thinking, prepares to reach into one of his pockets, but
then looks into the cup.
INSERT - THE CUP
It is not filled with coins, as first was inferred. Instead it is
filled with toenails, bones, and even a human eye.
BACK TO SCENE
Stantz recoils and runs to catch up to the others. The demon bum yells
in the background, screaming the worst insult he can think of:
DEMON BUM
Oh yeah? Well, may God's face shine upon you!
The Ghostbusters approach the pimp him, guns drawn. Each one of them
can be heard charging up on his own.
The pimp turns to them.
THE PIMP
Hey, fellas. Can I interest you in some female
companionship?
Venkman looks them over, and he sees one that catches his eye--because
she looks normal. In fact, she looks highly uncomfortable walking
around in her call girl outfit. Venkman points her out, distracting
the pimp as the other two get ready for the entrapment.
VENKMAN
What's her name?
THE PIMP
That little lady there, her name's Rosemary.
Venkman stares at the pimp to see if he's joking or not. He's not.
VENKMAN
I think I know who I want to take home.
The pimp smiles grotesquely.
THE PIMP
Really? Who?
Venkman points at the pimp.
THE PIMP (cont'd)
Hey, man, I don't swing that way.
Venkman nods at the other two, who open up their proton streams on the
pimp. He nearly breaks free, and Venkman opens fire as well. Together
they just barely get him over the trap. Stantz opens and closes the
trap. The trap instantly begins to smoke.
The Ghostbusters smile at a job well done, but then something catches
their attention: the street has gone silent. They look up and down the
street. All the cars have stopped dead in the street. Everyone is
staring at the Ghostbusters.
VENKMAN
Okay, I'm guessing this is probably an ungood
thing.
A moment later, after more silence, and Rosemary points an accusing
finger at the Ghostbusters. She opens her mouth, and an unearthly howl
comes from deep within her.
The howl seems to break the dimension's paralysis, and all of the
people within the city block begin to move slowly in on the
Ghostbusters.
VENKMAN (cont'd)
Definitely double-plus ungood.
The Ghostbusters break into a sprint back for the Firehouse. Seeing
that they are about to get away, all the ghouls and ghosts and demons
and banshees begin to run towards them. A few zombies continue to
wander slowly.
The Ghostbusters just start blasting randomly at anything that seems
too close. Venkman stands out in front of the Firehouse with his gun
on full stream.
VENKMAN
(to the others)
Go! I'll catch up to you!
The others don't have to be told twice. They run into the garage, past
Blood-1 and the button that closes the doors.
INSERT - THE BUTTON
It just sits there...then a hands slams down on it. The hand belongs
to Hellish Spengler.
EXT. VENKMAN
He doesn't notice as the doors scream shut behind him, leaving him
trapped alone on the streets of Hellish New York.
A demon with one of his horns pierced reaches menacingly toward
Venkman, but a proton blast knocks him halfway across the street.
Venkman backs up, taunting the citizens of Hellish NYC, then abruptly
switches off his stream, turns tail and, not realizing the doors are
closed, runs --
INT. THE FIREHOUSE GARAGE (CONTINUOUS ACTION)
-- THROUGH one of the Firehouse doors. He blinks at the sudden
gloominess and turns. Stunned to see the Firehouse doors closed before
him, he looks down to assure himself of his own solidity. Then he
reaches out a hand to touch the door...and it goes through as though
Venkman himself were a mere puff of smoke. Venkman stares for a moment
-- and then is yanked through the door.
EXT. HELLISH NYC (CONTINUOUS ACTION)
A cab driver, his mummified head complete with a turban, has Venkman's
arm locked in his own. Venkman concentrates...and the cabbie's hands
come together on themselves, passing through Venkman's arm. Venkman
twiddles his fingers at the demonic throng behind the cabbie, then
ducks back into the Firehouse.
INT. THE FIREHOUSE GARAGE
Venkman stares at the door and listens briefly as the throng beats on
it, trying to get in. Venkman laughs to himself -- then stops as he
hears a grunt behind him. He turns to find Hellish Spengler right
behind him.
Hellish Spengler reaches out, his hands claws, preparing to strangle
Venkman...but they close around thin air as Venkman's tangibility
lessens. Venkman laughs.
VENKMAN
Don't worry. I'm having as much trouble
getting used to it as you are.
(concerned)
You know, that's not a very good look for you.
You might look better with skin, but maybe
that's just me. What you've got going seems to
be the look around here.
Hellish Spengler sneers and turns, plodding angrily away toward the
rusted lockers next to the firepole. Venkman sneers mockingly back and
runs after the other two.
INT. THE STAIRS (CONTINUOUS ACTION)
Venkman stares at them. The wood is rotten and warped, crumbling. No
one is standing on them, yet they creak and groan consistently.
Venkman takes a deep breath and starts up.
He gets about halfway up before one of his feet plunges down into the
darkness below the stairs. He pulls it up...but then it is pulled down
again by a hand. He steps up onto a more stable step and peers down
into the darkness. What he sees unnerves him.
INT. UNDER THE STAIRS
There are about three people under the stairs, from what Venkman can
see...human, living people. Their faces are dirty and frightened. A
woman speaks to Venkman. She is familiar.
WOMAN
Help us...please help...
Venkman swallows. He tries to speak bravely and heroically, and he
does a fair job of it.
VENKMAN
There's nothing I can do right now, but I swear
that you'll get out of here. Hang in there.
Amazingly, the woman nods bravely and sits down. Venkman runs up the
stairs. The stairs moan in protest, but none of them break.
INT. THE UPPER ROOM (CONTINUOUS ACTION)
Stantz is making sure all the switches are in the right position.
Venkman accosts him.
VENKMAN
There are people under the stairs. We need to
come back for them or something.
STANTZ
We have a bigger problem on our hands, Pete.
VENKMAN
(unbelieving)
What?
STANTZ
(RE: the machine)
Our doubles. They didn't open the gate on this
side. That means they might be away right now.
VENKMAN
Can we get back?
STANTZ
Well, yeah, but --
VENKMAN
(interrupting)
But WHAT?!
STANTZ
-- but that means that they could open the gate
and cross over on their own!
(to himself)
Spengler and I will have to make some
adjustments as soon as we get back. I'm trying
to make the same adjustments on this gate, but
the wiring is different.
Venkman opens his mouth to answer, but stops as a huge glob of slime
splats onto the machine from behind him. He jumps and turns. Hellish
Spengler is pointing a plasma pack gun at him. He flicks the trigger
switch and Venkman is drenched with slime. Winston and Stantz fire
their own guns, but, like themselves, the beams pass through Hellish
Spengler.
VENKMAN
Get us back!
STANTZ
(panicked)
No! I'm not finished!
Venkman grabs Stantz's elbow. Winston grabs the other. Venkman grabs
for the switch...and his hand passes through it. Another blast of
slime shoots by. Venkman concentrates...and grabs the switch. He
throws it, the world swirls...
INT. THE MANHATTAN CITY BANK (CONTINUOUS ACTION)
...and comes back into focus with the Ghostbusters standing in the
Lobby of the bank. They don't notice.
Venkman looks down at himself, covered with slime.
VENKMAN
Just like the old days. Or last week. Good
old Slimer.
Stantz smiles a small smile, but it is wiped off his face with the bang
of a gun and the whine of a ricocheting bullet. The bullet catches
their undivided attention, and they realize with a shock where they
are.
VENKMAN (cont'd)
Why aren't we in the Firehouse?
Stantz prepares to answer, but a policeman on a bullhorn interrupts.
POLICEMAN
(over the bullhorn)
I repeat: holster your weapons and put your
hands up!
Venkman, Stantz and Winston hook their guns to their belts and put
their hands reluctantly into the air.
Venkman looks around in a more detailed search and notices that there
is a frightened security guard pinned to the wall by a huge glob of
slime.
Several other bankers are scattered behind desks and chairs, beginning
to poke their heads up to see how their hostage situation is going to
end. Large blotches of slime discolor the walls and floor. A thick
mixture of slime and dollar bills drips slowly from one of the
chandeliers. Policemen stand on the second-story balcony, guns drawn
and pointed at the Ghostbusters.
VENKMAN
(persuasively)
Oh, okay, I get it! You think WE did this!
He begins to step forward to explain, but a bullet hits the ground near
his feet and he wisely backs off.
VENKMAN
You don't understand! We're the good guys!
POLICEMAN
(over the bullhorn)
Save it. I'm gonna read you your rights now.
You'll probably want to pay attention. "You
have the right to remain silent. Anything you
say can and will be used against you in a court
of law..."
INT. THE GHOSTBUSTER'S UNDERGROUND TRAINING CENTER - NEXT DAY
Spengler is in the office that is off to the side of the center. The
center is a huge room, cleared of almost everything -- the only things
in the room are a table, upon which are two proton packs and a trap,
and a camera in the corner of the room.
Spengler is tweaking a very large machine -- not anywhere near the size
of the dimensional gate, but still fairly large. It's a chamber of
some sort. He twists a screw carefully...ever so carefully into
place...and then Janine's voice comes in loudly over the intercom.
JANINE
(filter, over the intercom)
Egon! Is this thing working? EGON!
He jumps, and the screw falls to the floor, rolling away. He sighs and
walks over to his desk. He presses a button on the phone.
SPENGLER
(with as much politeness
as he can muster)
You're coming in fine, Janine. What is it?
JANINE
(filter, over the intercom)
The trainees are here.
SPENGLER
That's great. Send them down.
He leaves the office, closing the door behind him. He stands by the
equipment table, looking expectantly but blandly up the stairs. There
is a buzzing noise, it fills the empty training hall, and the door
clicks open. The two trainees, Jake and Art, come down the stairs.
SPENGLER
Welcome. I am Doctor Egon Spengler, a
scientist and co-founder of the Ghostbusters.
JAKE
(amused at Spengler's
seriousness)
Yeah.
(indicating himself and
Art)
We've seen you guys on T.V. We saw your ad in
the paper a few days ago and we thought we'd
check it out.
SPENGLER
Welcome aboard.
He observes the look of surprise on the trainees' faces, nods in
satisfaction, and continues.
SPENGLER
I trust Janine has already screened you?
ART
You mean that secretary chick upstairs? Yeah,
she asked us this long question about whether
we believed in a whole bunch of crazy stuff; we
told her yes.
JAKE
(grinning shamelessly)
But we kinda lied 'cause we need the job. We
don't believe in ghosts.
Spengler tries to hide a smile of his own as he gets back to the set
routine.
SPENGLER
You will need to learn how to use the equipment
here on the table.
(points them out)
The proton pack...and the ghost trap. By using
this equipment, you will be able to catch and
hold a ghost indefinitely.
ART
Hey, he just told you, we don't believe --
Spengler waves him off, interrupting as he continues.
SPENGLER
To aid you in your learning, our resident
spectre Slimer will create a realistic capture.
On cue, Slimer flies in through a far wall, leaving a dark glob of
ectoplasmic residue behind him. He zips over and hovers beside
Spengler.
The eyes of the trainees are wide with terror. They are gaping like
fish, trying to scream.
Slimer stares at them curiously for a moment, then smiles. It's an
endearing smile, but it might be considered frightening by the
uninitiated.
Now the trainees scream at the top of their lungs and bolt for the
stairs, pushing and shoving to get to the top first. Jake jiggles the
handle.
Locked. They begin pounding on the door.
Spengler and Slimer look at each other and shrug nonchalantly.
INT. JANINE AT HER DESK
She is talking on the phone with a potential client. She raises her
voice over the pounding but pays it no other mind.
JANINE
Does it ask specifically for coins? Do you
know of anyone recently deceased who you might
have stolen coins from?
(covers the mouthpiece;
to the trainees)
SHUT UP!!
(back to the client)
What was that? Well don't tell ME you're
sorry, just give them back.
(she switches to another line)
Ghostbusters.
INT. THE TRAINING CENTER
The trainees realize there's no way out. They turn around slowly and
walk back down the stairs warily. They are trying to look cool but
their eyes are still huge and watching Slimer carefully.
SPENGLER
Why don't you three get acquainted while I make
the preparations for the training session?
Spengler walks away and into his office. Jake hesitantly sticks his
hand out. Slimer takes it in his small fist and pumps it twice,
confidently.
Jake smiles, also hesitantly, as he wipes his slime-covered hand off
unthinkingly on his T-shirt. Art grunts non-committally and grabs
Slimer's hand.
INT. THE OFFICE
Spengler is watching from behind the one-way glass of his office and
nodding, a small smile on his face. He walks to the door and opens it,
stepping back out.
INT. THE TRAINING CENTER (CONTINUOUS ACTION)
Spengler walks back to the table, where Slimer and the trainees are
amusing each other.
SPENGLER
All right. Let's get started. I need you boys
to first put on the proton packs. I do need to
warn you that the proton packs are very heavy,
and the protons themselves have a large mass,
adding weight when you shoot. So, do either of
you have spinal problems or a history of such
in your families?
Jake and Art exchange glances and shake their heads.
SPENGLER (cont'd)
You're both quite sure?
They nod. Spengler breathes deeply and nods as well.
SPENGLER (cont'd)
All right. Put them on.
The trainees struggle into the proton packs as Slimer looks on,
giggling. Spengler looks them over. They stand uncomfortably and
without a great deal of balance, but he nods anyway. They reach back
and pull the guns, looking at them curiously.
SPENGLER
These packs each produce a solid stream of
positively-charged ions. Each pack has a high
disruptive power and is fully licensed by the
state of New York. To turn on the pack, you
hit the switch here.
He points it out. The trainees try to flick the switches quickly and
their fingers slip. They try again, and with a bit of effort get the
switch to move. They strain for a moment under a new weight, then
quickly equalize. Spengler nods approval.
SPENGLER
To lock and load the barrel, give the front
grip a quick quarter turn clockwise and back
again.
Jake locks the barrel easily into place. Art struggles for a moment,
then looks down the barrel, searching for an obstruction as he tries
again. Spengler knocks the gun away from Art's face, narrowly saving
Art from being poked in the eye with the extending barrel.
SPENGLER
(to Art, semi-angry)
These are guns. NEVER look down the barrel of
a loaded gun.
Art has a hurt expression on his face. Spengler sighs.
SPENGLER (cont'd)
We'll work on it.
Art brightens a little. Spengler gets back to the routine he's created
for the training.
SPENGLER (cont'd)
Ready your guns by flicking the switch in the
middle of the gun's chassis.
(notices their blank
stares)
The body of the gun.
They flick the switch and the guns light up.
SPENGLER (cont'd)
Lastly, to fire your guns, flick the switch
directly above the switch which turns on the
pack.
He sees their thumbs move toward the switch. He and Slimer back up.
SPENGLER (cont'd)
Don't touch them yet!
Their thumbs move away. Spengler sighs in relief and holds up a finger
for emphasis on his next point.
SPENGLER (cont'd)
Listen carefully, this is very important: don't
cross the ion streams.
ART
(instantly)
Why not?
Spengler stares at him for a moment, surprised into deja vu.
SPENGLER
It would be bad.
JAKE
You know, I didn't used to think ghosts
existed, and now I find out I'm wrong. I'm
confused about everything now. What do you
mean "bad"?
Spengler looks from Art to Jake and back again, blinking slowly. He
mumbles quietly to himself.
SPENGLER
You've got to be kidding me.
(sarcastically)
Two more Venkmans. How wonderful.
JAKE
What?
Instead of answering Jake's second question, he answers Jake's first,
by rote.
SPENGLER
Try to imagine all life as you know it stopping
instantaneously and every molecule in your body
exploding at the speed of light.
Art gives a low whistle.
SPENGLER (cont'd)
Right. It's something we refer to as "total
protonic reversal." THAT'S bad.
JAKE
(breathless)
Yeah, no shit.
Spengler lets this go.
SPENGLER
The object of this exercise is to snare Slimer
in your ion streams and get him here, into the
trap. To use the trap, slide it underneath the
snared ghost and hit the button once with your
foot to open it. To bind the ghost and close
the trap, hit the button again. If you're
really having trouble and need a quick
entrapment, stomp hard once, but I strongly
recommend that you do this sparingly. Make sure
when you close the trap that you shut off your
streams and do not look directly into the trap.
JAKE
Why not?
Spengler locks eyes with Jake.
SPENGLER
It would be bad.
Jake nods and bites his lower lip, understanding fully.
ART
So, how do we catch a ghost again?
Spengler stares at him. Art tries again.
ART (cont'd)
I mean, how do we "snare" it? If our streams
go straight, then what can we do to grab it?
SPENGLER
Just try and get the beam to hit the ghost and
it will wrap itself around the ghost, keeping
it in place. You'll see that the beams rarely
move in a straight line.
(remembers something)
To shorten or elongate your streams, which you
will need to do if you need to bring a ghost
low over the trap, turn this black knob.
Clockwise for more stream, counter-clockwise to
shorten it.
He points to a black knob near the barrel of the gun, next to a red
button.
SPENGLER (cont'd)
For this exercise, you will be going full
stream.
Jake raises his hand. Spengler, feeling mixed amusement and annoyance,
acknowledges him.
JAKE
Oh, um, see, this sounds cool and everything,
but you said these beams can really mess things
up. Slimer's cool -- well he kinda stinks, but
you could sorta get used to it -- and, uh, I
don't want to hurt him.
Spengler smiles now.
SPENGLER
Being a ghost, he has no nerve endings and thus
feels no pain.
To demonstrate, Spengler sticks his hand into Slimer's lower torso.
His hand is semi-visible within Slimer. Slimer doesn't react.
SPENGLER (cont'd)
The only reason most of our cases put up a
fight is because they don't want to be taken
from their haunt.
He removes his hand from Slimer and wipes the ectoplasmic residue
absently on his clothes.
SPENGLER (cont'd)
I will watch you from my office and record your
progress on the camera.
(he points it out)
Let's get started.
(to Slimer)
Go easy on them.
Slimer raises his hand to his brow in salute and flies off through the
wall. Spengler walks into his office, closing the door behind him.
JAKE
(to Art)
You believe this?
Art nods solemnly. Jake nods back.
JAKE
Yeah, me too.
The lights flicker. A light wind picks up in the closed space. Their
thumbs go to the firing switches.
ART
What the --
He stops as Slimer flies back through the far wall. He does not look
like the same spectre that just left. His face is a mask of
malevolence and his eyes, normally a soft yellow, are a harsh and
bright red. Jake screams and fires at him. Art just looks on in
shock.
JAKE
(yelling)
Egon! I think Slimer went rabid or something!
Jake struggles under more weight in his pack. The power of the proton
blast is like a fire hose, and he stumbles backward. His proton stream
tears smoking black loops into the wall.
Slimer dodges the stream and skirts over to the other side of the room,
by the one-way glass -- or two-way mirror, depending on how you look at
it. Jake swings his beam over toward Slimer. Slimer dodges, and the
proton stream ricochets off the mirrored wall and hits the camera in
the opposite corner dead-on.
The camera explodes violently.
JAKE
Aww, damn.
(to Art)
I could use some help here!
Art opens fire, but the stream is more powerful than he is prepared
for, and his gun swings out of control for a moment. His stream comes
very close to crossing Jake's, and Jake pulls his stream frantically
away, doing extensive damage to the walls and ceiling.
INT. THE OFFICE (CONTINUOUS ACTION)
Spengler is sitting comfortably in a chair, trying to put that screw in
again. The walls of the office are heavily soundproofed, and the only
audible noise is some soft music playing over Spengler's stereo.
However, through the glass, Jake and Art are clearly visible,
frantically firing their streams and causing general havoc as they
attempt to apprehend Slimer. Spengler spares a glance to the glass,
nods approvingly, and sets back to work with the screw.
INT. THE TRAINING CENTER
Art's beam slices through the air, cutting the table with the trap
still on it cleanly in half. The trap clatters to its side on the
floor.
Slimer still looks frighteningly malignant, but then he disappears.
The trainees shut off their streams, still yelling for a moment, and
look at each other apprehensively.
INSERT - THE TRAP
Pushed by Slimer's invisible hands, it rights itself onto its wheels.
The button places itself down properly.
BACK TO SCENE
The trainees are scanning the room, their fingers itching on the
trigger switches, and a huge sound comes from the left side of the
room. With a war-cry, they turn and fire at nothing. Slimer raises up
from the floor behind them and roars. They turn slowly and try to box
him in. He weaves down.
Art tries to move in closer and his foot ends up kicking the trap. It
rolls out to the end of its cord and sits.
Jake's stream wraps itself around Slimer. Jake whoops with joy, but
Slimer puts up one hell of a fight. Jake sees the trap on the floor.
JAKE
Art, get the trap ready!
Art nods and stands over the trap button. He sees Slimer about to
escape Jake's beam and fires his own, reinforcing Jake's stream and
trapping Slimer efficiently. Jake begins to get Slimer positioned over
the trap.
He bumps into the wall with Slimer still too far to one side. For a
moment, hopelessness crosses his face, then he brightens and reaches
for the knob that shortens his stream. Art sees and does the same.
They get Slimer over the trap and Art tromps once on the button.
The trap doors open and the trainees, thinking that the trap is about
to close, both shut off their beams. Slimer escapes and the trap sits
open on the floor.
ART
SHIT!!
Slimer is on the other side of the room, panting. Irritation comes
over Jake's face and he takes charge without even realizing it.
JAKE
Full stream!
They blast at Slimer full stream.
JAKE (cont'd)
Get him over the trap! Move him!
They begin to force him toward the trap.
INT. THE OFFICE (CONTINUOUS ACTION)
Spengler is no longer working on the machine. He is staring out the
glass at the trainees, smiling intently and nodding slowly.
INT. THE TRAINING CENTER (CONTINUOUS)
Jake and Art have Slimer moving quickly toward the trap. Jake screams -
-
JAKE
NOW!!
-- and Art stomps on the button. They both shut off their streams and
turn their heads. An inverted pyramid of light flies out of the trap,
engulfing Slimer and sucking him down. The trap shuts and a green LED
light begins blinking as the trap beeps twice.
The trainees stare at the trap unbelievingly. Someone starts clapping
slowly, and they turn their guns impulsively on Spengler. He backs off
for a moment, then begins laughing. They also begin laughing, a high
sound on the verge of hysteria. It tapers off, and Jake points with
his gun to the trap.
JAKE
What's the little blinking green light mean?
SPENGLER
It means two things. One: the blinking means
that a ghost is incarcerated inside. Two: the
fact that it is green means that it is a
training trap. Used in these simulations.
Art seems surprised.
ART
Simulation. Right.
He stomps on the button and they all look away. When they look back,
Slimer--his own, pleasant self--is floating above it.
SPENGLER
The training trap releases Slimer easily. The
real traps, with blinking red lights, can only
be emptied into our Containment Unit in another
part of this basement.
Jake nods in semi-comprehension. Art now addresses the question being
pondered by all.
ART
What happened to Slimer just now? He scared
the crap out of me!
Slimer giggles. Spengler's grin broadens.
SPENGLER
Slimer can alter his appearance at will.
Although I didn't ask him to do it, he made his
visage more frightening and thus prepared you
better for more realistic cases.
Janine's voice comes in through the open door of the office. Even from
this distance, it is very loud.
JANINE
(filter, over the intercom)
Egon!
Spengler walks into his office. Jake speaks briefly to Slimer --
JAKE
He said go easy on us, man!
-- and follows. Art follows as well.
INT. THE OFFICE (CONTINUOUS)
Spengler presses the intercom button -- after he turns down the volume
on his phone.
SPENGLER
Yes, Janine?
JANINE
(filter, over the intercom)
There's a free repeater in Brooklyn. I've got
the address written down up here. The others
are still away. Do you want to handle it?
SPENGLER
(without looking up)
No, I think this is a good one for our new
recruits to warm up on.
JANINE
(filter, over the intercom)
Fine.
Spengler addresses the gaping trainees calmly.
SPENGLER
I think you can handle it.
JAKE
You think we -- Were you WATCHING just now?
Spengler ignores the question and continues.
SPENGLER
The keys to the Ecto are in the ignition. I
trust that at least one of you has his license?
JAKE
Well, yeah, but--
ART
(breaking in)
We just barely trained for the first time!
Spengler laughs without much humor.
SPENGLER
That's one time more than we ever trained. Our
first job was our training. The Sedgewick
Hotel. That's where we first met Slimer,
incidentally. Go upstairs and get the address
from Janine. What size clothes do you wear?
JAKE
Large.
ART
Ditto.
SPENGLER
Perfect. Go upstairs and grab one of my old
uniforms, each of you. There should be proton
packs and a trap in the back of the car. Make
sure. Then get going.
The trainees, still shocked, walk out of the office and up the stairs,
saying good-bye to Slimer without realizing it. Slimer waves after
them.
Spengler runs out of his office.
SPENGLER (cont'd)
Oh, by the way: what are your names?
INT. COURTROOM - DEFENSE TABLE - NEXT DAY
The courtroom is filled with murmuring spectators as Venkman, Stantz,
and Winston prepare to stand trial against the bank.
STANTZ
I'm having the strangest feeling of deja vu.
VENKMAN
No, last time we were on for violation of a
judicial restraining order. This time we're
being tried for criminal assault.
(to Winston)
You missed the last one. This is just for you.
Have fun.
LOUIS TULLY, lawyer, CPA, former demonic possession victim and honorary
Ghostbuster, is seated with them at the table, clenching and
unclenching his fists anxiously.
LOUIS
(very nervous)
Guys, this is only the second time I've done
this. I've never tried to get a criminal off
the hook.
Venkman leans over to Stantz.
VENKMAN
(quietly)
Maybe we should have taken them up on that
offer to give us one of their own lawyers.
Stantz nods.
THE BAILIFF calls the court to order.
BAILIFF
All rise.
(pauses)
The trial of the Manhattan City Bank
against...the Ghostbusters...will now begin.
The honorable Judge Wexler presiding.
Stantz looks at Venkman.
STANTZ
WEXLER?
THE JUDGE comes out of his chamber. He is the same Judge as in the
previous film. He gets halfway up the stairs, then looks for the first
time at the suspects.
INSERT - DEFENSE TABLE - JUDGE'S POV
Venkman twiddles his fingers at the Judge discreetly.
BACK TO SCENE
THE JUDGE blanches and turns around without reaching the stand. He
retreats back into his chambers.
JUDGE
(yelling)
Not guilty! Case dismissed!
The court falls into an uproar as the bailiff goes to retrieve the
Judge.
AT THE DEFENSE TABLE, Venkman starts to walk away.
VENKMAN
Okay guys, that's it, let's go.
LOUIS
We can't.
VENKMAN
(angry)
Why not? We were just acquitted!
LOUIS
He didn't bang...
(forgets the name in his
nervousness)
...that wooden thing. It doesn't count.
Venkman rolls his eyes and stands still.
The Bailiff drags the Judge back out of his chambers.
JUDGE
(moaning)
We just had the ceiling renovated.
The Bailiff helps him (forces him) onto the stand. The Judge waves him
off and takes a deep drink of water.
INT. COURTROOM - WITNESS STAND (LATER)
The bank SECURITY GUARD is testifying. The Guard is absurdly
attempting to look like a professional officer and consistently tries
to use legal lingo. This is the man who was pinned to the wall by
slime. The PROSECUTOR is questioning him.
PROSECUTOR
Mr. Jenson, could you please tell the court --
in your own words -- what happened on the
afternoon of August 12?
GUARD
Well, I was at the front door of the bank, like
always. Just makin' sure everything was in
order, you know.
PROSECUTOR
And was everything in order?
GUARD
Well, yeah. Until about five o'clock.
PROSECUTOR
That was when the suspects arrived.
GUARD
Yeah.
PROSECUTOR
Please continue.
GUARD
Well, at about five -- I was just about to
close the bank, so I remember the time -- I saw
the suspects coming toward the bank.
PROSECUTOR
(disdainfully)
The "Ghostbusters."
GUARD
I thought so.
PROSECUTOR
So you let them in.
GUARD
Yeah.
PROSECUTOR
Why? Why would you let the suspects in if they
had no business there?
GUARD
Well, there's an ATM at the bank that
malfunctions sometimes. We joke around with
the new people that the thing is haunted.
(chuckles)
I guess I thought someone took us seriously and
called the Ghostbusters. Maybe the new rookie,
Thomas.
(suddenly on a tangent)
You know, we told that fool boy that the
automatic flushers in the bathrooms only worked
if you danced in front of them, and one day we
found him doing the Lambada or some kinda --
PROSECUTOR
(interrupting)
Mr. Jenson.
GUARD
Please excuse me.
PROSECUTOR
So you let the "Ghostbusters" in.
GUARD
Yeah.
PROSECUTOR
Then what happened?
GUARD
Immediately after I opened the door, one of the
suspects shot me with his gun. A large wad of
plasm shot out and pinned me to the wall.
INT. EXHIBIT TABLE
The exhibit table is adorned with the three proton packs and particle
throwers. The trap holding the pimp is conspicuously absent.
PROSECUTOR
Mr. Jenson, are these the "guns" that were
confiscated from the suspects at the scene of
the crime?
GUARD
Yeah.
PROSECUTOR
And you were shot by one of these guns?
GUARD
No.
PROSECUTOR
(caught off-guard)
No?
GUARD
No. The ones the suspects shot me with were
different. They looked older. Or something.
PROSECUTOR
You seem very sure, Mr. Jenson. Did you get a
good look at the suspects?
GUARD
Yes, very good.
The Prosecutor points out the Ghostbusters.
PROSECUTOR
And are these men the suspects you saw?
GUARD
No. Yes. I'm not sure.
PROSECUTOR
You said you got a good look at the suspects.
GUARD
I did.
PROSECUTOR
And yet you are unsure.
GUARD
Yes.
PROSECUTOR
How can you be unsure?
GUARD
Well, those guys --
(indicates the) Ghostbusters)
-- sorta look like the suspects, but they also
sorta don't. The suspects looked like zombie
versions of them.
PROSECUTOR
Mr. Jenson, these are the only suspects. They
were apprehended at the scene.
GUARD
But I don't think they did it.
The court murmurs. The Judge bangs for order.
PROSECUTOR
(Re: the proton packs)
And these are the only weapons confiscated at
the scene. Aside from a "trap" that was
allowed to be sent back to their place of
business.
JUDGE
That is VERY unorthodox. I assume that there
is a reason you allowed evidence to be taken?
PROSECUTOR
Yes sir.
JUDGE
Well...?
PROSECUTOR
(hesitant)
Well, sir...
BAILIFF
It made the cop car smell like shit, your
honor.
Uproar in the courtroom. The Judge bangs his gavel.
JUDGE
(to the Prosecutor)
Proceed.
PROSECUTOR
As I was saying, these are the only weapons
taken from the scene.
(in an "Isn't it obvious?" tone)
These MUST be the guns that you allege coated
you with slime.
GUARD
(confused)
Yeah, yeah, I guess so.
DEFENSE TABLE
Louis stands up.
LOUIS
Objection, your Honor!
JUDGE
On what grounds?
LOUIS
(to Stantz)
Why?
Stantz whispers in Louis's ear. Louis nods and tries to reiterate, but
it ends up being a lot like the child game "Telephone."
LOUIS
Because those guns only shoot concentrating eon
beams with high destructive plausibility.
(obviously adding on his own)
They don't shoot slime.
Stantz whispers something else in Louis's ear.
LOUIS (cont'd)
If the court will permit my clients, they would
be happy to demonstrate.
More murmuring. The Judge bangs his gavel frantically.
JUDGE
Permission denied! Objection sustained!
(to the Prosecutor)
Do you have anything to add?
PROSECUTOR
No further questions, Your Honor.
(to Louis)
Your witness.
Louis stands up and leafs, panicky, through his notes.
LOUIS
(finally)
No questions, Your Honor.
INT. COURTROOM - WITNESS STAND - LATER
Another security guard, GUARD #2, is testifying. He looks very prim
and proper in his suit -- annoyingly so. He also looks extremely
nervous, as though he were testifying against a group of dangerous
murderers rather than the Ghostbusters.
PROSECUTOR
So, Mr. Williams, you are in charge of the
video surveillance at the Manhattan City Bank?
GUARD #2
Yes, that's right.
PROSECUTOR
And were you on duty when the suspects entered
the bank?
GUARD #2
Yes. I'm the one who called the police.
PROSECUTOR
And, can you please tell the court, in your own
words, what happened?
GUARD #2
Well, I've brought with me the tape of the
suspects entering and attacking the bank. If
the court will permit me...
JUDGE
(waves him on)
Proceed.
Guard #2 hands a tape to the bailiff, who inserts it into the court
VCR.
INSERT - TV SCREEN
INT. MANHATTAN CITY BANK (SURVEILLANCE VIDEO)
The video is playing without sound, but the sound isn't necessary. We
now get our first glimpse of the other HELLISH GHOSTBUSTERS as they
walk into the bank. True to the first guard's story, one of them,
HELLISH STANTZ, blasts the guard with slime immediately after he walks
in the door.
The spectators in the courtroom gasp.
Guard #2 begins narrating over the tape.
GUARD #2 (V.O.)
Here you can see a completely unprovoked attack
by the suspects on Mr. Jenson. I called the
police immediately.
HELLISH VENKMAN and HELLISH WINSTON begin attacking the few people left
in line for the bank tellers. The spectators gasp again.
A small package flies into the air.
INT. THE JUDGE
He motions to the TV.
JUDGE
Rewind it.
The bailiff does so. The Judge watches the tape again.
JUDGE (cont'd)
(RE: package)
Stop. Right there. What's that?
GUARD #2
One of our tellers anticipated a demand by the
suspects for money. He put a large sum of
money into a bag and threw it to the suspects.
(to the bailiff)
Continue the tape.
The bailiff switches the tape to PLAY.
INT. SURVEILLANCE VIDEO
Hellish Venkman turns and blasts the money bag with his plasma weapon.
The bag explodes and the money mixes with the slime, some of it
settling on the chandelier.
GUARD #2 (V.O.)
Approximately five hundred dollars were adhered
to the chandelier by what Mr. Jenson has
referred to as "plasm."
(pauses)
At this point the police arrived.
INT. WITNESS STAND
The Judge leans forward.
JUDGE
How did they arrive so quickly?
GUARD #2
The precinct station is only a block from the
bank. These officers came on foot.
(pauses)
At this point Officer Lavey asked the suspects
to holster their weapons and surrender. Watch
how they respond.
On the TV, the Hellish Ghostbusters turn and fire at the police,
spreading slime across the walls and ceiling. The spectators murmur
excitedly.
Suddenly, a cloud swirls around the Hellish Ghostbusters. Guard #2
nods and the bailiff turns off the tape.
GUARD #2
(nervously)
Here, there was a small interference on the
tape. But I think what we've seen proves
without a doubt that the suspects are indeed
guilty.
PROSECUTOR
Thank you, Mr. Williams. No further questions,
your Honor.
(to Louis)
Your witness.
Louis stands up shakily and walks over to the witness stand.
LOUIS
Mr. -- Uh, Mr. -- Williams. What's on the
rest of that tape?
GUARD #2
(shrugs)
Basically just the surrender and apprehension
of the suspects.
LOUIS
(to the Judge)
Could we watch the rest of the tape?
JUDGE
Proceed.
The bailiff switches on the tape. The cloud wraps around the Hellish
Ghostbusters and, when it disappears, the human Ghostbusters are
looking around confusedly.
LOUIS
Did you see that? When that "interference"
showed up, it covered only the suspects, in the
middle. When it disappeared, my clients were
in the middle.
INT. DEFENSE TABLE
Winston bangs his head on the table. Stantz covers his face with his
hands. Venkman leans over to him.
VENKMAN
Louis makes a great Prosecutor, don't you
think?
INT. WITNESS STAND
GUARD #2
Yes. As I said, it is conclusive evidence.
LOUIS
But didn't they look different before and after
the interference?
GUARD #2
What do you mean?
Louis has the bailiff rewind and replay the tape.
GUARD #2 (cont'd)
I guess they looked a little different. Those
were some Halloween masks, I guess.
LOUIS
But where did the masks go after the
interference?
The guard gapes, not able to answer conclusively.
LOUIS (cont'd)
The suspects and my clients had different
appearances. Do you think that, if it was just
video interference, they would be able to
change appearance so quickly?
GUARD #2
It's definitely possible.
LOUIS
But if it was only video interference like you
say, how would they KNOW the exact moment to
make the change?
The guard is once again at a loss for words.
LOUIS (cont'd)
So, faced with all this, can you actually say
that the tape is conclusive?
GUARD #2
I -- I guess not.
LOUIS
(confidently)
No further questions.
He returns to the defense table, where the Ghostbusters are staring at
him at an equal loss for words. Stantz speaks first.
STANTZ
Wow. That was good.
Louis's inhibitions return and he flushes in embarrassment.
VENKMAN
I didn't know those confidence-building tapes
really worked. I should have given them to you
a long time before last Christmas. They were
going to waste on my closet shelf.
LOUIS
Gee, guys, it was nothing.
Winston pats Louis on the back. Louis turns even redder.
INT. COURTROOM - WITNESS STAND - LATER
Stantz is sitting uncomfortably on the stand. He is being questioned
by Louis. Apparently the confidence was a one-time thing, because
Louis fidgets nervously the whole short time.
LOUIS
So, uh, how'd you get into the bank?
STANTZ
I can't be sure, but I think it may be a result
of equal mass displacement --
Louis can't take it any more.
LOUIS
No further questions your Honor.
He scurries back to the defense table, quickly informing the
prosecution that Stantz is their witness.
AT THE DEFENSE TABLE
VENKMAN
(quietly, to Louis)
Guess you blew YOUR containment unit this time,
huh?
LOUIS
(pitifully)
I'm only on the third tape so far.
INT. WITNESS STAND
The Prosecutor begins to question Stantz.
PROSECUTOR
Dr. Stantz, you said that you were in the bank
as a result of -- ?
She turns to the court STENOGRAPHER. The Stenographer reads back the
words.
STENOGRAPHER
"Equal mass displacement."
PROSECUTOR
Can you please tell me what high school physics
has to do with your charge of criminal assault?
Scattered laughter from the spectators. Stantz looks over to his
partners. They nod the go-ahead. Stantz takes a deep breath and goes
ahead.
STANTZ
My partners and I were testing an experimental
machine, an inter-dimensional gate. But by
travelling to a parallel universe, an equal
mass -- or parallel versions of us -- had to
be sent to this universe to keep things
balanced. They were in the bank, and to keep
the balance, we were in the bank when we
crossed back over...
Stantz trails off and stops as he hears nothing. Everyone is silent
and staring at him. Even the stenographer has stopped typing and is
looking at him with undisguised incredulity.
PROSECUTOR
(stunned)
No further questions, your Honor.
INT. COURTROOM - LATER
The trial is winding down. The Judge prepares to read the sentence.
JUDGE
Raymond Stantz, Peter Venkman, Winston
Zeddemore, stand up.
They do.
JUDGE (cont'd)
I find you not guilty on the charge of criminal
assault. I do, however, find you guilty of
negligence. Allowing supposed "doubles" to run
amok is an endangerment of innocent civilians.
I hereby order you pay fines to the Manhattan
City Bank in the amount of $2,500 each and
sentence you to a two-month prison sentence.
Bail is posted at $500 each.
(almost bangs his gavel,
then stops)
And I also order this "gate" of yours shut down
permanently.
(bangs his gavel)
Case dismissed.
INT. THE ECTOMOBILE - DUSK
Jake is driving along in silence. Suddenly, Janine's voice cuts the
silence over the CB radio mounted to the dash.
JANINE
Jake?! Damn it, are they out of range?
Art searches frantically for the CB transmitter as Janine continues
uninhibited.
JANINE (cont'd)
JAKE!! ART!!
ART
Why don't they tell us about these damn things?
I mean, how are we supposed to know?
(finds it)
We're here, Janine. What's up?
JANINE
Egon just wanted me to remind you that there's
proton packs and a trap in the trunk.
Spengler can be heard but not understood in the background.
JANINE (cont'd)
He also says there's a PKE meter in the glove
box. It'll tell you if there's a ghost around.
ART
Okay, cool. We won't let you guys down. Over
and out.
He sits back and sees Jake staring at him.
ART
What? I've always wanted to say "Over and
out."
Art pops open the glove box. The PKE meter tumbles out. Art picks it
up.
ART (cont'd)
Whoa.
EXT. BROOKLYN - DUSK
The Ecto pulls up to a fairly nice house and the two trainees jump out.
They shoulder their proton packs and Jake grabs a trap.
INT. LIVING ROOM - SAME TIME
The WIFE is looking out the window at the new Ghostbusters anxiously.
WIFE
(to her husband)
They're here.
(looking out the window)
But these ones don't look like the ones on TV.
They look new.
EXT. ECTOMOBILE - SAME TIME
The two trainees start up the walk and are welcomed by the man of the
house, the HUSBAND.
HUSBAND
Hi. You're the Ghostbusters, right?
Jake looks at the man for a moment. Then back at the car. Thenat
their outfits and proton packs. Then at the man again. He decides
that the man is distraught and not stupid, so he answers.
JAKE
Yeah, that's us. Somebody call?
The husband leads them up the walk and into the house wordlessly.
ART
(aside to Jake)
I guess that's a yes.
INT. THE HOUSE - CONTINUOUS
The two KIDS are in the living room. The oldest, a boy, is about
seven. The other is a baby of about seven months. The little boy comes
running up to them immediately. Unlike his parents, he is energetic
and happy.
KID
Are you here to get rid of the TV ghost?
JAKE
Who?
KID
Starch-man.
ART
Who's Starch-man? Is he a new superhero or
something?
WIFE
(exhausted)
That's what he calls the ghost. He says he saw
it on TV. I don't know. We don't watch TV
much.
The baby starts giggling. Jake and Art look over.
THE BABY is giggling happily -- but it's also floating in the middle of
the air.
Jake, startled, points the PKE meter at the baby. The needle shows
moderate readings.
THE WIFE looks at her watch.
WIFE
(to her Husband)
Honey, we'd better go. It's eight-thirty
already.
HUSBAND
Are you sure? Is Bobby floating?
WIFE
Yes, dear.
The husband comes out of the kitchen, plucks the baby easily and calmly
out of the air. He puts on his coat as his wife does the same and
helps the little boy into his.
HUSBAND
(to the trainees)
We'll get out of your way. We're staying in a
hotel for the evening. The number's on the
counter in the kitchen by the phone. Room
2064. Call us when you're done. You've got
about half an hour before things get crazy.
(beat)
Hey, you guys seem a little young. You done
this before?
JAKE
(lying automatically)
Sure. We do this all the time.
He begins to take PKE readings of the living room's exotic fish tank.
The husband nods unsurely and leaves.
ART
What'd you lie to him for?
JAKE
You want to do this or don't you?
ART
(smiles uneasily)
You know, it's funny, but I really do want to
do this.
JAKE
(grins openly)
Me, too. I think this is a job I could get
used to.
Neither of them notice as the PKE needle, set at zero, begins to twitch
just the slightest bit.
INT. NYPD LOCK-UP - NIGHT
Venkman, Winston, and Stantz are all together in one cell. Their
cellmate is sleeping and has been since they got in.
STANTZ
At least he's a believer now and he believed us
about the gate.
WINSTON
I've been here before. You guys didn't need to
take this "be a part of us" thing as far as
this.
Venkman is standing on his bunk, tickling their cellmate's nose with a
feather from his pillow.
VENKMAN
(to Winston)
Oh, come on. You know you love it.
(turns back to the tickling)
And if I can wake up our friend here, we can
have a full-blown party.
STANTZ
He was sleeping before we got here. We didn't
even wake him up when we went into lockdown.
What makes you think a feather will do it?
VENKMAN
The pen is mightier than the sword.
WINSTON
So?
VENKMAN
They used to make pens out of feathers.
WINSTON
I don't know if you should wake him up, Pete.
The guard said he's been in for the past
fifteen years on a charge of willful
endangerment.
VENKMAN
Fifteen years? All the fight's gone out of
him. You didn't get to enjoy this the last
time.
WINSTON
Yeah, and why WAS I in jail, anyway? Because
some dick named Peck --
VENKMAN
(correcting him)
"Pecker."
WINSTON
(continuing)
-- blew the containment unit and I just
happened to work for you.
STANTZ
I wonder what happened to Peck, anyway?
His question is answered as their cellmate, WALTER PECK, awakens and
sits up. His eyes widen as he sees Venkman.
PECK
Venkman? VENKMAN?!
Venkman begins waving his arms about crazily.
VENKMAN
(wavering)
It's just a dreeeam. Go back to sleep.
Peck leaps out of the bunk on top of Venkman and begins swinging.
PECK
I'll put you to sleep, you son of a bitch! Put
me in jail for fifteen years, will you?
VENKMAN
(dodging)
Aww, isn't that cute, he REMEMBERS me!
Stantz runs to the bars.
STANTZ
GUARD!! GUARD!!
The guards rush over and pry Peck off Venkman's back. One of them
pulls a syringe and injects Peck with a sedative. Gradually the fight
goes out of him.
VENKMAN
(unscathed and undaunted)
So THAT'S why he was sleeping like a brick. I
always wondered where he went. I wonder if he
ever got that fruit basket.
Peck, unconscious, starts mumbling something about "the storage
facility" and "the magic word."
INT. BROOKLYN - THE HOUSE - LIVING ROOM - LATER
Jake and Art are looking around tensely. The clock on the wall
indicates that the time is eight fifty-six.
They jump at the sound of smashing dishes in the kitchen. Jake grabs
the PKE meter and heads to the kitchen.
INT. KITCHEN - CONTINUOUS
Jake walks in and, although the sound of crashing porcelain is still
heard, there is no one in the kitchen, no dishes on the floor. He
takes readings. They are fairly low. He is about to leave when he
hears a faint voice, a woman's voice, within the smashing dishes.
WOMAN'S VOICE
(fading in and out)
...NOT going to let you hurt him anymore...
...never does anything, and you just...
A man's voice responds.
MAN'S VOICE
(similarly fading)
...wouldn't spoil him like you do, maybe
he'd... ...DON'T YOU WALK AWAY FROM ME...my son
now, too...
WOMAN'S VOICE
...old son of a bitch DRUNK...
A slapping sound, not at all faint, resounds through the kitchen. The
woman's voice begin's to sob.
MAN'S VOICE
...TALK TO ME LIKE THAT...digusting WHORE...
Jake has to leave. He can't take it. He has the perfect excuse as he
hears things shattering back in the living room.
INT. LIVING ROOM - CONTINUOUS
Art is kneeling by the shattered fish tank, scooping up exotic fish and
putting them back in what's left of the tank's water. His gun has been
set down on the floor beside him. He sees Jake and points to a dark
spot on the wall.
ART
He went that way.
Jake starts to leave, but Art stops him.
ART
He looked familiar. He was that guy who was
running for mayor and got murdered.
(swallows)
The news never said how bad he had it growing
up.
JAKE
I don't think the news knows.
(RE: the fish tank)
Did he do that?
ART
(pats his gun)
Indirectly.
Art continues to scoop up fish. Jake starts walking through the house
taking PKE valences.
INT. BEDROOM - CONTINUOUS
Jake comes upon the little boy's bedroom -- and nearly jumps out of his
skin as he sees the ghost of GARY STOCKMAN sitting calmly, waiting for
him.
STOCKMAN
I guess you're here to get rid of me. Well, go
ahead. I want to leave and never come back.
You've seen my memories. This is my old house.
Jake is taken aback even further. He seems to debate whether or not to
talk to the ghost. He decides yes.
JAKE
That thing in the kitchen? The fight?
Stockman's ghost nods.
STOCKMAN
My mother and her boyfriend. Arguing over me.
How I needed to be beaten. I had front row
seats to the REAL fight of the century.
(looks Jake over)
So where's the trap? I want to get out of
here.
JAKE
Then why don't you just leave on your own?
STOCKMAN
I would if I could. But I can't, so I shan't.
(laughs bitterly)
Every time I try to leave this personal Hell of
mine, something holds me back right at the
perimeter. So. Let's get this over with.
Jake calls Art.
Art trundles up the stairs, and is so keyed up that he fires at
Stockman the instant he sees him. He hits a lamp behind and to the
left of Stockman. Stockman doesn't flinch.
JAKE
Hey! He wants to go. Turn off the gun!
Art shuts it off.
JAKE (cont'd)
(to the ghost)
Uh, Mr. Stockman, could you please stand up?
Stockman stands on his semi-transparent feet. Art places the trap on
the floor. Stockman stands over it.
ART
You ready?
Stockman nods. Art hits the button. The trap pops open.
STOCKMAN
Please find my killer.
Art hits the button and they turn their faces away. An inverted
pyramid of light blazes in the small room. Stockman's wispy body is
sucked into the trap -- but his final word escapes the vortex.
STOCKMAN (cont'd)
Sedah.
The trap snaps closed and the red light begins blinking. Jake turns to
Art.
JAKE
You know, even though he didn't put up a fight
like Slimer, I think this one was harder.
Art nods agreement.
ART
What'd he say last?
JAKE
I think he said "seder."
ART
What's that?
JAKE
A Jewish holiday or something. I don't
remember.
ART
Why would he say that? I always heard he was a
Catholic.
Jake shrugs. Then he remembers he has to make a phone call.
INT. PHONE NOOK - CONTINUOUS
He picks up the phone and dials.
JAKE
Hey, Janine? How much do I charge for this
one?
INT. THE ECTOMOBILE - LATER
Jake and Art are leaving, driving slowly out of Brooklyn on the
Brooklyn Bridge. The strobes on top of the Ecto are flashing. It
isn't that late, but the bridge is pretty deserted. Art lights a
cigarette and takes a deep drag.
JAKE
Art, what the hell are you doing? You don't
smoke.
Art hacks and wretches the smoke out of his lungs. He throws the
cigarette out the window.
ART
I know. The pain distracts me from what just
happened.
JAKE
That was pretty damn creepy, wasn't it?
ART
(changing the subject)
Let's listen to some music.
Jake nods. Art flips on the radio. A news clip fades in.
ANNOUNCER
...When confronted with the possibility of a
win for Reid, leading mayoral candidate Sedah
had this to say: "Nothing personal, but it'll
be a cold day in Hell before he gets re-
elected." Cryptically, he added, "Believe me,
I know."
(switches topics)
On an unrelated topic, large black splotches
have appeared on the green skin of Lady Liberty
out on Liberty Island.
Behind the Ectomobile, a set of headlights comes on, not seeming to
switch on but rather open like eyes. The trainees do not notice.
ANNOUNCER (cont'd)
The head of the statue curators would say it
was something they didn't quite understand, but
refused to comment any further.
(a song starts playing)
(during the intro)
Well, this is the end of my broadcast this
evening. Bruce Perker is up next. I'm Ed
Afterson for W-NYC, saying good night and God
bless.
All the while the headlights behind the car have been getting closer
and closer. The trainees drive along briefly in peace for a little
while... not noticing as the radio begins to crackle...not seeing as
the PKE meter on the dashboard climbs into dangerously high readings
...not noticing as a group of purple and white lights, mounted to the
other car, begins to flash.
But then the other car skirts by on the left side at high speed, the
wind rocking the Ectomobile on its shocks. Jake yells to the back of
the car.
JAKE
Hey, buddy! Where's the fire?
ART
Jake, doesn't that car look kind of familiar?
JAKE
Yeah, it looks kinda like...this car we're in
right now. What's the license plate?
ART
(squints)
"Blood-1". Doesn't look like a New York
license plate, Jake.
JAKE
Well, I don't care what it is. I'm gonna pass
it and just be done with it.
He tries to pass Blood-1, but the black version of the Ecto swerves
into whatever lane Jake tries to pass in. It continues this way for a
moment, but then Blood-1 falls back.
JAKE
(to Art)
There, see? No prob --
Jake is cut off as Blood-1, riding alongside the Ecto at the same
speed, swerves into the Ecto's lane and rams the car with its side.
ART
What the hell is he doing?
JAKE
(scared now)
I think he's trying to run us off the bridge.
As if hearing Jake, Blood-1 slams the Ecto a powerful blow. Again and
again. The Ecto swerves and comes very close to slamming into the side
of the bridge.
All seems about lost...but then Blood-1 speeds away down the bridge.
Jake and Art breathe a simultaneous sigh of relief.
JAKE
I guess it was just a bunch of drunk guys who
got tired of the chase.
They pass a sign: Bridgework Ahead -- ALL LANES MERGE RIGHT.
ART
And not a moment too...
Art trails off as he looks in the distance. The brake lights of the
Blood-1 -- blue brake lights -- have turned on. The car's headlights
and strobes can be seen in the darkness as the driver makes a U-turn --
to the left -- and heads back for the Ecto.
Right at the same second, the lanes of traffic merge to the right. The
road to the left of the Ecto has been blocked off and torn up, exposing
a ragged, gaping hole that leads to the water below. On the right is
the edge of the bridge. Nowhere to go. Blood-1 keeps coming.
ART
Stop the car, Jake! Stop the car!
Jake tries to take his foot off the gas or turn the wheel. His hands
and feet seem glued to the spot.
He begins to frantically thrash about, but the wheel stays firmly
forward and the car continues at high speed.
JAKE
(panicky)
Hail Mary full of grace and give us this day
our daily bread Our Father who art in heaven --
Art, interrupting, sums it up best as it gets to about three seconds to
impact:
ART
Ohhhhh, SHIT!!
The front ends of the Ecto and Blood-1 meet -- but as they do, Blood-
1's front peels away in curls of smoke.
The Ectomobile, with Jake and Art screaming inside, passes through the
other car, dispersing it in a huge cloud of ectoplasmic smoke.
INT. PKE METER - SAME TIME
The needle goes absolutely berserk, and the glass of the indicator
cracks.
EXT. ECTOMOBILE - SAME TIME
The lanes of traffic become two again. Jake pulls the car over in
front of the construction zone and the trainees get out and look at the
Ecto.
The entire outside body is covered with ectoplasm. There are dents in
the driver's side door where Blood-1 bumped the car.
JAKE
(dazed)
Hey, Art?
ART
(equally dazed)
Yeah?
JAKE
You know what?
ART
No. What?
JAKE
I take it back.
ART
Take what back?
JAKE
(shakes his head for emphasis)
I'm never gonna get used to this.
INT. FIREHOUSE OFFICE - NIGHT
Janine is sitting at her desk, talking on the phone with the police.
JANINE
Yes, officer, I understand. Yes. All right.
Good-bye.
She hangs up and turns to the intercom.
JANINE (cont'd)
(yelling)
Egon!
Spengler responds, and the irritation in his voice is not so well-
concealed as before.
SPENGLER
Yes, Janine?
JANINE
The police just called. The other three have
been convicted of negligence and are spending
the night in NYPD lock-up. Bail is $500 each.
You want me to bail them out?
Spengler thinks for a long time.
SPENGLER
Sure. Charge it to the company and take it out
of their salaries.
JANINE
Okay, but could you come up here and man the
phones for me?
SPENGLER
Janine, I'm very busy.
JANINE
Yeah, well, it sounds like you could use a
break.
Another long pause. Spengler comes back on, sounding apologetic.
SPENGLER
I'm sorry, Janine. Go on. I'll take the
phones.
JANINE
Okay. I'll be back in about twenty minutes.
INT. CON ED TRUCK - SAME TIME
Two CON ED GUYS are sitting in the truck, across the street from the
Firehouse. One is watching the Firehouse carefully. The other is
asleep.
Guy 1 turns to the man in the back, a COP.
GUY 1
Why don't we just go in? We have a court
order.
COP
It's easier to do it when there's no one
inside. Trust me.
They watch as Janine comes out and calls for a taxi. The cop indicates
Guy 2.
COP
Could you wake him up? I don't think he even
knows what we're doing here.
Guy 1 shakes Guy 2 awake.
GUY 1
Hey, we're here.
GUY 2
Where's here?
GUY 1
(hesitant)
The Ghostbusters.
Guy 2 sits up violently in his seat and looks at the Firehouse. He's
been here before.
GUY 2
No. Uh-uh. I am not shutting anything down in
that building. It's dangerous.
They continue to try to persuade him, both the cop and Guy 1, but he is
adamant and they go without him.
INT. FIREHOUSE - REC ROOM - LATER
Spengler is arguing with the cop as Guy 1 tries to figure out how to
shut down the gate.
SPENGLER
I am warning you, shutting this down would have
extremely severe consequences. The last time
something was shut down in this building the
explosion could be heard for two miles.
COP
(showing him the court order)
Yeah, well, I got a responsibility given by
Judge Wexler that says I need to shut this
thing down.
GUY 1
Found it!
SPENGLER
DON'T TOUCH IT. I'm warning you.
INT. TAXI CAB - NIGHT
Janine remembers something.
JANINE
(to the cabbie)
Hey, could you take me back for a minute? I
forgot my purse.
INT. ECTOMOBILE - NIGHT
They're almost back to the Firehouse.
JAKE
Let's ask Egon about that other Ecto. Blood-1.
Maybe he'll know something about it.
Art still looks stunned by the whole thing.
INT. FIREHOUSE - REC ROOM - SAME TIME
COP
(to Guy 1)
Just shut it off so I can go home. I'm hungry.
SPENGLER
This is an inter-dimensional gate. The
consequences of what might happen if you shut
this down are unfathomable.
GUY 1
Nothin' personal.
(he shuts down the gate)
Just doing my job.
An alarm begins to sound in the rec room. The gate begins making
noises that do not sound at all good.
The cop and Guy 1 look on in fright. Spengler runs to the machine and
tries to fix their mistake.
SPENGLER
(yelling)
Get out now!
The cop and Guy 1 run down the stairs. Spengler keeps trying to fix
the problem, but realizes soon that it's hopeless and runs for the
stairs.
He is halfway down before the gate EXPLODES.
Spengler is thrown down the stairs.
INT. TAXI CAB - SAME TIME
Janine watches the second floor wall expand and shatter like glass,
spreading debris.
INT. ECTOMOBILE - SAME TIME
It just barely turns the corner at the same time, allowing Jake and Art
to watch helplessly as a huge fireball licks out of the hole in the
second floor.
INT. NYPD LOCK-UP - SAME TIME
Venkman, Stantz and Winston all listen to the explosion.
WINSTON
I really don't like the sound of that.
EXT. FIREHOUSE - SAME TIME
Both the cab and Ecto pull up in front of the Firehouse. The trainees
and Janine leap out and rush inside. The cabbie gets out angrily and
follows for his money.
INT. FIREHOUSE - CONTINUOUS
The trainees and Janine hurry in, only to discover Spengler's
motionless body at the foot of the stairs.
INT. CON ED TRUCK - SAME TIME
The cop and Guy 1 leap in and start the truck. Guy 2, who has been
watching the explosion, is laughing, a low, wheezy laugh.
GUY 2
I told you! Didn't I tell you?
Guy 1 starts the truck and drives away without answering.
INT. FIREHOUSE - SAME TIME
JAKE
Oh, my God! I don't think he's breathing!
ART
Call an ambulance!
JANINE
There's no time!
(has an idea)
Get the stuff out of the back of the Ecto! It
used to be an ambulance! Take him in the back
of the Ecto! I'll tell them you're coming. Go!
She runs to the phone and dials 911.
EXT. ECTOMOBILE - A LITTLE LATER
It leaps from the curb, sirens wailing, as it heads for the hospital.
Janine runs out and into the cab with the cabbie in tow.
CABBIE
(in broken English)
You want go to hospital?
JANINE
No. Take me to the New York Police Department.
I need to bail out some friends in lock-up.
CABBIE
Got purse?
JANINE
Yes! Drive!
The cab peels away from the curb and speeds to the lock-up.
INT. NYPD LOCK-UP - LATER
A cop addresses the Ghostbusters, opening the sliding door. Venkman
stops poking Peck's unconscious body.
COP
"Ghostbusters?"
STANTZ
(resigned)
Yeah?
COP
You're free to go. Bail's been paid.
VENKMAN
Are we on Candid Camera or something? Is this
a joke? Who posted it?
COP
Some weird chick with a bad attitude.
GHOSTBUSTERS
(together)
Janine!
INT. TAXI CAB - LATER
Stantz, Venkman and Winston are all shoc