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1.
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FADE IN
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1 EXT. NEW YORK PUBLIC LIBRARY - DAY 1
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The sun shines brightly on the classic facade of the main
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library at Fifth Avenue and 42nd Street. In the adjacent
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park area, pretty hustlers and drug peddlers go about their
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business.
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FRONT STEPS
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A few people lounge on the steps flanked by the familiar
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stone lions.
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2 INT. MAIN READING ROOM -- DAY 2
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People are dotted throughout the room sitting at the long
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oak tables polished by decades of use. Reading lamps with
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green glass shades cast a golden glow on the tables. The
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patina of age is everywhere. It is very quiet.
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LIBRARIAN
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A slightly stout, studious looking girl in her late
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twenties circulates quietly among the tables picking up
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books and putting them on her cart. Everything seems
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completely normal and peaceful.
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POV
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A single eerie musical note signals the presence of
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something strange looking down on the Librarian from a
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vantage point high above the room. It follows the Librarian
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as she pushes her cart around the corner.
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3 INT. WORK AREA 3
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The Librarian is alone in a back room sorting books for
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reshelving. Behind her is the card catalogue. One of the
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books attracts her interest and she starts leafing through
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it.
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THE CARD CATALOGUE
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Another eerie note is heard as one of the drawers silently
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slides open behind the Librarian and hundreds of index
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cards start popping out. The Librarian continues reading
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completely oblivious to this strange phenomenon.
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2.
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She gets up and moves past another row of cabinets. Two
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more drawers quietly slide open, and thousands of file
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cards start shooting out of the open drawers just behind
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her, but the Librarian still doesn't notice.
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THE STACKS
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The Librarian works her way through rows and rows of old
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iron shelves containing many thousands of volumes stacked
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from floor to ceiling. As she puts the books back in their
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proper places, she slowly gets the feeling that she's being
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watched. She continues her task but suddenly hears a
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scratching noise and stops.
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LIBRARIAN
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(puzzled)
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Hello? Is anybody there?
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A ROW OF BOOKS
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As the Librarian walks down the aisle, books start shooting
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off the shelf behind her. She turns suddenly and sees the
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fallen books.
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THE LIBRARIAN
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Frightened now, she walks slowly to the end of the aisle
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and tentatively peeks around the corner. Seeing no one, she
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starts to scratch her head and suddenly a dozen books fly
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off the shelf right in front of her and fall to the floor.
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LIBRARIAN
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(frightened)
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All right! Who's there? Lyle? Is
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that you?
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Very slowly now, her heart pounding, the Librarian tiptoes
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to the other end of the aisle. She gets to the corner and
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starts to peek around it, afraid to look but unable to
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resist.
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4 INT. THE NEXT AISLE - DAY 4
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The Librarian comes slowly around the end of the stacks and
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gets her first look at the thing that's been watching her.
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Her eyes go very wide and her mouth opens in horror. She
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screams.
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5 EXT. COLUMBIA UNIVERSITY - DAY 5
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3.
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Students are entering and leaving a neo-Gothic building on
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the University's upper west side campus. A sign identifies
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the building as: Weaver Hall -- Department of Psychology.
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6 INT. BASEMENT - WEAVER HALL - DAY 6
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At one end of the dingy corridor is a door marked
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PARANORMAL STUDIES LABORATORY. A sign dangles from the
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doorknob: Maid - - Please Make Up This Room. Scrawled
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across the door is a line of student graffiti that reads:
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"Venkman Burn In Hell!"
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It looks like it's been written in blood.
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VENKMAN (V.O.)
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Now I'm going to turn over the next
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card and I want you to concentrate
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and tell me what you think it is.
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7 INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY 7
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DR. PETER VENKMAN is administering an ESP test to two
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student volunteers, a boy and a girl, who sit across the
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table from him separated from each other by a screen.
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Venkman is an associate professor but his rumpled suit and
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the manic gleam in his eyes indicate an underlying
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instability in his nature. However, while a little short on
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academic credentials, Venkman is long on confidence, charm
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and salesmanship.
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He turns to the male volunteer, an obnoxious SOPHOMORE, and
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pulls out a card from the standard deck of ESP symbols. The
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card is visible to the camera over Venkman's shoulder but
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hidden from the sophomore by a Masonite board that rests
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between them on the table. The card shows a star symbol on
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it.
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VENKMAN
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All right. What is it?
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SOPHOMORE
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(concentrates)
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A square?
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VENKMAN
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(shakes his head)
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Good guess -- but no.
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4.
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He shows the Sophomore the star card then presses a button
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on the table which administers a mild electric shock to the
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volunteer.
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The Sophomore twitches involuntarily as the shock passes
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through the electrode attached to his fingertips. Then
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Venkman turns to the female volunteer, a very beautiful
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COED.
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VENKMAN
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Now just clear your mind and tell
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me what you see.
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He turns over a card with a circle on it.
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COED
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(thinks hard)
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Is it a star?
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VENKMAN
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(feigning surprise)
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It is a star! That's great. You're
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very good.
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The Coed beams proudly as Venkman turns back to the
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Sophomore without showing her the card.
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VENKMAN
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(to the Sophomore)
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Now think.
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He turns up the diamond card.
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The Sophomore glances nervously at the electrodes, then
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ventures a guess.
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SOPHOMORE
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Circle?
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VENKMAN
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Close -- but definitely wrong.
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He shocks him again and swivels around to face the Coed.
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VENKMAN
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Ready?
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(she nods and he turns up
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the triangle card)
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What is it?
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COED
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(biting her lip)
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Ummm -- figure eight?
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5.
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VENKMAN
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(lies)
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Incredible! Five for five. You're
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not cheating on me here, are you?
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COED
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(amazed at her own
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ability)
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No. They're just coming to me.
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VENKMAN
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Well, you're doing great. Keep it
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up.
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He turns back to the Sophomore who winces as the next card
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is turned up -- two parallel wavy lines.
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VENKMAN
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Nervous?
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SOPHOMORE
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Yes. I don't like this.
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VENKMAN
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Well, just 75 more to go. What's
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this one?
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SOPHOMORE
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(takes a deep breath)
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Two wavy lines?
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VENKMAN
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(burying the card)
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Sorry. This isn't your day.
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He zaps him again but this time the Sophomore really jumps.
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SOPHOMORE
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(angry)
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Hey! I'm getting a little tired of
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this.
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VENKMAN
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You volunteered, didn't you? Aren't
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we paying you for this?
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SOPHOMORE
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Yeah, but I didn't know you were
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going to give me electric shocks.
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What are you trying to prove?
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VENKMAN
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6.
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I'm studying the effect of negative
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reinforcement on ESP ability.
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SOPHOMORE
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I'll tell you the effect! It pisses
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me off!
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VENKMAN
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Then my theory was correct.
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The Sophomore gets up, pulls the electrodes off his
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fingertips and exits.
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SOPHOMORE
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(as he goes)
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Keep the five bucks. I've had it!
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Venkman turns back to the Coed and shrugs.
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VENKMAN
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Well, I guess some people have it
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and some don't.
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COED
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(provocatively)
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Do you think I have it, Dr.
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Venkman?
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VENKMAN
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Definitely. I think you may be a
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very gifted telepath.
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Suddenly the door opens and RAY STANTZ enters.
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STANTZ
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He is Venkman's colleague and best
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friend. A hard scientist with a
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good academic background, Stantz is
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a maverick who genuinely loves a
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challenge. At the moment, he seems
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really keyed up.
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STANTZ
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Drop everything, Venkman. We got
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one.
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He starts rummaging through cabinets and drawers, gathering
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up a variety of electronic devices.
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VENKMAN
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He frowns at the intrusion and
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turns to the Coed.
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7.
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VENKMAN
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Excuse me for a minute.
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(he crosses to Stantz)
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Ray, I'm right in the middle of
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something here. Can you come back
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in about an hour?
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STANTZ
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(excited, but hushed and
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confidential)
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Peter, at 1:40 this afternoon at
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the main branch of the New York
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Public Library on Fifth Avenue, ten
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people witnessed a free-roaming,
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vaporous, full-torso apparition. It
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blew books from shelves at twenty
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feet away. Scared the socks off
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some poor librarian.
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VENKMAN
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(unimpressed)
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Sure. That's great, Ray. I think
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you should get down there right
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away and check it out. Let me know
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what happens.
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STANTZ
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(insistent)
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No, this one's for real, Peter.
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Spengler went down there and took
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some PKE readings. Right off the
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top of the scale. Buried the
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needle. We're close this time. I
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can feel it.
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Venkman looks at Stantz, then back at the Coed, torn
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between duty and pleasure.
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VENKMAN
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(decides)
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Okay. Just give me a second here.
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(he crosses back to the
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Coed)
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I have to leave now but if you've
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got some time I'd like you to come
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back this evening and do some more
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work with me.
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COED
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Eight o'clock?
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VENKMAN
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(lying again)
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8.
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I was just going to say "eight."
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You're fantastic!
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He waves good-bye and exits with Stantz.
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8 EXT. PUBLIC LIBRARY -- DAY 8
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Venkman and Stantz arrive in a taxi and trot up the front
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steps. Stantz is loaded down with equipment.
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STANTZ
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Spengler and I have charted every
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psychic occurrence in the Tri-State
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area for the past two years. The
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graph we came up with definitely
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points to something big.
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VENKMAN
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Ray, as your friend I have to tell
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you I think you've really gone
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around the bend on this ghost
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stuff. You've been running your ass
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off for two years checking out
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every schizo in the Five Boroughs
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who thinks he's had an experience.
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And what have you seen?
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STANTZ
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What do you mean by "seen?"
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VENKMAN
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Looked at with your eyes.
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STANTZ
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Well, I was at an unexplained
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multiple high-altitude rockfall
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once.
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VENKMAN
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Uh-huh. I've heard about the
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rockfall, Ray. I think you've been
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spending too much time with
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Spengler.
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9 INT. MAIN READING ROOM - DAY 9
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EGON SPENGLER is looking for spirits when Venkman and
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Stantz arrive. Spengler is a real egghead, a New Wave Mr.
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Spock, who single-handedly got Venkman through graduate
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school.
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9.
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Spengler is incredibly intelligent but amazingly dense at
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the same time. At the moment he is listening to a table
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using a stethoscope connected to stereo earphones. Venkman
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comes up behind him and taps on the table to get his
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attention.
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VENKMAN
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Egon?
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Spengler hears the tapping and thinks he's made contact
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with the spirit world. Then Venkman slams a heavy book down
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on the table.
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VENKMAN
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Egon!
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Spengler jumps at the deafening noise in his earphones and
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turns to see Venkman and Stantz.
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SPENGLER
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Oh! You're here.
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VENKMAN
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What have you got, Egon?
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SPENGLER
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Oh, this is big, Peter. This is
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very big. There's definitely
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something here.
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VENKMAN
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Egon, somehow this reminds me of
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the time you tried to drill a hole
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in your head. Do you remember that?
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HEAD LIBRARIAN
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A choleric, middle-aged civil
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servant, MR. DELACORTE, hurries
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over to meet them.
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HEAD LIBRARIAN
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(nervous)
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Hello, I'm Roger Delacorte - the
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Head Librarian. Are you the men
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from the University?
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VENKMAN
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Yes. I'm Dr. Venkman and this is
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Dr. Stantz.
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HEAD LIBRARIAN
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(leads them off)
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10.
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Thank you for coming. I'd
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appreciate it if we could take care
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of this quickly and quietly.
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VENKMAN
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One thing at a time. We don't even
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know what it is yet.
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10 INT. AN OFFICE -- A LITTLE LATER 10
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Venkman is questioning the plump Librarian who saw the
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spirit, while a Paramedic continues treating her for shock.
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LIBRARIAN
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I don't remember seeing any legs,
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but it definitely had arms because
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it reached for me.
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STANTZ
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(excited)
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Arms! Great! I can't wait to get a
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look at this thing.
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Venkman glowers at him, still skeptical.
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VENKMAN
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(to the girl)
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All right, miss. Have you or has
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any member of your family ever been
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diagnosed schizophrenic or mentally
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incompetent?
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LIBRARIAN
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Well, my uncle thought he was St.
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Jerome.
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VENKMAN
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(looks at Stantz)
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I'll call that a big "yes."
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(to the girl)
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Do you yourself habitually use
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drugs, stimulants or alcohol?
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LIBRARIAN
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No.
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VENKMAN
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I thought not. And one last thing.
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Are you currently menstruating?
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HEAD LIBRARIAN
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(shocked)
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11.
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What's that got to do with it?
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VENKMAN
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(snaps)
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Back off, man! I'm a scientist!
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THE DOOR
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Spengler sticks his head in.
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SPENGLER
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(excited)
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It's moving!
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Stantz and Venkman rush out.
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11 INT. DEEP IN THE STACKS -- DAY 11
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They come slowly down the dark aisle with Spengler leading,
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taking constant readings. Their faces are lit mainly by the
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light of their own monitoring and recording equipment.
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HIGH POV
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Looking down on them from the
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spectral point of view.
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A SPIRAL STAIRCASE
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One by one, Venkman, Stantz and Spengler come down the
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tightly winding, old iron staircase. They are scared.
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Books are strewn all over the floor.
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A BOOKSHELF
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The books start to slide forward
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then the whole shelving unit
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topples over and almost crushes the
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team under a ton of books. They
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jump to safety.
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VENKMAN
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Nice.
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(out loud)
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Hello...
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Spengler looks at his meters and silently points at a dark
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aisle intersecting the one they're in. The team inches
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toward it.
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SPENGLER
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It's here.
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12.
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They stop at the corner.
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12 INT. THE DARK AISLE -- DAY 12
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The team peeks around the corner and looks toward camera.
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THEIR POV -- DAY
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An ethereal presence is hovering between the stacks about
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four feet off the ground. It seems to waver on the edge of
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being and non-being, then a large legless, headless torso
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begins to emerge.
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VENKMAN, STANTZ AND SPENGLER
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They stand there amazed.
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STANTZ
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(whispers)
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What is it?
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VENKMAN
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It looks like a big pair of breasts
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and a pot belly.
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THE TORSO -- DAY
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A head and arms begin to form. The apparition is now
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unmistakably a full-bodied, somewhat elderly lady.
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SPENGLER
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It's a woman.
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He edges closer to take valence readings. Stantz starts
|
|
snapping infra-red photos of it.
|
|
|
|
STANTZ
|
|
(excited)
|
|
I told you it's real.
|
|
|
|
VENKMAN
|
|
(whispers)
|
|
What do we do now?
|
|
|
|
STANTZ
|
|
(whispers back)
|
|
I don't know. Talk to it.
|
|
|
|
VENKMAN
|
|
(nods in agreement then
|
|
hesitates)
|
|
What do I say?
|
|
13.
|
|
|
|
|
|
STANTZ
|
|
Anything! Just make contact.
|
|
|
|
VENKMAN
|
|
(takes a deep breath,
|
|
then addresses the
|
|
specter)
|
|
Hey, Lady?
|
|
(the apparition turns and
|
|
seems to look right past
|
|
them)
|
|
Lady! Can you talk? Who are you?
|
|
(no answer) (to Stantz)
|
|
This is not working. Think of
|
|
something else.
|
|
|
|
STANTZ
|
|
(sotto voce)
|
|
Okay. Okay. I got it. I know what
|
|
to do. Stay close. I have a plan.
|
|
|
|
He starts moving closer to the apparition. Venkman and
|
|
Spengler edge closer, fighting their fear. They stop just a
|
|
few feet from the vision.
|
|
|
|
STANTZ
|
|
(whispers)
|
|
Okay, now do exactly as I say.
|
|
Everybody ready?
|
|
|
|
VENKMAN & SPENGLER
|
|
Ready.
|
|
|
|
STANTZ
|
|
Okay...
|
|
(shouts)
|
|
GET HER!!!
|
|
|
|
He leaps at the apparition. Venkman and Spengler jump
|
|
reflexively at almost the same moment but they all end up
|
|
on the floor grabbing at thin air.
|
|
|
|
THE GHOST -- DAY
|
|
|
|
She drops back a few feet, looms up into a raging demonlike
|
|
specter and blasts them with a rush of hot breath as she
|
|
mouths a single word.
|
|
|
|
THE GHOST
|
|
(roars)
|
|
QUIET!
|
|
|
|
VENKMAN, STANTZ AND SPENGLER
|
|
14.
|
|
|
|
|
|
They scream and fall backwards.
|
|
|
|
|
|
13 EXT. LIBRARY -- MAIN ENTRANCE - DAY 13
|
|
|
|
They burst through the doors and onto the broad steps, both
|
|
terrified and exhilarated by their first real contact with
|
|
the supernatural. The Head Librarian rushes out the door
|
|
after them and chases them down the steps.
|
|
|
|
HEAD LIBRARIAN
|
|
(very agitated)
|
|
Did you see it? What was it?
|
|
|
|
VENKMAN
|
|
We'll get back to you.
|
|
|
|
|
|
14 EXT. COLUMBIA UNIVERSITY -- DAY. 14
|
|
|
|
Venkman, Stantz and Spengler head for their lab in Weaver
|
|
Hall. Spengler makes rapid calculations as Venkman and
|
|
Stantz argue.
|
|
|
|
VENKMAN
|
|
(steamed)
|
|
"Get her?" That was your whole
|
|
plan? You call that science?
|
|
|
|
STANTZ
|
|
(exultant)
|
|
I guess I got a little overexcited.
|
|
Wasn't it incredible! I'm telling
|
|
you, this is a first. You know what
|
|
this could mean to the University?
|
|
|
|
VENKMAN
|
|
(sarcastic)
|
|
Oh, yeah. This could be bigger than
|
|
the microchip. They'll probably
|
|
throw out the entire engineering
|
|
department and turn their building
|
|
over to us. We're probably the
|
|
first serious scientists to ever
|
|
molest a dead old lady.
|
|
|
|
SPENGLER
|
|
(consulting his mini-
|
|
computer)
|
|
15.
|
|
|
|
|
|
I wouldn't say the experience was
|
|
completely wasted. Based on these
|
|
new readings, I think we have an
|
|
excellent chance of actually
|
|
catching a ghost and holding it
|
|
indefinitely.
|
|
|
|
Venkman stops dead in his tracks, stunned by the news.
|
|
|
|
Stantz and Spengler continue walking.
|
|
|
|
STANTZ
|
|
(to Spengler; excited)
|
|
Then we were right! This is great.
|
|
|
|
STANTZ
|
|
And if the ionization rate is
|
|
constant for all ectoplasmic
|
|
entities, I think we could really
|
|
kick ass -- in the spiritual sense.
|
|
|
|
Venkman catches up with them again.
|
|
|
|
VENKMAN
|
|
Spengler, are you serious about
|
|
actually catching a ghost?
|
|
|
|
SPENGLER
|
|
I'm always serious.
|
|
|
|
VENKMAN
|
|
(his mind reeling at the
|
|
possibilities)
|
|
Wow!
|
|
|
|
|
|
15 EXT. WEAVER HALL -- A LITTLE LATER 15
|
|
|
|
They approach the entrance to the psychology department
|
|
talking excitedly. Venkman stops at the door and turns to
|
|
Spengler.
|
|
|
|
VENKMAN
|
|
Egon, I take back everything I ever
|
|
said about you. Take this.
|
|
(he hands him a candy
|
|
bar)
|
|
You earned it.
|
|
|
|
They enter the building with Spengler greedily devouring
|
|
the candy bar.
|
|
16.
|
|
|
|
|
|
16 INT. WEAVER HALL -- DAY 16
|
|
|
|
They walk through the hall, then down the stairs to the
|
|
basement.
|
|
|
|
VENKMAN
|
|
(his mind racing)
|
|
If you guys are right, if we can
|
|
actually trap a ghost and hold it
|
|
somehow, I think I could win the
|
|
Nobel Prize.
|
|
|
|
STANTZ
|
|
(protests)
|
|
If anyone deserves it, it's
|
|
Spengler and me. We're doing all
|
|
the hard research and designing the
|
|
equipment.
|
|
|
|
VENKMAN
|
|
Yeah, but I introduced you guys.
|
|
You never would've met if not for
|
|
me. That's got to be worth
|
|
something.
|
|
|
|
|
|
17 INT. THE BASEMENT -- DAY 17
|
|
|
|
A Workman in painter pants is at the door as Venkman,
|
|
Stantz and Spengler approach and enter the lab. As soon as
|
|
the door closes behind them, the Workman starts scraping
|
|
their names off the door with a razor blade.
|
|
|
|
|
|
18 INT. THE LAB -- DAY 18
|
|
|
|
As they enter, janitorial and maintenance personnel are
|
|
busy dismantling their apparatus and equipment. DEAN YAEGER
|
|
is supervising. Venkman confronts him.
|
|
|
|
VENKMAN
|
|
(shocked)
|
|
I trust you're moving us to a
|
|
better space somewhere on campus.
|
|
|
|
DEAN YAEGER
|
|
No, we're moving you OFF CAMPUS.
|
|
The Board of Regents has decided to
|
|
terminate your grant. You are to
|
|
vacate these premises immediately.
|
|
|
|
VENKMAN
|
|
17.
|
|
|
|
|
|
This is preposterous! I demand an
|
|
explanation.
|
|
|
|
DEAN YAEGER
|
|
Fine. This University will no
|
|
longer continue any funding of any
|
|
kind for your group's activities.
|
|
|
|
VENKMAN
|
|
But why? The students love us!
|
|
|
|
DEAN YAEGER
|
|
Dr. Venkman, we believe that the
|
|
purpose of science is to serve
|
|
mankind. You, however, seem to
|
|
regard science as some kind of
|
|
"dodge" or "hustle." Your theories
|
|
are the worst kind of popular
|
|
tripe, your methods are sloppy and
|
|
your conclusions are highly
|
|
questionable.
|
|
|
|
DEAN YAEGER
|
|
You're a poor scientist, Dr.
|
|
Venkman, and you have no place in
|
|
this department or in this
|
|
University.
|
|
|
|
VENKMAN
|
|
I see.
|
|
|
|
STANTZ
|
|
(to Venkman)
|
|
You said you floored 'em at the
|
|
Regents' meeting.
|
|
|
|
VENKMAN
|
|
(righteous)
|
|
Ray, I apologize.
|
|
(looking at Dean Yaeger)
|
|
I guess my confidence in the
|
|
Regents was misplaced. They did
|
|
this to Galileo, too.
|
|
|
|
DEAN YAEGER
|
|
It could be worse, Dr. Venkman.
|
|
They took the astronomer Phileas
|
|
and staked his head to the town
|
|
gate.
|
|
|
|
|
|
19 EXT. COLUMBIA UNIVERSITY -- DAY -- A LITTLE LATER 19
|
|
18.
|
|
|
|
|
|
Stantz and Venkman are sitting on a bench both looking
|
|
desolate.
|
|
|
|
STANTZ
|
|
(shaking his head)
|
|
This is like a major disgrace.
|
|
Forget M.I.T. or Stanford now ...
|
|
they wouldn't touch us with a
|
|
three-meter cattle prod.
|
|
|
|
VENKMAN
|
|
You're always so worried about your
|
|
reputation. We don't need the
|
|
University. Einstein did his best
|
|
stuff while he was working as a
|
|
patent clerk. They can't stop
|
|
progress.
|
|
|
|
STANTZ
|
|
(not cheered)
|
|
Do you know what a patent clerk
|
|
makes? I liked the University. They
|
|
gave us money, they gave us the
|
|
facilities and we didn't have to
|
|
produce anything!
|
|
|
|
STANTZ
|
|
I've worked in the private sector.
|
|
They expect results. You've never
|
|
been out of college. You don't know
|
|
what it's like out there.
|
|
|
|
VENKMAN
|
|
(with visionary zeal)
|
|
Let me tell you, Ray, everything in
|
|
life happens for a reason. Call it
|
|
fate, call it luck, Karma,
|
|
whatever. I think we were destined
|
|
to get kicked out of there.
|
|
|
|
STANTZ
|
|
For what purpose?
|
|
|
|
VENKMAN
|
|
(with real conviction)
|
|
To go into business for ourselves.
|
|
|
|
Stantz is immediately intrigued by the idea but voices his
|
|
reservations.
|
|
|
|
STANTZ
|
|
19.
|
|
|
|
|
|
I don't know. That costs money. And
|
|
the ecto-containment system we have
|
|
in mind will require a load of
|
|
bread to capitalize. Where would we
|
|
get the money?
|
|
|
|
|
|
20 EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY 20
|
|
|
|
|
|
21 EXT. AVENUE OF THE AMERICAS -- DAY 21
|
|
|
|
Venkman, Stantz and Spengler emerge from the Irving Trust
|
|
headquarters, all neatly dressed in suits.
|
|
|
|
VENKMAN
|
|
You'll never regret this, Ray.
|
|
|
|
STANTZ
|
|
(perturbed)
|
|
My parents left me that house, I
|
|
was born there.
|
|
|
|
VENKMAN
|
|
You're not going to lose the house.
|
|
Everybody has three mortgages these
|
|
days.
|
|
|
|
STANTZ
|
|
But at nineteen percent interest!
|
|
You didn't even bargain with the
|
|
guy.
|
|
|
|
SPENGLER
|
|
(calculating)
|
|
Just for your information, Ray, the
|
|
interest payments alone for the
|
|
first five years come to over
|
|
$75,000.
|
|
|
|
VENKMAN
|
|
Will you guys relax? We are on the
|
|
threshold of establishing the
|
|
indispensable defense science of
|
|
the next decade - Professional
|
|
Paranormal Investigations and
|
|
Eliminations. The franchise rights
|
|
alone will make us wealthy beyond
|
|
your wildest dreams.
|
|
|
|
STANTZ
|
|
But most people are afraid to even
|
|
report these things.
|
|
20.
|
|
|
|
|
|
VENKMAN
|
|
Maybe. But no one ever advertised
|
|
before.
|
|
|
|
Stantz and Spengler exchange doubtful looks.
|
|
|
|
|
|
22 EXT. FIREHALL -- DAY 22
|
|
|
|
An abandoned brick, four-story fire station built by the
|
|
city around the turn of the century. It bears a coat of
|
|
faded red paint and legend above the garage door in chipped
|
|
gilt letters: Engine Company #93. The garage doors open
|
|
revealing Venkman standing in the white-tiled garage bay
|
|
with a middle aged REAL ESTATE WOMAN wearing a blazer.
|
|
|
|
|
|
23 INT. GARAGE BAY -- DAY 23
|
|
|
|
Venkman is looking around.
|
|
|
|
R/E WOMAN
|
|
Besides this, you've got another
|
|
substantial work area on the ground
|
|
floor, office space, sleeping
|
|
quarters and showers on the next
|
|
floor, and you have your full
|
|
kitchen on the top level. It's
|
|
10,000 square feet total.
|
|
|
|
SPENGLER
|
|
He comes out of the office area
|
|
with a pocket calculator.
|
|
|
|
SPENGLER
|
|
It's 9,642.55 square feet.
|
|
|
|
The Realtor frowns at Spengler.
|
|
|
|
R/E WOMAN
|
|
What is he -- your accountant?
|
|
|
|
STANTZ
|
|
He is looking at the shiny brass
|
|
fire pole.
|
|
|
|
STANTZ
|
|
(shouts, loving it)
|
|
Wow! Does this pole still work?
|
|
|
|
VENKMAN
|
|
21.
|
|
|
|
|
|
(considering but not
|
|
wanting to appear too
|
|
eager)
|
|
This might do ... I don't know ...
|
|
it just seems kind of "pricey" for
|
|
a fixer-upper, don't you think?
|
|
We're trying to keep our costs
|
|
down. You know how it is when
|
|
you're starting a new company.
|
|
|
|
R/E WOMAN
|
|
Yes, I know. What are you calling
|
|
your business?
|
|
|
|
STANTZ
|
|
Ghostbusters.
|
|
|
|
R/E WOMAN
|
|
Oh, well, this place is perfect for
|
|
it.
|
|
|
|
|
|
24 EXT. UPPER WEST SIDE -- DAY 24
|
|
|
|
A high panoramic view of the city shows heavy traffic
|
|
moving up and down Central Park West on a beautiful sunny
|
|
day.
|
|
|
|
|
|
25 EXT. 78TH AND CENTRAL PARK WEST -- DAY 25
|
|
|
|
An unusual pre-war Gothic high-rise towers over the
|
|
neighborhood buildings. The top of the building includes an
|
|
elaborate decorative temple, complete with altar, stairs
|
|
and Babylonian columns. The late afternoon sun gives the
|
|
structure an oddly menacing quality. The camera PANS slowly
|
|
down to the street as DANA BARRETT, an attractive woman in
|
|
her late twenties, comes walking up to the building
|
|
carrying a cello case and a shopping bag full of groceries.
|
|
|
|
Guys on the street check her out as she enters, but she
|
|
coolly ignores them.
|
|
|
|
|
|
26 INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY 26
|
|
|
|
Dana crosses the lobby and gets into the elevator.
|
|
|
|
|
|
27 INT. THIRTY FIFTH FLOOR -- DAY 27
|
|
22.
|
|
|
|
|
|
Dana gets off the elevator and goes to the door of her
|
|
apartment. As she unlocks it, the door to the next
|
|
apartment opens and Dana's neighbor, LOUIS TULLY, peeks his
|
|
head out the door. Louis is a shy nerd, hopelessly in love
|
|
with Dana.
|
|
|
|
LOUIS
|
|
Oh, Dana, it's you ...
|
|
|
|
DANA
|
|
(she's seen this before)
|
|
Hi, Louis.
|
|
|
|
LOUIS
|
|
... I thought it was the drug
|
|
store.
|
|
|
|
DANA
|
|
Are you sick, Louis?
|
|
|
|
Louis has broken the ice. He confidently exits his
|
|
apartment and approaches Dana. His door slams behind him as
|
|
he leaves.
|
|
|
|
LOUIS
|
|
Oh, no, I feel great. I just
|
|
ordered some more vitamins. I see
|
|
you were exercising. So was I. I
|
|
taped "20 Minute Workout" and
|
|
played it back at high speed so it
|
|
only took ten minutes and I got a
|
|
really good workout. You wanna have
|
|
a mineral water with me?
|
|
|
|
DANA
|
|
No thanks, Louis. I'm really tired.
|
|
I've been rehearsing all morning.
|
|
|
|
LOUIS
|
|
Okay. I'll take a raincheck. I
|
|
always have plenty of mineral water
|
|
and other nutritious health foods,
|
|
but you know that.
|
|
|
|
LOUIS
|
|
Listen, that reminds me, I'm having
|
|
a party for all my clients. It's
|
|
gonna be my fourth anniversary as
|
|
an accountant. I know you fill out
|
|
your own tax return, but I'd like
|
|
you to come being that you're my
|
|
next door neighbor and all ...
|
|
23.
|
|
|
|
|
|
DANA
|
|
Oh, that's nice, Louis. I'll stop
|
|
by if I'm around.
|
|
|
|
LOUIS
|
|
You know you shouldn't leave your
|
|
TV on so loud when you go out. That
|
|
creep down the hall phoned the
|
|
manager.
|
|
|
|
DANA
|
|
I thought I turned it off.
|
|
(she listens and hears
|
|
loud sound coming from
|
|
inside)
|
|
I guess I forgot.
|
|
|
|
Dana begins unlocking her door.
|
|
|
|
LOUIS
|
|
I climbed on the window ledge to
|
|
see if I could disconnect the cable
|
|
but I couldn't reach so I turned up
|
|
the sound on my TV real loud so
|
|
they'd think there was something
|
|
wrong with everybody's TV. You
|
|
know, you and I should really have
|
|
keys to each other's apartment ...
|
|
|
|
Her door closes leaving Louis stranded. He walks back to
|
|
his apartment muttering to himself.
|
|
|
|
LOUIS
|
|
... in case of emergencies ...
|
|
(he discovers he has
|
|
locked himself out of his
|
|
apartment)
|
|
... like this one.
|
|
|
|
|
|
28 INT. DANA'S APARTMENT -- DAY 28
|
|
|
|
A roomy, two-bedroom flat with a great view of the park.
|
|
|
|
She leaves the cello in the entrance hall, grabs the bag of
|
|
groceries and goes through the living room toward the
|
|
kitchen.
|
|
|
|
Remembering Louis, she stops at the TV set to turn it off,
|
|
but a strange image on the screen catches her attention.
|
|
|
|
TV SCREEN
|
|
24.
|
|
|
|
|
|
29 INT. CHILDREN'S BEDROOM -- NIGHT 29
|
|
|
|
Two children, a BOY and a GIRL, are asleep in bed when
|
|
suddenly they are awakened by supernatural moaning and
|
|
groaning.
|
|
|
|
THE CHILDREN
|
|
They scream and jump out of bed.
|
|
|
|
THE DOOR
|
|
Their MOTHER and FATHER, rush in to
|
|
find the children cowering against
|
|
the wall.
|
|
|
|
FATHER
|
|
What is it? What's wrong?
|
|
|
|
THE KIDS
|
|
Look!
|
|
|
|
They point at the closet.
|
|
|
|
MOTHER
|
|
(to Father)
|
|
Oh, dear. It's that darn ghost
|
|
again. Can't you do something about
|
|
it.
|
|
|
|
FATHER
|
|
(helpless)
|
|
I've tried everything, honey! I
|
|
guess we'll just have to move.
|
|
|
|
The mother and the kids look at him with disappointment.
|
|
|
|
MOTHER
|
|
Gee, there must be a better way.
|
|
|
|
Stantz steps into the foreground.
|
|
|
|
STANTZ
|
|
Are you troubled by strange noises
|
|
in the night? Do you experience
|
|
feelings of dread in your basement
|
|
or attic? Have you or your family
|
|
actually seen a spook, specter or
|
|
ghost? If the answer is yes, then
|
|
don't wait another minute.
|
|
|
|
STANTZ
|
|
Just pick up the phone and call the
|
|
professionals -- Ghostbusters.
|
|
25.
|
|
|
|
|
|
30 EXT. FIREHALL 30
|
|
|
|
Venkman, Stantz and Spengler are standing in front of the
|
|
Ghostbusters' sign. Spengler steps forward.
|
|
|
|
SPENGLER
|
|
(to camera)
|
|
Our courteous and efficient staff
|
|
is on call hours a day to serve all
|
|
your supernatural elimination
|
|
needs.
|
|
|
|
|
|
31 INT. RECEPTION AREA 31
|
|
|
|
Janine is seen answering the telephone with a big fake
|
|
smile on her face.
|
|
|
|
JANINE
|
|
(cheery)
|
|
Ghostbusters. We'll be right there.
|
|
|
|
|
|
32 INT. CHILDREN'S BEDROOM 32
|
|
|
|
Spengler is taking PKE readings along the baseboards.
|
|
|
|
Stantz pops up from under the bed.
|
|
|
|
STANTZ
|
|
(smiling proudly)
|
|
Got him! I don't think you'll have
|
|
any more trouble with that ghost.
|
|
|
|
FATHER, MOTHER AND VENKMAN
|
|
|
|
They all look as pleased as punch as Venkman hands the
|
|
Father a bill.
|
|
|
|
FATHER
|
|
(looks at the total)
|
|
And it's economical, too!
|
|
|
|
MOTHER
|
|
How can we ever thank you?
|
|
|
|
VENKMAN
|
|
(big, cheesy smile)
|
|
All in a day's work, ma'am. After
|
|
all ...
|
|
(to camera)
|
|
... We're Ghostbusters.
|
|
(he winks)
|
|
26.
|
|
|
|
|
|
33 EXT. FRONT DOOR 33
|
|
|
|
Mother, Father and Kids wave goodbye to the Ghostbusters.
|
|
|
|
THE FAMILY
|
|
(sings)
|
|
If you have a ghost,
|
|
|
|
But you don't want to play host, You can't sleep at all, So
|
|
who do you call ... Ghostbusters - Ghostbusters.
|
|
|
|
VENKMAN, STANTZ AND SPENGLER
|
|
|
|
They smile at the camera as a phone number is supered on
|
|
the screen.
|
|
|
|
GHOSTBUSTERS
|
|
(in unison)
|
|
We're ready to believe you,
|
|
|
|
Dana turns off the TV set and goes into the kitchen.
|
|
|
|
|
|
34 INT. KITCHEN 34
|
|
|
|
Dana switches on the radio and starts unpacking groceries.
|
|
|
|
She sets a loaf of bread and a carton of eggs on the
|
|
counter and begins putting other items away in the pantry.
|
|
|
|
THE EGGS
|
|
The top of the carton pops open.
|
|
Then, one by one, the eggs erupt
|
|
and spill over onto the counter. As
|
|
the liquid contents hit the
|
|
countertop they sizzle. The eggs
|
|
begin to fry on the formica
|
|
surface.
|
|
|
|
DANA
|
|
She hears the sizzle, turns and
|
|
sees the eggs frying. She gasps,
|
|
then recovers and inspects the
|
|
mess. She touches the counter
|
|
gingerly, but it's not at all hot.
|
|
Deeply perplexed, she stands there
|
|
trying to think of an explanation.
|
|
Then a strange new sound attracts
|
|
her attention and she turns around
|
|
to see where it's coming from.
|
|
27.
|
|
|
|
|
|
Dana hears the sound of muffled chanting coming from the
|
|
fridge. She pulls the door open and gets the shock of her
|
|
life. The inside of the fridge has been transformed into
|
|
the Gateway to another Realm -- a fiery path leading to a
|
|
temple door.
|
|
|
|
On each side of the door is a strange, snarling creature
|
|
that could best be described as a TERROR DOG. Their front
|
|
claws are raised toward each other in a symbolic pose. The
|
|
incredible vision is accompanied by the unearthly chanting.
|
|
|
|
DANA
|
|
She stands there transfixed by
|
|
horror, the flames reflecting in
|
|
her eyes.
|
|
|
|
THE FRIDGE
|
|
The chanting gets more frenetic and
|
|
ominous as the temple doors slowly
|
|
begin to open.
|
|
|
|
DANA
|
|
She is paralyzed.
|
|
|
|
THE TEMPLE DOORS
|
|
|
|
They continue to open. We feel a terrible presence within.
|
|
|
|
THE PRESENCE
|
|
(whispers loudly and
|
|
hoarsely)
|
|
ZUUL!!!
|
|
|
|
DANA
|
|
She screams and slams the
|
|
refrigerator door. Instantly,
|
|
everything is normal again. She
|
|
looks around the room.
|
|
|
|
THE EGGS
|
|
They are back in the carton,
|
|
unbroken.
|
|
|
|
DANA
|
|
28.
|
|
|
|
|
|
Fighting her fear, she turns back
|
|
to the fridge and very slowly
|
|
reaches for the handle. Then
|
|
summoning all her courage, she
|
|
yanks open the door. Ketchup,
|
|
mustard, bottles of vitamins and
|
|
other food items fall out of the
|
|
rack on the inside of the
|
|
refrigerator door. Dana sighs with
|
|
relief as she sees nothing but the
|
|
cool white porcelain interior of
|
|
the fridge. She closes the door and
|
|
stands there for a moment still
|
|
shaken by the vision.
|
|
|
|
DANA
|
|
Then she shakes her head and leaves
|
|
the kitchen.
|
|
|
|
|
|
35 EXT. FIREHALL -- DAY 35
|
|
|
|
The garage bay door is open. Two painters on scaffolding
|
|
are completing a paint job on the front of the structure in
|
|
flat black paint. A carpenter finishes hanging a sign over
|
|
the door. It reads: GHOSTBUSTERS.
|
|
|
|
Then Stantz comes driving up in a very long, gold 1959
|
|
Cadillac ambulance and turns into the garage bay of the
|
|
firehall. The car has a battered look to it and rumbles
|
|
noisily due to a broken muffler.
|
|
|
|
|
|
36 INT. GARAGE BAY -- DAY 36
|
|
|
|
Stantz hits the siren and flashes the emergency lights as
|
|
he drives in. Venkman crosses to the car as Stantz jumps
|
|
out enthusiastically.
|
|
|
|
STANTZ
|
|
Everybody can relax. I found the
|
|
car. How do you like it?
|
|
|
|
VENKMAN
|
|
(not terribly pleased)
|
|
Do you think it's wide enough? How
|
|
much?
|
|
|
|
STANTZ
|
|
Fourteen hundred.
|
|
|
|
Venkman steps on the front bumper and rocks it. It wallows
|
|
badly.
|
|
29.
|
|
|
|
|
|
STANTZ
|
|
Just needs a little suspension work
|
|
... And a muffler ... And maybe
|
|
brakes.
|
|
|
|
|
|
37 INT. RECEPTION AREA -- DAY 37
|
|
|
|
A bored-looking red-headed young woman, JANINE MELNITZ,
|
|
sits in a swivel chair behind the reception desk, putting
|
|
another coat of red polish on her heavily lacquered nails.
|
|
Spengler is on his hands and knees wiring up the telephone
|
|
system.
|
|
|
|
JANINE
|
|
(with a definitive Queens
|
|
accent)
|
|
You're very handy, I can tell. I
|
|
bet you like to read a lot, too.
|
|
|
|
SPENGLER
|
|
(looks up)
|
|
Print is dead.
|
|
|
|
JANINE
|
|
That's very fascinating to me. I
|
|
read a lot myself. Some people
|
|
think I'm too intellectual. But I
|
|
think reading is a fabulous way to
|
|
spend your spare time.
|
|
(he doesn't answer)
|
|
I also play racketball. Do you ever
|
|
play?
|
|
|
|
SPENGLER
|
|
Is that a game?
|
|
|
|
JANINE
|
|
It's a great game! You should play
|
|
sometime. I bet you'd be good. You
|
|
seem very athletic. Do you have any
|
|
hobbies?
|
|
|
|
SPENGLER
|
|
I collect spores, molds and fungus.
|
|
|
|
JANINE
|
|
Oh, that's very - unusual.
|
|
|
|
SPENGLER
|
|
I think it's the food of the
|
|
future.
|
|
30.
|
|
|
|
|
|
JANINE
|
|
Remind me not to go to lunch with
|
|
you.
|
|
|
|
THE DOOR
|
|
Dana Barrett enters ance looks
|
|
around hesitantly,
|
|
|
|
VENKMAN
|
|
He springs into action.
|
|
|
|
VENKMAN
|
|
(all charm)
|
|
Hello. I'm Peter Venkman. May I
|
|
help you?
|
|
|
|
DANA
|
|
Yes ... well ... I'm not sure. What
|
|
I have to say may sound a little
|
|
... unusual.
|
|
|
|
VENKMAN
|
|
We're all professionals here, Miss
|
|
...
|
|
|
|
DANA
|
|
Barrett. Dana Barrett.
|
|
|
|
They walk toward the inner office.
|
|
|
|
VENKMAN
|
|
Why don't you step into the office
|
|
and we'll talk about it.
|
|
(to Janine)
|
|
Hold all my calls, Janine.
|
|
|
|
JANINE
|
|
What calls?
|
|
|
|
Venkman frowns and exits with Dana.
|
|
|
|
INSERT -- TV MONITOR -- LATER
|
|
|
|
Dana is seen in close-up on a TV screen as she finishes
|
|
telling about her experience.
|
|
|
|
DANA
|
|
... and then I opened the door
|
|
again but it was gone. There was
|
|
nothing there.
|
|
|
|
VENKMAN
|
|
(off-camera)
|
|
31.
|
|
|
|
|
|
So what do you think it was?
|
|
|
|
|
|
38 INT. OFFICE -- SAME TIME 38
|
|
|
|
Dana is hooked up to a lie detector. Spengler is monitoring
|
|
the readout and videotaping the interview. Venkman and
|
|
Stantz are listening intently, waiting for Dana's
|
|
assessment of her experience.
|
|
|
|
DANA
|
|
(after a long pause)
|
|
I think something in my
|
|
refrigerator is trying to get me.
|
|
|
|
Venkman stares at her, trying to make sense of her last
|
|
statement.
|
|
|
|
VENKMAN
|
|
Generally, you don't see that kind
|
|
of behavior in a major appliance.
|
|
What do you think, Egon?
|
|
|
|
SPENGLER
|
|
(checking the polygraph)
|
|
She's telling the truth -- or at
|
|
least she thinks she is.
|
|
|
|
DANA
|
|
(defensive)
|
|
Why would anyone make up a thing
|
|
like that?
|
|
|
|
VENKMAN
|
|
Some people like the attention.
|
|
Some people are just crazy.
|
|
|
|
STANTZ
|
|
(muses)
|
|
You know, Peter, this could be a
|
|
past life experience intruding on
|
|
the present.
|
|
|
|
SPENGLER
|
|
Or even a race memory, stored in
|
|
the collective unconscious. And I
|
|
wouldn't rule out clairvoyance or
|
|
telepathic contact either.
|
|
|
|
Dana starts laughing. They all regard her curiously.
|
|
|
|
DANA
|
|
(trying to be serious)
|
|
32.
|
|
|
|
|
|
I'm sorry. It's just that I don't
|
|
believe in any of these things. I
|
|
don't even know my sign.
|
|
|
|
SPENGLER
|
|
(checks his notes)
|
|
You're a Scorpio with your moon in
|
|
Leo and Aquarius rising.
|
|
|
|
DANA
|
|
Is that good?
|
|
|
|
VENKMAN
|
|
It means you're bright, ambitious,
|
|
outgoing and very, very sexy,
|
|
|
|
Dana looks at Venkman, flattered by the remark but more
|
|
than a little suspicious of his motives.
|
|
|
|
DANA
|
|
Is that your professional opinion?
|
|
|
|
VENKMAN
|
|
It's in the stars.
|
|
|
|
STANTZ
|
|
Why don't I check out the building?
|
|
It may have a history of psychic
|
|
turbulence.
|
|
|
|
VENKMAN
|
|
Good idea.
|
|
(to Dana)
|
|
Were any other words spoken that
|
|
you remember?
|
|
|
|
DANA
|
|
No, just that one word -- Zuul --
|
|
but I have no idea what it means.
|
|
|
|
VENKMAN
|
|
Spengler, see if you can find the
|
|
word "Zuul" in any of the
|
|
literature. I'll take Miss Barrett
|
|
home and check out her apartment.
|
|
|
|
|
|
39 INT. DANA'S APARTMENT -- LATER THAT AFTERNOON 39
|
|
|
|
The door opens and Dana enters the darkened flat with
|
|
Venkman. She switches on the light and leads him to the
|
|
living room.
|
|
33.
|
|
|
|
|
|
VENKMAN
|
|
Have you ever thought of moving out
|
|
-- at least until this disturbance
|
|
blows over?
|
|
|
|
DANA
|
|
No. If I moved out now I'd be
|
|
acknowledging that what happened
|
|
was real. I'm not ready to do that.
|
|
|
|
Venkman sees the cello leaning up against the wall.
|
|
|
|
VENKMAN
|
|
You play the cello! It's my
|
|
favorite instrument.
|
|
|
|
DANA
|
|
Really? Do you have a favorite
|
|
piece?
|
|
|
|
VENKMAN
|
|
(thinks)
|
|
I'd have to say Prokofiev's third
|
|
concerto.
|
|
|
|
DANA
|
|
That's a violin concerto.
|
|
|
|
VENKMAN
|
|
Yeah, but it's got a great cello
|
|
break.
|
|
|
|
He grabs the cello and starts playing it like a stand-up
|
|
base. Dana takes the instrument out of his hands and gently
|
|
puts it back in the case.
|
|
|
|
DANA
|
|
You really don't act like a
|
|
scientist.
|
|
|
|
VENKMAN
|
|
No? What do I act like?
|
|
|
|
DANA
|
|
Like a used car salesman.
|
|
|
|
VENKMAN
|
|
Thanks.
|
|
(he gets down to business
|
|
and starts looking around
|
|
the apartment)
|
|
What's in there?
|
|
34.
|
|
|
|
|
|
He points to a door.
|
|
|
|
DANA
|
|
That's the bedroom, but nothing
|
|
ever happened in there.
|
|
|
|
She takes off her jacket.
|
|
|
|
VENKMAN
|
|
(noticing her body)
|
|
That's too bad.
|
|
|
|
DANA
|
|
What?
|
|
|
|
VENKMAN
|
|
Nothing. Is that the kitchen?
|
|
|
|
He points to another door.
|
|
|
|
DANA
|
|
(nods)
|
|
Uh-huh.
|
|
|
|
VENKMAN
|
|
Well, let's check it out.
|
|
|
|
DANA
|
|
I'll wait here if you don't mind.
|
|
|
|
He enters the kitchen.
|
|
|
|
|
|
40 INT. THE KITCHEN -- DAY 40
|
|
|
|
The room is a real mess. Utensils are lying all over the
|
|
floor. The cabinets and walls are splattered with food.
|
|
|
|
VENKMAN
|
|
(calls out)
|
|
You're quite a housekeeper.
|
|
|
|
DANA
|
|
(off-camera)
|
|
I told you, I ...
|
|
|
|
VENKMAN
|
|
I know. It happened by itself.
|
|
|
|
He scans the room with his monitoring device.
|
|
|
|
VENKMAN
|
|
35.
|
|
|
|
|
|
Nothing.
|
|
|
|
He looks in a couple of cabinets, then confronts the
|
|
refrigerator. With mild trepidation he grasps the door
|
|
handle, then suddenly jerks it open. The handle comes off
|
|
in his hand.
|
|
|
|
VENKMAN
|
|
Damn!
|
|
|
|
DANA
|
|
(off-camera)
|
|
Are you all right?
|
|
|
|
VENKMAN
|
|
Yeah, yeah.
|
|
|
|
He grips the side of the fridge door and pulls it open.
|
|
|
|
|
|
41 INT. LIVING ROOM - DAY 41
|
|
|
|
Dana stands there nervously watching the kitchen door.
|
|
|
|
Finally, it opens and Venkman comes out munching an apple.
|
|
|
|
VENKMAN
|
|
There's nothing there now and I
|
|
don't get any significant readings.
|
|
|
|
DANA
|
|
This is terrible. Either there's a
|
|
monster in my kitchen or I'm
|
|
completely crazy.
|
|
|
|
VENKMAN
|
|
If it's any comfort to you, I don't
|
|
think you're crazy.
|
|
|
|
DANA
|
|
(laughs ironically)
|
|
Thanks. Coming from you that really
|
|
means a lot to me.
|
|
|
|
VENKMAN
|
|
I'm a qualified psychologist. I've
|
|
got a degree and everything. I
|
|
believe that something happened
|
|
here and I want to do something
|
|
about it.
|
|
|
|
DANA
|
|
All right. What do you want to do?
|
|
36.
|
|
|
|
|
|
VENKMAN
|
|
I think I should spend the night
|
|
here.
|
|
|
|
DANA
|
|
(she's had enough)
|
|
That's it. Get out.
|
|
|
|
VENKMAN
|
|
On a purely scientific basis.
|
|
|
|
DANA
|
|
Out!
|
|
|
|
VENKMAN
|
|
I want to help you.
|
|
|
|
DANA
|
|
I'll scream.
|
|
|
|
VENKMAN
|
|
Don't scream.
|
|
|
|
DANA
|
|
(urging him to the door)
|
|
Then leave.
|
|
|
|
VENKMAN
|
|
Okay, okay. But if anything else
|
|
happens, you have to promise you'll
|
|
call me.
|
|
|
|
DANA
|
|
(opening the door)
|
|
All right.
|
|
|
|
VENKMAN
|
|
Okay. Then I'll go.
|
|
|
|
DANA
|
|
Goodbye.
|
|
|
|
VENKMAN
|
|
(in the hall)
|
|
No kiss?
|
|
|
|
She closes the door in his face and triple locks it.
|
|
|
|
|
|
42 EXT. HALLWAY -- DAY 42
|
|
37.
|
|
|
|
|
|
Venkman stands there with his nose flattened against Dana's
|
|
door. He starts to leave just as Louis Tully pokes his head
|
|
out the door hoping to see Dana. He jealously eyes Venkman.
|
|
|
|
Venkman ignores Louis and gets on the elevator.
|
|
|
|
Louis spots his newspaper lying on the floor across the
|
|
hall. Holding the door open with one foot, he reaches for
|
|
the paper but can't quite stretch far enough. Trying
|
|
another approach, he swings the door open, leaps for the
|
|
paper and darts back to the door just as it slams shut in
|
|
his face, locking him out again.
|
|
|
|
|
|
43 INT. FIREHALL KITCHEN -- NIGHT 43
|
|
|
|
Stantz and Spengler are eating Chinese food from several
|
|
take-out containers. Venkman enters.
|
|
|
|
STANTZ
|
|
How was your date?
|
|
|
|
VENKMAN
|
|
It wasn't a date. It was an
|
|
investigation.
|
|
|
|
SPENGLER
|
|
Did you see anything?
|
|
|
|
VENKMAN
|
|
Didn't see anything, Didn't get
|
|
anything. Nice girl - no ghost. I'm
|
|
starting to worry.
|
|
|
|
VENKMAN
|
|
You said your graph was pointing to
|
|
something big. You told me things
|
|
were going to start popping.
|
|
|
|
STANTZ
|
|
They will.
|
|
|
|
VENKMAN
|
|
Do you know when that might be?
|
|
We're on the brink of a very
|
|
serious cash-flow problem.
|
|
|
|
He plucks a garlic shrimp from one of the Chinese food
|
|
cartons and walks off disconsolately.
|
|
|
|
|
|
44 EXT. HOTEL SEDGEWICK -- NIGHT 44
|
|
38.
|
|
|
|
|
|
Two uniformed DOORMEN help people in and out of taxis and
|
|
limos under the hotel's elegant awning.
|
|
|
|
|
|
45 INT. HOTEL -- NIGHT 45
|
|
|
|
A "DO NOT DISTURB" sign hangs on the doorknob of Room 1210.
|
|
|
|
Soft music is heard coming from the room.
|
|
|
|
|
|
46 INT. ROOM 1210 -- NIGHT 46
|
|
|
|
The room is dark but we can hear the sighs and heavy
|
|
breathing of a man and woman making love on the bed. The
|
|
camera PANS across the floor following a trail of dropped
|
|
clothing -- a tuxedo jacket and cummerbund, white satin
|
|
high heels, a lacy wedding gown, striped tuxedo trousers,
|
|
satin ladies underpants, stockings and garters.
|
|
|
|
BRIDE (V.O.)
|
|
Aren't you glad we waited?
|
|
|
|
GROOM (V.O.)
|
|
I don't know. It probably would've
|
|
been the same.
|
|
|
|
BRIDE (V.O.)
|
|
(indignant)
|
|
Well, thanks a lot.
|
|
|
|
THE BED
|
|
The Groom turns his back to the
|
|
Bride and pulls the sheet up to his
|
|
neck.
|
|
|
|
BRIDE
|
|
What are you doing? Are you just
|
|
going to roll over and go to sleep?
|
|
|
|
BRIDE
|
|
(he doesn't respond)
|
|
I don't believe this.
|
|
|
|
She switches on the lamp on the nightstand and picks up a
|
|
magazine.
|
|
|
|
THE AIR VENT
|
|
|
|
There is a throbbing shudder as if something powerful was
|
|
rushing through the air duct. A hint of yellowy vapor wafts
|
|
through the grating and into the room.
|
|
39.
|
|
|
|
|
|
THE NIGHTSTAND
|
|
The travel clock reads 9:45 P.M.
|
|
Suddenly there is an audible hiss,
|
|
then the glass clockface cracks
|
|
down the middle with a snap.
|
|
|
|
THE BRIDE
|
|
Startled, she looks at the clock
|
|
and picks it up to examine it.
|
|
|
|
BRIDE
|
|
Roy? Your clock broke.
|
|
|
|
GROOM
|
|
Nice going, honey. It was brand
|
|
new.
|
|
|
|
BRIDE
|
|
I didn't break your precious clock,
|
|
Roy!
|
|
|
|
He gets up and heads for the bathroom.
|
|
|
|
BRIDE
|
|
Now where are you going?
|
|
|
|
GROOM
|
|
To the bathroom, where do you
|
|
think?
|
|
|
|
BRIDE
|
|
(to herself)
|
|
Have I done the right thing?
|
|
|
|
The Groom enters the bathroom and closes the door behind
|
|
him. The sound of water running in the sink is heard. Then
|
|
the Bride hears a sound like the noise a cat makes when
|
|
trying to dislodge a hairball from its throat.
|
|
|
|
BRIDE
|
|
(calls out)
|
|
Roy? Are you all right?
|
|
|
|
The noise increases to the level of ten cats with
|
|
hairballs.
|
|
|
|
BRIDE
|
|
(disgusted)
|
|
Hey, sweetheart, will you CUT THAT
|
|
OUT!!!
|
|
|
|
GROOM (O.S.)
|
|
Uuuuuuugh!!
|
|
40.
|
|
|
|
|
|
BRIDE
|
|
(getting quite nervous)
|
|
What's the matter, dear?
|
|
|
|
She gets out of bed just as he comes charging out,
|
|
stuttering in stunned horror. She goes into the bathroom.
|
|
|
|
BRIDE (V.O.)
|
|
What did you do in here? It smells
|
|
awful!! OH ... Oh, no ... Oh, my
|
|
God.
|
|
|
|
The Bride runs out of the bathroom into the arms of her
|
|
husband who is on the telephone.
|
|
|
|
GROOM
|
|
... right ... It's smelling up the
|
|
whole suite ... I don't know ...
|
|
It's just hanging off the ceiling
|
|
... I've never seen anything like
|
|
this ... 1210 ... Quick ...
|
|
|
|
|
|
47 INT. FIREHALL OFFICE -- NIGHT 47
|
|
|
|
Janine turns off the light at her desk. She packs up her
|
|
purse and puts on her coat. The phone rings. Janine answers
|
|
it unenthusiastically.
|
|
|
|
JANINE
|
|
Ghostbusters ... Yes, it is ...
|
|
Yes, of course they're serious. You
|
|
do! You have! Yes, sir. Well,
|
|
they're out on another case now,
|
|
but if you'll give me the address
|
|
... Don't worry, they'll be totally
|
|
discreet.
|
|
|
|
She hits an alarm button and a loud bell starts ringing
|
|
frantically.
|
|
|
|
|
|
48 INT. KITCHEN - NIGHT 48
|
|
|
|
The alarm sounds and everyone jumps up, scattering takeout
|
|
cartons.
|
|
|
|
|
|
49 INT. DORM -- NIGHT 49
|
|
|
|
The alarm continues. Everyone enters in haste and scrambles
|
|
into jumpsuits. There is much hopping on one leg and
|
|
bumping into one another.
|
|
41.
|
|
|
|
|
|
BRASS POLE
|
|
Fully suited, Venkman jumps on and
|
|
slides down followed quickly by
|
|
Spengler. Then Stantz jumps at it
|
|
but hits it at the wrong angle. He
|
|
slowly slides down out of sight
|
|
with a stunned look on his face.
|
|
|
|
|
|
50 INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT 50
|
|
|
|
Everyone pulls throwers, traps, packs and harnesses off the
|
|
wall.
|
|
|
|
|
|
51 EXT. FIREHALL -- NIGHT 51
|
|
|
|
The garage door slides up and in a blaze of light and
|
|
screeching tires, the ambulance squeals out and makes a
|
|
right turn. The vehicle has been painted flat black and has
|
|
been fitted with communication wafers and antennae. All the
|
|
original lights have been replaced with purple and white
|
|
strobes and the siren has been altered to emit a low,
|
|
unearthly moaning The purple and white strobe bars give the
|
|
car a strange ultraviolet aura. It rounds the corner and
|
|
heads up the West Side Highway.
|
|
|
|
|
|
52 EXT. HOTEL -- FRONT DOOR -- NIGHT 52
|
|
|
|
The black ambulance screeches up to the main entrance,
|
|
siren blaring. Emblazoned on the door is the Ghostbusters'
|
|
new logo. It's the international symbol of prohibition, a
|
|
red circle with a diagonal red stroke across a ghost. The
|
|
DOORMAN steps forward as Venkman, Stantz and Spengler leap
|
|
out of the car. They open up the rear door and remove their
|
|
equipment. People on the street stop and gawk.
|
|
|
|
|
|
53 INT. HOTEL LOBBY -- NIGHT 53
|
|
|
|
As the Ghostbusters enter, people turn and stare at their
|
|
strange appearance. They all wear matching blue futuristic
|
|
jumpsuits with proton packs strapped to their backs. They
|
|
also wear brushed-metal, flip-down ecto-visors worn on the
|
|
head like a welder's mask. Knee and elbow pads complete
|
|
their strange outfits.
|
|
|
|
VENKMAN
|
|
42.
|
|
|
|
|
|
He looks ill-at-ease and
|
|
embarrassed by their outlandish
|
|
getups as the HOTEL MANAGER
|
|
descends on them accompanied by a
|
|
Slavic MAINTENANCE MAN and a
|
|
worried BELL CAPTAIN.
|
|
|
|
MANAGER
|
|
(agitated)
|
|
Thank you for coming so quickly.
|
|
The guests are starting to ask
|
|
questions and I'm running out of
|
|
excuses.
|
|
|
|
STANTZ
|
|
Has this ever happened before?
|
|
|
|
MANAGER
|
|
Well, most of the original staff
|
|
knows about the twelfth floor ...
|
|
The disturbances, I mean ... But
|
|
it's been quiet for years ... Up
|
|
until two weeks ago ... It was
|
|
never ever this bad, though.
|
|
|
|
STANTZ
|
|
Did you ever report it to anyone?
|
|
|
|
MANAGER
|
|
Heavens, no! The owners don't like
|
|
us to even talk about it. I hoped
|
|
we could take care of this quietly
|
|
tonight.
|
|
|
|
STANTZ
|
|
Yes, sir. Don't worry. We handle
|
|
this kind of thing all the time.
|
|
|
|
They cross the lobby to the elevators, attracting lots of
|
|
curious interest from the hotel guests.
|
|
|
|
VENKMAN
|
|
A GUEST accosts him while they wait
|
|
for an elevator.
|
|
|
|
GUEST
|
|
What are you supposed to be?
|
|
|
|
VENKMAN
|
|
Me? We're ... uh ... the
|
|
exterminators. Somebody saw a
|
|
cockroach on the twelfth floor.
|
|
43.
|
|
|
|
|
|
The Guest looks at Venkman, noting the heavy proton pack on
|
|
his back, the odd-looking particle thrower and flipdown
|
|
ecto-visor.
|
|
|
|
GUEST
|
|
That's gotta be some cockroach,
|
|
|
|
VENKMAN
|
|
Well, you can't be too careful with
|
|
those babies.
|
|
|
|
The elevator arrives and he gets on with the others.
|
|
|
|
|
|
54 INT. THE ELEVATOR -- NIGHT 54
|
|
|
|
The Ghostbusters look nervous as they ride up the elevator.
|
|
|
|
STANTZ
|
|
I just realized something. We've
|
|
never had a completely successful
|
|
test with any of the equipment.
|
|
|
|
SPENGLER
|
|
I blame myself.
|
|
|
|
VENKMAN
|
|
So do I.
|
|
|
|
STANTZ
|
|
No sense worrying about it now.
|
|
|
|
VENKMAN
|
|
(doubtful)
|
|
Sure. Each of us is wearing an
|
|
unlicensed nuclear accelerator on
|
|
our back. No problem.
|
|
|
|
The elevator stops at the Twelfth Floor.
|
|
|
|
|
|
55 INT. TWELFTH FLOOR CORRIDOR -- NIGHT 55
|
|
|
|
The elevator doors open and Venkman peeks out into the
|
|
hall.
|
|
|
|
He steps out cautiously, followed by the others.
|
|
|
|
THE END OF THE HALL
|
|
|
|
A BELLBOY comes around the corner behind them, pushing a
|
|
room service cart loaded with dirty dishes.
|
|
44.
|
|
|
|
|
|
STANTZ
|
|
He hears the rattle of the dishes
|
|
behind him, whirls and fires a
|
|
stream of protons from his wand.
|
|
|
|
STANTZ
|
|
Spengler is so keyed up, he too
|
|
spins and fires wildly.
|
|
|
|
THE BELLBOY
|
|
He ducks as the particle streams
|
|
blow the dishes off the cart and
|
|
scorch holes in the wall behind
|
|
him.
|
|
|
|
VENKMAN
|
|
(shouts)
|
|
Cease fire!
|
|
|
|
The Bellboy peeks out from behind the cart.
|
|
|
|
THE GHOSTBUSTERS
|
|
They breathe a sigh of relief.
|
|
|
|
STANTZ
|
|
(to the Bellboy)
|
|
Sorry, Buddy!
|
|
|
|
SPENGLER
|
|
We'd better adjust our streams.
|
|
|
|
He leads them down the hall to Room 1210.
|
|
|
|
|
|
56 INT. ROOM 1210 -- NIGHT 56
|
|
|
|
The Ghostbusters enter trepidatiously and start taking
|
|
readings.
|
|
|
|
SPENGLER
|
|
(looking at his meters)
|
|
Something was definitely here.
|
|
|
|
VENKMAN
|
|
Yeah, I can smell it.
|
|
|
|
STANTZ
|
|
I'm getting high readings near the
|
|
air vents. It must be using the
|
|
duct system to get around. See, I
|
|
told you we'd get something.
|
|
|
|
VENKMAN
|
|
45.
|
|
|
|
|
|
So far all we got is a shit smell
|
|
on the twelfth floor and we almost
|
|
fried a Puerto Rican bellboy.
|
|
|
|
STANTZ
|
|
All right. Let's cool the negative
|
|
vibes. These things can sense them.
|
|
|
|
They exit the room.
|
|
|
|
|
|
57 INT. A CORRIDOR -- NIGHT 57
|
|
|
|
Spengler makes his way down the hall reading valences at
|
|
the door to each room. He knocks on one of the doors, then
|
|
passes his sensor over the top of the door and down the
|
|
jambs. Then he gets on his knees to read the crack at the
|
|
bottom of the door. Suddenly the door opens and he looks up
|
|
to see a really stunning woman wrapped in a bath towel with
|
|
another towel twisted turban-style around her wet hair.
|
|
|
|
WOMAN
|
|
(noting his unusual
|
|
attire)
|
|
Yes?
|
|
|
|
SPENGLER
|
|
(stands up)
|
|
Were you recently in the bathroom?
|
|
|
|
WOMAN
|
|
(sarcastic)
|
|
What on earth gave you that idea?
|
|
|
|
SPENGLER
|
|
(seriously)
|
|
The wet towels, residual moisture
|
|
on your lower limbs and hair, the
|
|
redness in your cheeks indicating
|
|
...
|
|
|
|
WOMAN
|
|
(cutting him off)
|
|
You're a regular Sherlock Holmes.
|
|
Now what do you want?
|
|
|
|
SPENGLER
|
|
When you were in the bathroom, did
|
|
you notice anything that was yellow
|
|
and unusually smelly?
|
|
|
|
She slams the door in his face. Spengler shrugs and moves
|
|
on.
|
|
46.
|
|
|
|
|
|
58 INT. ANOTHER CORRIDOR -- SAME TIME 58
|
|
|
|
Stantz moves down the hall checking PKE valences.
|
|
|
|
HIS PKE METER
|
|
|
|
The needle jumps into the red.
|
|
|
|
STANTZ
|
|
He alerts Spengler through the
|
|
walkie-talkie headset he wears.
|
|
|
|
STANTZ
|
|
(hushed)
|
|
Egon! I got something. I'm moving
|
|
in.
|
|
|
|
Slowly and cautiously, he turns the corner at the end of
|
|
the hall. Suddenly, he sees the object of their search and
|
|
freezes.
|
|
|
|
STANTZ
|
|
(frightened)
|
|
Yaaaaaaaaah!
|
|
|
|
STANTZ' POV
|
|
|
|
The vapor is hunched over a room service cart loaded with
|
|
dirty dishes. It hangs there, translucent, foul, yellow,
|
|
feeding off table scraps and leftover beverages, knocking
|
|
dishes off the cart and scattering refuse. It looks like a
|
|
misshapen potato with a pushed-in face and spindly arms.
|
|
|
|
SPENGLER
|
|
(over the walkie-talkie)
|
|
Ray! Where are you? Are you all
|
|
right?
|
|
|
|
STANTZ
|
|
(amazed)
|
|
God, it's ugly!
|
|
|
|
THE VAPOR
|
|
It raises a half-empty bottle of
|
|
wine to its gaping maw and chugs
|
|
down the liquid. The wine is
|
|
visible as it pours down his gullet
|
|
and passes through his system,
|
|
finally spilling through his body
|
|
onto the floor.
|
|
|
|
STANTZ
|
|
He edges closer.
|
|
47.
|
|
|
|
|
|
STANTZ
|
|
(whispers into his head
|
|
set)
|
|
I'm moving in. I don't think it's
|
|
seen me yet.
|
|
|
|
THE VAPOR
|
|
It crams some leftovers into its
|
|
mouth and belches loudly.
|
|
|
|
STANTZ
|
|
He is growing increasingly more
|
|
disgusted as the initial fear
|
|
leaves him.
|
|
|
|
STANTZ
|
|
Ugh! What a slob! I'm going to take
|
|
him.
|
|
(shouts at the vapor)
|
|
Freeze, Potato-Face!
|
|
|
|
He fires his particle thrower at the vapor.
|
|
|
|
THE VAPOR
|
|
It dodges Stantz' first shot and
|
|
the ion stream tears away fifty
|
|
feet of wallpaper in a searing
|
|
ricochet. Then the vapor flies off
|
|
down the hall, pulling the room
|
|
service cart along in its wake.
|
|
|
|
STANTZ
|
|
He chases it down the hall,
|
|
shouting into his headset.
|
|
|
|
STANTZ
|
|
He's getting away!
|
|
|
|
THE VAPOR
|
|
It reaches the end of the corridor
|
|
but instead of turning, it passes
|
|
right through the solid wall. The
|
|
room service cart crashes into the
|
|
wall, smashing dishes and sending
|
|
the debris flying.
|
|
|
|
|
|
59 INT. A HOTEL ROOM -- NIGHT 59
|
|
|
|
A MAN is just pulling the plastic bag off his recently dry-
|
|
cleaned white dinner jacket when the noxious vapor comes
|
|
shooting through the wall. It blows right over him with a
|
|
great rush of stinking wind and exits through the air vent.
|
|
48.
|
|
|
|
|
|
THE MAN
|
|
He looks at the air vent then back
|
|
at his dinner jacket which has
|
|
turned several shades of sickly
|
|
yellow and brown.
|
|
|
|
|
|
60 INT. A CORRIDOR -- NIGHT 60
|
|
|
|
Venkman is alone in a long hallway. He leans against the
|
|
wall, clearly not taking any of this seriously. He hauls on
|
|
a cigarette and mutters to himself.
|
|
|
|
VENKMAN
|
|
This bites it. I actually work for
|
|
a company called Ghostbusters.
|
|
|
|
Suddenly from the end of the hallway comes the sound of
|
|
rattling dishes and silverware, accompanied by footsteps.
|
|
|
|
Venkman's PKE meter beeps and a red light winks on.
|
|
|
|
VENKMAN
|
|
(into the walkie-talkie)
|
|
Ray -- Something's here.
|
|
|
|
STANTZ (O.S.)
|
|
(crackling over the
|
|
communicator)
|
|
Where are you, Pete?
|
|
|
|
VENKMAN
|
|
(backing away)
|
|
Third floor. Get down here,
|
|
|
|
STANTZ
|
|
Sit tight. I'm on my way.
|
|
|
|
VENKMAN
|
|
Well, hurry up.
|
|
(checks his meter)
|
|
The needle's going wild.
|
|
|
|
VENKMAN'S POV
|
|
|
|
A room service cart sails past along a perpendicular
|
|
hallway and rolls out of sight. Then immediately behind it
|
|
comes a reeking yellow haze. It is the vapor. It doesn't
|
|
follow the cart but instead makes the turn at the end of
|
|
the hall and hovers there, apparently looking at Venkman.
|
|
|
|
VENKMAN
|
|
He's scared now.
|
|
49.
|
|
|
|
|
|
VENKMAN
|
|
(into his head set)
|
|
It's here, Ray. It's looking at me.
|
|
|
|
STANTZ
|
|
(on the radio)
|
|
Don't move. It won't hurt you.
|
|
|
|
VENKMAN
|
|
How do you know?
|
|
|
|
STANTZ
|
|
I don't know. I'm just guessing.
|
|
|
|
Venkman sees the vapor start down the hall toward him.
|
|
|
|
VENKMAN
|
|
(panicking)
|
|
Well, I think you guessed wrong.
|
|
Here he comes!
|
|
|
|
THE VAPOR
|
|
It flies down the hall toward
|
|
Venkman.
|
|
|
|
|
|
61 INT. STAIRWELL -- SAME TIME 61
|
|
|
|
Stantz runs downstairs taking them three at a time as
|
|
Venkman is heard screaming over the radio.
|
|
|
|
VENKMAN
|
|
(screaming)
|
|
Veeaaaaaahh!
|
|
|
|
|
|
62 INT. THIRD FLOOR 62
|
|
|
|
Stantz comes running around the corner and sees Venkman
|
|
flat on his back, flailing his arms and legs frantically,
|
|
Sickening, yellow-green ectofluid covers his head and
|
|
chest.
|
|
|
|
VENKMAN
|
|
Aagghh -- aaaggghh -- uhh -- uhh --
|
|
It slimed me! It slimed me!
|
|
|
|
Suddenly Spengler's voice crackles over the communicator.
|
|
|
|
SPENGLER (V.O.)
|
|
Ray! It's here! It just went into
|
|
the Banquet Room on the third
|
|
floor.
|
|
50.
|
|
|
|
|
|
Stantz helps Venkman to his feet and they rush off.
|
|
|
|
|
|
63 INT. BANQUET ROOM -- NIGHT 63
|
|
|
|
The Ghostbusters enter a large dark room with a high,
|
|
ornately-corniced ceiling and a crystal chandelier hanging
|
|
in the center.
|
|
|
|
STANTZ
|
|
Visors down. Full stream.
|
|
|
|
They flip down their visors and scan the room.
|
|
|
|
STANTZ
|
|
He peruses the room but sees
|
|
nothing. He looks up and scans the
|
|
ceiling. A form flits behind a
|
|
carved beam.
|
|
|
|
STANTZ
|
|
There! On the ceiling!
|
|
(the others look)
|
|
Come on down here, you slug!
|
|
|
|
Stantz drops to one knee and fires at the vapor.
|
|
|
|
THE CEILING
|
|
The vapor dodges as the beam blasts
|
|
a sizable chunk of plaster out of
|
|
the ceiling and destroys half the
|
|
crystal chandelier.
|
|
|
|
VENKMAN
|
|
He fires at it, too, wasting the
|
|
rest of the chandelier but the
|
|
vapor dodges away. They are both
|
|
ready to start blazing away again
|
|
when Spengler stops them.
|
|
|
|
SPENGLER
|
|
(urgently)
|
|
Wait! Wait! There's something I
|
|
forgot to tell you.
|
|
|
|
VENKMAN
|
|
What?
|
|
|
|
SPENGLER
|
|
(emphatic)
|
|
Don't cross the beams.
|
|
|
|
VENKMAN
|
|
51.
|
|
|
|
|
|
Why not?
|
|
|
|
SPENGLER
|
|
Trust me. It will be bad.
|
|
|
|
VENKMAN
|
|
What do you mean "bad?"
|
|
|
|
SPENGLER
|
|
It's hard to explain, but try to
|
|
imagine all life as you know it
|
|
stopping instantaneously and
|
|
finding yourself confined forever
|
|
in another dimension.
|
|
|
|
Venkman considers his own safety and decides to take
|
|
charge.
|
|
|
|
VENKMAN
|
|
(with military authority)
|
|
That's it! I'm taking charge. You
|
|
guys are dangerous.
|
|
|
|
They yield command to him.
|
|
|
|
VENKMAN
|
|
Now nobody does anything unless I
|
|
order you to, okay?
|
|
|
|
STANTZ AND SPENGLER
|
|
|
|
They nod obediently and glance nervously at the vapor,
|
|
still hovering near the ceiling.
|
|
|
|
VENKMAN
|
|
Let's do it. This thing's not going
|
|
to hang around all day waiting for
|
|
us. Ray, give me one stream wide
|
|
right of it. I'll go wide left.
|
|
Now!
|
|
|
|
STANTZ AND VENKMAN
|
|
|
|
They trigger their throwers and two streams are emitted,
|
|
shooting off to either side of the entity. The entity
|
|
swirls but stays between the beams.
|
|
|
|
VENKMAN
|
|
(talking them through it)
|
|
Good ... Good ... Nice and wide ...
|
|
Move with him ... Easy. Hold
|
|
steady.
|
|
52.
|
|
|
|
|
|
THE VAPOR
|
|
It bobs and weaves, trying to slip
|
|
past the visible lines of light,
|
|
but Venkman and Stantz manage to
|
|
keep it boxed in.
|
|
|
|
VENKMAN
|
|
(speaking clearly)
|
|
Now, very slowly, Ray, let's
|
|
tighten it up. You hold steady. I'm
|
|
coming down.
|
|
|
|
They start closing the distance between their ion streams.
|
|
|
|
SPENGLER
|
|
(cautious)
|
|
Don't cross them! Watch it!
|
|
|
|
STANTZ
|
|
The vapor is trying to get around
|
|
his streams, causing him to waver
|
|
as Venkman's stream gets closer and
|
|
closer.
|
|
|
|
VENKMAN
|
|
Spengler! A little help! Cut him
|
|
off.
|
|
|
|
THE VAPOR
|
|
It slips past Stantz and races for
|
|
the air vent.
|
|
|
|
SPENGLER
|
|
He fires with such poor
|
|
marksmanship that he comes only
|
|
centimeters from crossing Venkman's
|
|
stream. Venkman jerks away to avoid
|
|
crossing Spengler's erratic bursts
|
|
and maneuvers. Together they do
|
|
extensive damage to the walls.
|
|
|
|
|
|
64 INT. CORRIDOR -- SAME TIME 64
|
|
|
|
The Hotel Manager and the Maintenance Man look nervously at
|
|
each other as they hear the sound of heavy property damage
|
|
coming from the banquet room.
|
|
|
|
|
|
65 INT. BANQUET ROOM - NIGHT 65
|
|
|
|
Stantz has the thing cornered to some extent.
|
|
53.
|
|
|
|
|
|
STANTZ
|
|
(to Venkman)
|
|
I'll nudge it out of the corner.
|
|
You cut off the left side.
|
|
|
|
Stantz moves closer to the wall and Venkman counters to
|
|
trap the vapor again.
|
|
|
|
VENKMAN
|
|
(encouragingly)
|
|
You got it! That's good. Easy now.
|
|
|
|
They manage to guide the vapor out into the center of the
|
|
room, all the time closing the figurative box around it.
|
|
|
|
STANTZ
|
|
It's working!
|
|
|
|
SPENGLER
|
|
Easy ... Easy ... I'm going to
|
|
throw in my trap now.
|
|
|
|
Spengler jerks his leg up, triggering a release on his
|
|
equipment belt. A cord and foot pedal fall to the floor.
|
|
|
|
At the end of the cord there is a long, flat black metal
|
|
box two feet long, four inches wide and two high. He kicks
|
|
the box under the apparition and toes the foot pedal into
|
|
position. The apparition blasts them with a flatulent gust.
|
|
|
|
They recoil but hold the configuration.
|
|
|
|
STANTZ
|
|
Easy ... Easy ... Open the trap
|
|
now!!
|
|
|
|
Spengler stomps on the foot pedal and with a loud
|
|
electronic snap the long metal box on the floor sprays up a
|
|
fixed multidimensional inverted pyramid of bright, beaded
|
|
white light.
|
|
|
|
Stantz and Venkman herd the vapor to the top of the trap.
|
|
|
|
VENKMAN
|
|
Watch it ... Watch it ... Now!
|
|
|
|
Spengler stomps the foot pedal again.
|
|
|
|
Suddenly there is a loud double electronic snap and a
|
|
blinding flash of pink light. Wisps of brown smoke and
|
|
carbonized particles rise to the ceiling in a large
|
|
residual puff. The Ghostbusters stand there for a long
|
|
moment not quite sure the battle is over.
|
|
54.
|
|
|
|
|
|
SPENGLER
|
|
He cautiously approaches the trap
|
|
end looks at the valence indicator
|
|
on it.
|
|
|
|
SPENGLER
|
|
(confirms it)
|
|
He's in here.
|
|
|
|
STANTZ AND VENKMAN
|
|
|
|
They whoop in triumph -- and considerable relief.
|
|
|
|
STANTZ
|
|
(pulling off his slimy
|
|
visor)
|
|
Well! That wasn't so bad, was it?
|
|
|
|
Venkman looks askance at him.
|
|
|
|
VENKMAN
|
|
Are you kidding? That was like
|
|
trying to push smoke into a bottle
|
|
with a baseball bat. Now what do we
|
|
do with it?
|
|
|
|
He looks at Stantz.
|
|
|
|
STANTZ
|
|
He looks at Spengler.
|
|
|
|
SPENGLER
|
|
He shrugs.
|
|
|
|
VENKMAN
|
|
(not pleased)
|
|
We'll have to work on that.
|
|
(to Stantz)
|
|
Grab that, would you, Ray?
|
|
|
|
They exit, leaving Stantz to deal with the trap.
|
|
|
|
|
|
66 INT. LOBBY -- NIGHT 66
|
|
|
|
The elevator opens and the Ghostbusters emerge. Stantz
|
|
holds the trap by it's foot pedal. He dangles it away from
|
|
his body as if it is something putrid. The Hotel Manager
|
|
approaches them.
|
|
|
|
HOTEL MANAGER
|
|
What happened? Did you see it? What
|
|
is it?
|
|
55.
|
|
|
|
|
|
Stantz removes his infra visor and wipes some slime off his
|
|
face. He is beaming,
|
|
|
|
STANTZ
|
|
We got it!
|
|
|
|
He holds up the trap.
|
|
|
|
HOTEL MANAGER
|
|
What was it? Will there be any more
|
|
of them?
|
|
|
|
STANTZ
|
|
Sir, what you had there was what we
|
|
refer to as a focused, non-terminal
|
|
repeating phantasm or a Class Five
|
|
Full Roaming Vapor ... A real nasty
|
|
one, too.
|
|
|
|
VENKMAN
|
|
(starts writing a bill)
|
|
That'll be $4,000 for the
|
|
entrapment plus $1,000 for proton
|
|
recharge and storage.
|
|
|
|
HOTEL MANAGER
|
|
(shocked)
|
|
Five thousand dollars! I won't pay
|
|
it. I had no idea it would be so
|
|
much.
|
|
|
|
VENKMAN
|
|
Fine. We'll let it go again.
|
|
(calls out)
|
|
Ray! Bring it back.
|
|
|
|
HOTEL MANAGER
|
|
No! All right. Anything.
|
|
|
|
|
|
67 EXT. HOTEL SEDGEWICK -- NIGHT 67
|
|
|
|
The Ghostbusters come through the revolving doors and see a
|
|
real mob scene on the street. A large crowd has gathered
|
|
around the Ectomobile and the police have put up a
|
|
barricade to hold them back. Photographers are taking
|
|
pictures of it and several reporters are there waiting for
|
|
them. As the Ghostbusters cross to the vehicle, people in
|
|
the crowd cheer and the reporters start firing questions at
|
|
them.
|
|
|
|
REPORTER #1
|
|
56.
|
|
|
|
|
|
Nate Cohen. I'm with the Post. What
|
|
happened in there?
|
|
|
|
REPORTER #2
|
|
Did you really see a ghost?
|
|
|
|
REPORTER #3
|
|
Is this some kind of a stunt?
|
|
|
|
STANTZ
|
|
(holding up the trap;
|
|
loudly to the crowd)
|
|
We got one!
|
|
|
|
REPORTER #1
|
|
Can we see it?
|
|
|
|
STANTZ
|
|
Uh...I'm afraid not.
|
|
|
|
VENKMAN
|
|
This is not a sideshow! We're
|
|
serious scientists.
|
|
|
|
REPORTER #4
|
|
What proof do you have that what
|
|
you saw was real?
|
|
|
|
STANTZ
|
|
Proof? Well, the manager of the
|
|
Sedgewick just paid us five big
|
|
ones to get something out of there.
|
|
Is that real enough for you?
|
|
|
|
REPORTER #2
|
|
Are you saying that ghosts really
|
|
exist?
|
|
|
|
VENKMAN
|
|
(pitching)
|
|
Not only do they exist, they're all
|
|
over the place! And that's why
|
|
we're offering this vitally
|
|
important service to people in the
|
|
whole tri-state area. We're
|
|
available twenty-four hours a day,
|
|
seven days a week. We have the
|
|
tools and we have the talent. No
|
|
job too small, no fee too big.
|
|
We're ready for anything.
|
|
|
|
SPENGLER
|
|
57.
|
|
|
|
|
|
He's confused by all the commotion
|
|
and the barrage of questions from
|
|
the press. A STREET PUNK in the
|
|
crowd behind the police barricades
|
|
keeps hissing at him.
|
|
|
|
STREET PUNK
|
|
Mister! Hey, Mister! Come here!
|
|
Mister.
|
|
|
|
He finally gets Spengler's attention and waves him over.
|
|
|
|
STREET PUNK
|
|
Hey, Mister! Can I see those guns?
|
|
|
|
SPENGLER
|
|
They're not guns. They're particle
|
|
throwers.
|
|
|
|
STREET PUNK
|
|
Yeah, yeah. I just want to see 'em.
|
|
|
|
SPENGLER
|
|
I couldn't do that. You might hurt
|
|
someone.
|
|
|
|
He turns away.
|
|
|
|
STREET PUNK
|
|
Wait! Wait! Let me ask you
|
|
something. If you like shot
|
|
Superman with those guns, would he
|
|
feel it or what?
|
|
|
|
SPENGLER
|
|
(with authority)
|
|
On Earth -- no. But on Krypton we
|
|
could slice him up like Oscar Mayer
|
|
Bologna.
|
|
|
|
STREET PUNK
|
|
Wow!
|
|
|
|
VENKMAN AND STANTZ
|
|
|
|
They are in high spirits as they continue to field
|
|
questions. A minicam is videotaping them.
|
|
|
|
MINICAM REPORTER
|
|
Sing the song from your commercial.
|
|
|
|
STANTZ
|
|
(reluctant)
|
|
58.
|
|
|
|
|
|
No, we have to get back and ...
|
|
|
|
MINICAM REPORTER
|
|
(wheedling)
|
|
Come on. It's free advertising.
|
|
|
|
VENKMAN
|
|
There's a thought. Hit it, Ray.
|
|
|
|
Stantz shrugs and starts singing the Ghostbusters song with
|
|
embarrassed restraint.
|
|
|
|
STANTZ
|
|
(singing)
|
|
Ghostbusters ... If you have a
|
|
ghost But you don't want to play
|
|
host ...
|
|
|
|
Venkman joins in with a harmony and they continue with more
|
|
confidence.
|
|
|
|
STANTZ & VENKMAN
|
|
(singing)
|
|
They can be bad houseguests
|
|
And all-night pests ... You can't
|
|
sleep at all So who do you call?
|
|
|
|
Spengler joins them for the big finish with no perceivable
|
|
sense of melody or rhythm.
|
|
|
|
ALL TOGETHER
|
|
(singing)
|
|
Ghostbusters ... Ghostbusters.
|
|
|
|
At the moment a flashbulb goes off freezing the
|
|
Ghostbusters in a still-frame that becomes a front-page
|
|
news photo.
|
|
|
|
FRONT PAGE
|
|
|
|
The New York Post carries the picture with a big headline
|
|
reading:
|
|
|
|
GHOSTBUSTERS?
|
|
|
|
The Ghostbusters' song really starts to cook with full
|
|
production now as a MONTAGE begins.
|
|
|
|
TELETYPE MACHINES
|
|
A bank of whirring, clicking
|
|
teleprinters spits reams of hard
|
|
copy and wire service photos
|
|
depicting the team at work.
|
|
59.
|
|
|
|
|
|
ANNOUNCER (V.O.)
|
|
Hello, America. This is Ronald
|
|
Gwynne reporting from United Press
|
|
International in New York.
|
|
Throughout my entire career as a
|
|
journalist I have never reported
|
|
anything as exciting and incredible
|
|
as the trapping of an actual
|
|
supernatural entity by a team of
|
|
men based in this city who call
|
|
themselves Ghostbusters.
|
|
|
|
|
|
68 INT. FIREHALL 68
|
|
|
|
The team hears the alarm buzzer. They leap from their beds
|
|
and slide down the pole.
|
|
|
|
ANNOUNCER (V.O.)
|
|
Now, most of us have never even
|
|
heard of a floating, slime-like
|
|
substance called ectoplasm, but
|
|
these gentlemen claim we will be
|
|
seeing a lot more of it than ever
|
|
before.
|
|
|
|
|
|
69 EXT. YANKEE STADIUM -- DAY 69
|
|
|
|
The Ectomobile is parked at home plate. The Ghostbusters
|
|
enter the Yankee dugout as a concerned Groundskeeper looks
|
|
on.
|
|
|
|
|
|
70 EXT. TIMES SQUARE -- NIGHT 70
|
|
|
|
The electronic Seiko sign flashes the news: Ghostbusters
|
|
Nab Phantom Bat Boy at Yankee Stadium.
|
|
|
|
FULL SCREEN VIDEO OF ROGER GRIMSBY
|
|
|
|
ROGER GRIMSBY
|
|
Good morning. Today the entire
|
|
Eastern Seaboard is alive with talk
|
|
of hundreds of reported incidents
|
|
involving multiple sightings in
|
|
what can only be described as
|
|
extreme events of paranormal
|
|
extraphenomenical proportions. It
|
|
seems everybody is willing to bring
|
|
their old ghosts and skeletons out
|
|
of the closet. Roy Brady reports
|
|
from New York.
|
|
60.
|
|
|
|
|
|
71 EXT. IN FRONT OF FIREHALL 71
|
|
|
|
Minicam set up in street.
|
|
|
|
ROY BRADY
|
|
Thank you, Roger. Everybody's heard
|
|
ghost stories around the campfire.
|
|
Heck, my grandma used to spin yarns
|
|
about a spectral locomotive that
|
|
used to rocket past the farm where
|
|
she grew up.
|
|
|
|
ROY BRADY
|
|
Now, as if some unseen authority
|
|
had suddenly given permission,
|
|
thousands of people here are
|
|
talking about encounters they claim
|
|
to have had with ghosts.
|
|
|
|
Music and Teleclicker up.
|
|
|
|
|
|
72 EXT. TUDOR CITY -- DAY 72
|
|
|
|
The Ectomobile pulls up to a Gothic apartment building in
|
|
the complex. The Ghostbusters jump out, end hurry into the
|
|
lobby.
|
|
|
|
A POLICEMAN
|
|
He notices that the Ectomobile is
|
|
illegally parked and walks over to
|
|
gawk at the odd vehicle.
|
|
|
|
THE ECTOMOBILE
|
|
As the Policeman approaches, a set
|
|
of double antennae on the roof are
|
|
automatically activated. They
|
|
rotate and tilt to point at the
|
|
Policeman. The Policeman is a
|
|
little unnerved by the antennae and
|
|
starts to walk around the car, but
|
|
the antennae follow him with
|
|
unerring accuracy.
|
|
|
|
THE POLICEMAN
|
|
Eager to get away from the vehicle,
|
|
he quickly writes a parking ticket
|
|
and sticks it under the windshield
|
|
wiper.
|
|
|
|
THE WINDSHIELD
|
|
61.
|
|
|
|
|
|
As the Policeman withdraws his
|
|
hand, the ticket heats up, bursts
|
|
into flame and burns up.
|
|
|
|
THE POLICEMAN
|
|
He stares at the ashes for a moment
|
|
then slowly backs away from the
|
|
car.
|
|
|
|
|
|
73 INT. ECTOMOBILE -- NIGHT 73
|
|
|
|
Stantz is driving. Spengler and Venkman are asleep. They
|
|
all look completely exhausted.
|
|
|
|
THE JOE FRANKLIN SHOW -- ON CAMERA
|
|
|
|
JOE FRANKLIN
|
|
Ray, every time I hear about your
|
|
company, I can't help thinking
|
|
about the old Bob Hope movie.
|
|
|
|
STANTZ
|
|
Actually, Joe, the title of that
|
|
film was "Ghostbreakers," and Olsen
|
|
and Johnson did one called "Ghost
|
|
Catchers" and the Bowery Boys did
|
|
"Ghost Chasers," "Hold That Ghost,"
|
|
"Spooks Run Wild," "Spook Busters,"
|
|
and "Spook Chasers."
|
|
|
|
JOE FRANKLIN
|
|
Well, in any case, I guess there's
|
|
one big question on everybody's
|
|
mind and you're certainly in a
|
|
position to answer it for us: Have
|
|
you seen Elvis and how is he?
|
|
|
|
|
|
74 INT. RADIO STUDIO 74
|
|
|
|
LARRY KING is doing his phone-in talk show.
|
|
|
|
LARRY KING
|
|
Our phone-in topic today: Ghosts
|
|
and Ghostbusting. The controversy
|
|
builds as more sightings are
|
|
reported and some maintain that
|
|
these professional paranormal
|
|
eliminators in New York are the
|
|
cause of it all. Why did everything
|
|
start just when these guys went
|
|
into business?
|
|
62.
|
|
|
|
|
|
75 EXT. LINCOLN CENTER -- DAY 75
|
|
|
|
Larry King continues voice-over as members of the New York
|
|
Philharmonic come out the stage door of Avery Fisher Hall.
|
|
|
|
LARRY KING (V.O.)
|
|
Should they be allowed to carry
|
|
around unlicensed proton mass
|
|
drivers? And what's wrong with
|
|
ghosts anyway? Call us ... All our
|
|
lines are open. Hello, Larry King.
|
|
|
|
Dana is walking with another man, a VIOLINIST, when she
|
|
sees Venkman sitting on the edge of the fountain in the
|
|
center of the plaza. She asks the Violinist to wait and
|
|
crosses to Venkman.
|
|
|
|
FEMALE CALLER (V.O.)
|
|
Hello, Larry? I think what Dr.
|
|
Spengler said in his interview with
|
|
you last night was true. The world
|
|
is in for a "psychic shock" 'cause
|
|
like my aunt reads coffee grounds
|
|
and she ...
|
|
|
|
FADE OUT:
|
|
|
|
VENKMAN AND DANA
|
|
|
|
She is surprised and a little bit pleased to see him.
|
|
|
|
VENKMAN
|
|
Great rehearsal.
|
|
|
|
DANA
|
|
You heard it?
|
|
|
|
VENKMAN
|
|
You're the best one in your row.
|
|
|
|
DANA
|
|
(skeptical)
|
|
Most people can't hear me with the
|
|
whole orchestra playing. You're
|
|
good.
|
|
|
|
VENKMAN
|
|
I don't have to take abuse from
|
|
you. I have other people dying to
|
|
give it to me.
|
|
|
|
DANA
|
|
63.
|
|
|
|
|
|
I know. You're quite a celebrity
|
|
these days. Are you here because
|
|
you have info ... about my case?
|
|
|
|
VENKMAN
|
|
(looks at the Violinist
|
|
who appears to be getting
|
|
impatient)
|
|
Who's the stiff?
|
|
|
|
DANA
|
|
The "stiff?" He happens to be one
|
|
of the finest musicians in the
|
|
world and a wonderful man.
|
|
|
|
VENKMAN
|
|
Is he dying or something?
|
|
|
|
They glance at the Violinist.
|
|
|
|
THE VIOLINIST
|
|
He takes a hit of nasal spray in
|
|
each nostril.
|
|
|
|
DANA AND VENKMAN
|
|
|
|
She looks at him trying to decide whether she likes him or
|
|
not.
|
|
|
|
DANA
|
|
He is a very close friend. Do you
|
|
have some explanation of what
|
|
happened in my apartment?
|
|
|
|
VENKMAN
|
|
Yes, but I have to tell you in
|
|
private at a fine restaurant.
|
|
|
|
DANA
|
|
Can't you tell me now?
|
|
|
|
VENKMAN
|
|
I'll cancel the reservation, I
|
|
found the name "Zuul" in ...
|
|
(reading)
|
|
The Roylance Guide to Secret
|
|
Societies and Sects. I don't
|
|
suppose you've read it.
|
|
|
|
DANA
|
|
You must have gotten the last copy.
|
|
|
|
VENKMAN
|
|
64.
|
|
|
|
|
|
Well, the name Zuul refers to a
|
|
demi-god worshipped around 6000
|
|
B.C. by the ... What's that say?
|
|
|
|
DANA
|
|
Hittites, the Mesopotamians and the
|
|
Sumerians. "Zuul was the Minion of
|
|
Gozer."
|
|
|
|
VENKMAN
|
|
"Gozer" -- he was very big in the
|
|
Sumerian religion. One of their
|
|
gods.
|
|
|
|
DANA
|
|
What's he doing in my refrigerator.
|
|
|
|
VENKMAN
|
|
I'm checking on that. I think we
|
|
should meet Thursday night at nine
|
|
to talk about it.
|
|
|
|
DANA
|
|
I don't think so. I'm busy Thursday
|
|
night.
|
|
|
|
VENKMAN
|
|
(persists)
|
|
You think I enjoy giving up my
|
|
evenings to spend time with
|
|
clients? I'm making an exception
|
|
because I respect you as an artist
|
|
and as a dresser.
|
|
|
|
DANA
|
|
(laughs)
|
|
All right. Since you put it that
|
|
way.
|
|
|
|
VENKMAN
|
|
I'll pick you up at your place.
|
|
I'll bring along the Roylance Guide
|
|
-- we can read after we eat.
|
|
|
|
DANA
|
|
I've got to go now.
|
|
|
|
She walks toward the Violinist. Venkman shouts after her.
|
|
|
|
VENKMAN
|
|
Remember. I'm the only one standing
|
|
between you and a heavy Hittite.
|
|
65.
|
|
|
|
|
|
She starts walking away.
|
|
|
|
VENKMAN
|
|
(calls after her)
|
|
I'll pick you up at your place.
|
|
|
|
DANA
|
|
She waves goodbye and rejoins the
|
|
Violinist,
|
|
|
|
VIOLINIST AND DANA
|
|
|
|
VIOLINIST
|
|
(jealous)
|
|
Who was that?
|
|
|
|
DANA
|
|
Oh, he's an old professor of mine.
|
|
|
|
VIOLINIST
|
|
(doubtful)
|
|
Really?
|
|
|
|
DANA
|
|
Yes. He's smarter than he looks.
|
|
|
|
They walk off.
|
|
|
|
|
|
76 INT. RECEPTION AREA -- DAY 76
|
|
|
|
Janine is handling a steady barrage of phone calls,
|
|
switching from one line to the other. WINSTON ZEDDEMORE, a
|
|
large, impressive-looking black man sits across from her
|
|
filling out a job application.
|
|
|
|
JANINE
|
|
(answering a call)
|
|
GHOSTBUSTERS -- please hold.
|
|
(switches)
|
|
Good afternoon, GHOSTBUSTERS --
|
|
please hold.
|
|
(switches back)
|
|
Yes, can I help you?
|
|
(pause)
|
|
66.
|
|
|
|
|
|
Yes ... yes, Is it just a mist or
|
|
does it have arms and legs ...? Uh-
|
|
huh ... Well, the soonest we could
|
|
possibly get to you would be a week
|
|
from Friday ... I'm sorry, but
|
|
we're completely booked until then
|
|
... Uh-huh ... Well, all I can
|
|
suggest is that you stay out of
|
|
your house until we can get to you.
|
|
Thank you.
|
|
|
|
She hangs up.
|
|
|
|
WINSTON
|
|
Let me ask you something. The ad in
|
|
the paper just said "Help Wanted."
|
|
What's the job?
|
|
|
|
JANINE
|
|
I really don't know, Mr. Zeddemore.
|
|
They just told me to take
|
|
applications and ask you these
|
|
questions.
|
|
(she reads from a
|
|
questionnaire as if for
|
|
the hundredth time)
|
|
Do you believe in U.F.O.'s, astral
|
|
projection, mental telepathy, ESP,
|
|
clairvoyance, spirit photography,
|
|
full-trance mediums, telekinetic
|
|
movement, black and/or white magic,
|
|
pyramidology, the theory of
|
|
Atlantis, the Loch Ness Monster, or
|
|
in general in spooks, spectres,
|
|
wraiths, geists and ghosts?
|
|
|
|
WINSTON
|
|
Not really. However, if there's a
|
|
semi-regular paycheck in it I'll
|
|
believe anything you say.
|
|
|
|
|
|
77 EXT. FIREHALL -- SAME TIME 77
|
|
|
|
A gaggle of autograph hounds is waiting on the street as
|
|
Ecto One pulls in. The front of the building now bears a
|
|
big neon sign with the Ghostbusters logo on it.
|
|
|
|
|
|
78 INT. GARAGE BAY -- DAY 78
|
|
67.
|
|
|
|
|
|
Venkman and Stantz disembark. They carry a couple of traps
|
|
apiece. Their jumpsuits are covered with smoldering ecto-
|
|
slime. The Ectomobile looks like it's been through a war.
|
|
|
|
STANTZ
|
|
(exhausted)
|
|
Boy, that was a rough one.
|
|
|
|
VENKMAN
|
|
I can't take much more of this. The
|
|
pace is killing me.
|
|
|
|
|
|
79 INT. RECEPTION AREA - DAY 79
|
|
|
|
Venkman enters with Stantz, crosses to Janine and drops a
|
|
paid invoice on her desk.
|
|
|
|
VENKMAN
|
|
Here's the paper on the Brooklyn
|
|
job. She paid with a Visa card.
|
|
|
|
JANINE
|
|
(hands a sheaf of work
|
|
orders to Stantz)
|
|
Here are tonight's calls.
|
|
|
|
STANTZ
|
|
(shuffles through them)
|
|
Oh, no. Two more free-roaming
|
|
repeaters.
|
|
|
|
JANINE
|
|
And this is Winston Zeddemore. He
|
|
came about the job.
|
|
|
|
STANTZ
|
|
Hi. Ray Stantz. Pete Venkman.
|
|
|
|
They shake hands.
|
|
|
|
JANINE
|
|
(to Venkman)
|
|
And someone from the EPA is here to
|
|
see you.
|
|
|
|
VENKMAN
|
|
The EPA? What's he want?
|
|
|
|
JANINE
|
|
68.
|
|
|
|
|
|
I didn't ask him. All I know is
|
|
that I haven't had a break in two
|
|
weeks and you promised you'd hire
|
|
more help.
|
|
|
|
VENKMAN
|
|
(surly)
|
|
Janine, I'm sure a woman with your
|
|
qualifications would have no
|
|
trouble finding a top flight job in
|
|
the housekeeping or food service
|
|
industry.
|
|
|
|
JANINE
|
|
Oh, really? Well, I've quit better
|
|
jobs than this one, believe me.
|
|
|
|
He exits.
|
|
|
|
STANTZ
|
|
He scans Winston's resume, ignoring
|
|
the flare-up between Janine and
|
|
Venkman. They start downstairs to
|
|
the storage facility.
|
|
|
|
STANTZ
|
|
Very impressive resume. Electronic
|
|
countermeasures, Strategic Air
|
|
Command ... Black belt in Karate
|
|
... Small arms expert ... Mr.
|
|
Zeddemore, as you may have heard,
|
|
we locate ghosts and spirits, trap
|
|
them with streams of concentrated
|
|
quantum energy and remove them from
|
|
people's homes, offices and places
|
|
of worship.
|
|
|
|
WINSTON
|
|
Yeah, I heard that. Now tell me
|
|
what you really do.
|
|
|
|
|
|
80 INT. THE OFFICE -- SAME TIME 80
|
|
|
|
The walls are plastered with newspaper and magazine stories
|
|
on Ghostbusters. WALTER PECK, junior E.P.A. administrator,
|
|
is reading one of the articles when Venkman walks in.
|
|
|
|
VENKMAN
|
|
Can I help you?
|
|
|
|
PECK
|
|
(turns all business)
|
|
69.
|
|
|
|
|
|
I'm Walter Peck. I represent the
|
|
Environmental Protection Agency,
|
|
Third District.
|
|
|
|
VENKMAN
|
|
(not impressed)
|
|
Great! How's it going?
|
|
|
|
PECK
|
|
Are you Peter Venkman?
|
|
|
|
VENKMAN
|
|
Yes, I'm Doctor Venkman.
|
|
|
|
Peck looks at Venkman's soiled jumpsuit.
|
|
|
|
PECK
|
|
Exactly what are you a doctor of,
|
|
Mr. Venkman?
|
|
|
|
VENKMAN
|
|
I have Ph.D's in psychology and
|
|
parapsychology.
|
|
|
|
PECK
|
|
I see. And now you catch ghosts?
|
|
|
|
VENKMAN
|
|
You could say that.
|
|
|
|
PECK
|
|
And how many ghosts have you
|
|
caught, Mr. Venkman?
|
|
|
|
VENKMAN
|
|
I'm not at liberty to say.
|
|
|
|
PECK
|
|
And where do you put these ghosts
|
|
once you catch them?
|
|
|
|
VENKMAN
|
|
In a storage facility.
|
|
|
|
PECK
|
|
And would this storage facility be
|
|
located on these premises?
|
|
|
|
VENKMAN
|
|
Yes, it would.
|
|
|
|
PECK
|
|
70.
|
|
|
|
|
|
And may I see this storage
|
|
facility?
|
|
|
|
VENKMAN
|
|
No, you may not.
|
|
|
|
PECK
|
|
And why not, Mr. Venkman?
|
|
|
|
VENKMAN
|
|
Because you didn't say the magic
|
|
word.
|
|
|
|
PECK
|
|
(sighs)
|
|
And what is the magic word, Mr.
|
|
Venkman?
|
|
|
|
VENKMAN
|
|
The magic word is "please."
|
|
|
|
Peck laughs nervously.
|
|
|
|
PECK
|
|
May I please see the storage
|
|
facility?
|
|
|
|
VENKMAN
|
|
Why do you want to see it?
|
|
|
|
PECK
|
|
Well, because I'm curious. I want
|
|
to know more about what you do
|
|
here. Frankly, there have been a
|
|
lot of wild stories in the media
|
|
and we want to assess any possible
|
|
environmental impact from your
|
|
operation.
|
|
|
|
PECK
|
|
For instance, the storage of
|
|
noxious, possibly hazardous waste
|
|
materials in your basement. Now
|
|
either you show me what's down
|
|
there or I come back with a court
|
|
order.
|
|
|
|
VENKMAN
|
|
(he's had it)
|
|
Go ahead! Get a court order. Then
|
|
I'm gonna sue your ass off for
|
|
wrongful prosecution.
|
|
71.
|
|
|
|
|
|
PECK
|
|
(exiting)
|
|
Have it your way, Mr. Venkman.
|
|
|
|
VENKMAN
|
|
(shouts after him)
|
|
Hey! Make yourself useful! Go save
|
|
a tree!
|
|
|
|
|
|
81 INT. FIREHALL BASEMENT -- SAME TIME 81
|
|
|
|
Spengler is at the work bench repairing a damaged proton
|
|
pack. The place is a mess with equipment, work orders,
|
|
parts, catalogs and old lunches piled everywhere. Half the
|
|
room has been sealed off from floor to ceiling with
|
|
concrete blocks to form a storage facility for captured
|
|
spirits.
|
|
|
|
Winston is standing at a viewing slit staring into the
|
|
storage facility.
|
|
|
|
STANTZ
|
|
He inserts a trap into a metal-
|
|
lined slot in the wall of the
|
|
storage facility. Spengler crosses
|
|
to a control console to assist him.
|
|
|
|
STANTZ
|
|
(pushing buttons)
|
|
Set entry grid.
|
|
|
|
SPENGLER
|
|
Neutronize. System shut.
|
|
|
|
He pushes more buttons and the slot lights up. Several
|
|
grating electronic snaps are heard, like the sound of bugs
|
|
being fried on an outdoor insect light. Then Stantz
|
|
withdraws the trap and tosses it into a bin marked:
|
|
|
|
FOR RECHARGE.
|
|
|
|
SPENGLER
|
|
I've got to sleep.
|
|
|
|
STANTZ
|
|
I need two new purge valves. How's
|
|
the grid around the storage
|
|
facility holding up?
|
|
|
|
SPENGLER
|
|
72.
|
|
|
|
|
|
I'm worried, Ray. It's getting
|
|
crowded in there. And all my recent
|
|
data points to something big on the
|
|
bottom.
|
|
|
|
WINSTON
|
|
(concerned)
|
|
What do you mean "big?"
|
|
|
|
Spengler picks up a Hostess Twinkie from the workbench.
|
|
|
|
SPENGLER
|
|
Well, let's say this Twinkie
|
|
represents the normal amount of
|
|
psychokinetic energy in the New
|
|
York area. According to this
|
|
morning's PKE sample, the current
|
|
level in the city would be a
|
|
Twinkie 35 feet long weighing
|
|
approximately six hundred pounds.
|
|
|
|
WINSTON
|
|
That's a big Twinkie.
|
|
|
|
STANTZ
|
|
We could be on the verge of a
|
|
fourfold crossover ... or worse. If
|
|
what we're seeing indicates a
|
|
massive PKE surge, we could
|
|
experience an actual rip.
|
|
|
|
Spengler nods gravely. Venkman enters looking very
|
|
concerned.
|
|
|
|
VENKMAN
|
|
Egon, how's the grid around the
|
|
storage facility holding up?
|
|
|
|
STANTZ
|
|
It's not good, Pete.
|
|
|
|
WINSTON
|
|
Tell him about the Twinkie.
|
|
|
|
Venkman lets that remark go and crosses to a TV monitor
|
|
linked to a camera inside the storage facility.
|
|
|
|
VENKMAN
|
|
(peering)
|
|
I can't look anymore. It's too
|
|
depressing.
|
|
|
|
THE MONITOR.
|
|
73.
|
|
|
|
|
|
We zoom in on the monitor and get our first real look
|
|
inside the storage facility. It is a bleak repository for
|
|
souls of many species. Strange lights, mists and spectral
|
|
shapes waft about aimlessly. Human-like figures lean
|
|
against the walls in despairing convict poses. Others flit
|
|
and hang on the ceiling. It is a sad and frightening limbo
|
|
and a most unholy makeshift asylum.
|
|
|
|
|
|
82 EXT. MANHATTAN SKYLINE -- NIGHT 82
|
|
|
|
A mysterious cloud takes shape and hovers over Dana's
|
|
apartment building. Then a strange glow starts to radiate
|
|
from the temple-like structure on the roof.
|
|
|
|
|
|
83 EXT. THE TEMPLE -- NIGHT 83
|
|
|
|
The moon shines through the odd cloud configuration,
|
|
illuminating the ornate temple door with its two stone
|
|
Terror Dogs posed rampant on either side of the portal.
|
|
|
|
TERROR DOG
|
|
Its hideous stone features are
|
|
bathed in moonlight. The camera
|
|
PANS down its grotesque body to one
|
|
of its claws. Suddenly there is a
|
|
hiss and an audible crack of
|
|
disintegrating mortar as one of its
|
|
stone talons comes to life.
|
|
|
|
ITS HEAD
|
|
The stone figure opens its eyes,
|
|
revealing glowing red pupils
|
|
beneath the scaly lids.
|
|
|
|
|
|
84 INT. HALLWAY -- NIGHT 84
|
|
|
|
Dana gets off the elevator and immediately hears loud music
|
|
blasting from Louis' apartment as his party hits full
|
|
swing.
|
|
|
|
She tiptoes past his door but despite the loudness of the
|
|
music, Louis somehow senses her presence and comes rushing
|
|
out into the hall.
|
|
|
|
LOUIS
|
|
Oh, Dana, it's you.
|
|
|
|
DANA
|
|
Hi, Louis.
|
|
74.
|
|
|
|
|
|
LOUIS
|
|
Hey, it's crazy in here. You're
|
|
missing a classic party.
|
|
|
|
DANA
|
|
Well, actually Louis I have a
|
|
friend coming by.
|
|
|
|
LOUIS
|
|
Great! Bring her, too. But you
|
|
better hurry. I made nachos with
|
|
non-fat cheese and they're almost
|
|
gone. I'll make some more though.
|
|
|
|
DANA
|
|
(entering her apartment)
|
|
Fine, Louis. We'll stop in for a
|
|
drink.
|
|
|
|
LOUIS
|
|
I got the Twister game for later
|
|
...
|
|
|
|
Dana closes the door leaving Louis alone in the hall, once
|
|
again locked out of his own apartment.
|
|
|
|
LOUIS
|
|
(knocking on his door)
|
|
Hey. Lemme in ...
|
|
|
|
|
|
85 INT. DANA'S APARTMENT -- NIGHT 85
|
|
|
|
She enters and takes off her coat. She's wearing dance
|
|
clothes and appears to be really tired. She sits down in an
|
|
overstuffed chair and takes off her leg warmers. Then leans
|
|
back and closes her eyes. It is very quiet. Something
|
|
dreadful is about to happen. Then it happens. The phone
|
|
rings so loudly it makes Dana jump. She picks it up.
|
|
|
|
DANA
|
|
Hello ... Oh, hi Mom. Yes ... yes.
|
|
Everything's fine. No ... nothing.
|
|
Just that one time ... I am ... I
|
|
will ... I won't ... Mother! I'm
|
|
all right. I told you. Everything's
|
|
fine ...! All right. I'll talk to
|
|
you tomorrow ... I promise. 'Bye.
|
|
|
|
She hangs up the phone, leans her head back and closes her
|
|
eyes again. We hold on her for a long beat.
|
|
75.
|
|
|
|
|
|
86 INT. THE KITCHEN DOOR NIGHT 86
|
|
|
|
An eerie light is seen coming through the cracks around the
|
|
door.
|
|
|
|
DANA
|
|
She sits up in surprise and looks
|
|
at the kitchen door.
|
|
|
|
DANA
|
|
Oh, shit!
|
|
|
|
She starts to get up but suddenly a pair of scaly, inhuman
|
|
hands rip out of the chair cushion on either side of her
|
|
and clutch her around the waist. She screams and tries to
|
|
break their grip, but another pair of claws tears through
|
|
the upholstery and grabs her around the chest and neck,
|
|
pinning her to the chair.
|
|
|
|
THE CHAIR
|
|
As if drawn by a powerful force,
|
|
the chair with Dana in it slides
|
|
across the living room floor toward
|
|
the kitchen door.
|
|
|
|
THE KITCHEN DOOR
|
|
|
|
The whole door is now pulsing.
|
|
|
|
DANA
|
|
She is horrified.
|
|
|
|
THE KITCHEN DOOR
|
|
|
|
It swings open, revealing a fiery chamber where the kitchen
|
|
used to be. One of the Terror Dog creatures seen earlier in
|
|
the fridge is standing there waiting for Dana with
|
|
outstretched claws.
|
|
|
|
DANA
|
|
She screams as the chair propels
|
|
her into the kitchen. Then the door
|
|
swings shut behind her.
|
|
|
|
|
|
87 EXT. DANA'S ROOFTOP -- NIGHT 87
|
|
|
|
A bright flash shoots out from the center of the pyramid,
|
|
lighting up the roof of Dana's building.
|
|
|
|
ROOF TEMPLE
|
|
76.
|
|
|
|
|
|
All is as before except that both
|
|
stone Terror Dogs are ominously
|
|
missing from the structure.
|
|
|
|
|
|
88 INT. LOUIS' APARTMENT -- SAME TIME 88
|
|
|
|
Louis is playing the perfect host to his clients, a general
|
|
cross-section of nerds and nerdettes, The music is much too
|
|
loud and the guests are scattered about the living room in
|
|
small groups making dull conversation.
|
|
|
|
LOUIS
|
|
He is emptying ashtrays and
|
|
cleaning them with Windex. A TALL
|
|
WOMAN approaches him.
|
|
|
|
TALL WOMAN
|
|
Louis, do you have any Excedrin or
|
|
Extra Strength Tylenol?
|
|
|
|
LOUIS
|
|
I have acetacylasilic acid but
|
|
generic from Walgreens cause I can
|
|
get 600 tables for 35% less than
|
|
the cost of 300 name brand. Is it a
|
|
headache?
|
|
|
|
The woman moves away.
|
|
|
|
THE BUFFET TABLE
|
|
|
|
Two stiff men are helping themselves. One is about to bite
|
|
into some lox when Louis joins them.
|
|
|
|
LOUIS
|
|
That's Nova Scotia salmon. The real
|
|
thing. It costs $24.95 a pound but
|
|
really $12.48 a pound net after
|
|
tax. I'm writing this whole party
|
|
off as a promotional expense.
|
|
That's why I invited clients
|
|
instead of friends. Try that Brie,
|
|
it's dynamite at room temperature.
|
|
Maybe I should turn the heat up a
|
|
bit ...
|
|
|
|
A SECOND WOMAN moves up to Louis.
|
|
|
|
WOMAN #2
|
|
C'mon Louis, maybe if we dance
|
|
other people will start.
|
|
77.
|
|
|
|
|
|
They start to dance.
|
|
|
|
The doorbell rings. Louis bolts for the door hoping if's
|
|
Dana. It's another couple. Louis escorts them in and take,
|
|
their coats.
|
|
|
|
LOUIS
|
|
Everybody, this is Ted and Annette
|
|
Fleming. Ted has a small carpet
|
|
cleaning business in receivership,
|
|
but Annette is drawing a salary
|
|
from a deferred bonus from two
|
|
years ago and the house has $15,000
|
|
left at eight percent.
|
|
|
|
He goes to the bedroom door with their coats and opens it.
|
|
|
|
|
|
89 INT. BEDROOM -- NIGHT 89
|
|
|
|
On the bed, standing up on all four legs, is a bristling,
|
|
panting, live Terror Dog. Too preoccupied to notice it,
|
|
Louis reflexively tosses the coats onto the bed. They both
|
|
land on the Terror Dog's head.
|
|
|
|
|
|
90 INT. LIVING ROOM -- NIGHT 90
|
|
|
|
Louis comes out of the bedroom and closes the door. Then
|
|
from within there issues forth a tremendous roar that
|
|
freezes the quest.
|
|
|
|
LOUIS
|
|
Okay. Who brought the dog?
|
|
|
|
BEDROOM DOOR
|
|
An instant later, the Terror Dog
|
|
bursts right through the door. Wood
|
|
chips and splinters shower the
|
|
guests.
|
|
|
|
THE GUESTS
|
|
They drop their drinks and canapes
|
|
as the Terror Dog lands in the
|
|
center of the room, snarling
|
|
hellishly.
|
|
|
|
It quickly scans the room, looking for Louis.
|
|
|
|
LOUIS
|
|
He yelps and runs for the door.
|
|
|
|
TERROR DOG
|
|
78.
|
|
|
|
|
|
He lunges after Louis, but Louis
|
|
gets out just in time and slams the
|
|
door behind him.
|
|
|
|
|
|
91 INT. HALLWAY -- NIGHT 91
|
|
|
|
Louis tears off down the hall, bellowing. The Terror Dog
|
|
bursts through the door, lands in the hall and runs after
|
|
him.
|
|
|
|
Louis ducks into the elevator.
|
|
|
|
|
|
92 EXT. DANA'S BUILDING - NIGHT 92
|
|
|
|
A DOORMAN stands at his post near the revolving door, Two
|
|
elegantly dressed visitors wait as he phones to announce
|
|
them to one of the building residents. Suddenly Louis comes
|
|
running out of the door.
|
|
|
|
LOUIS
|
|
Help! Help! There's a bear loose in
|
|
my apartment.
|
|
|
|
He runs across the street and disappears in the park.
|
|
|
|
THE DOORMAN
|
|
|
|
DOORMAN
|
|
(mutters)
|
|
How he's got animals up there.
|
|
|
|
The Doorman turns just in time to see the Terror Dog before
|
|
it runs right over him and bounds across the street.
|
|
|
|
|
|
93 EXT. CENTRAL PARK 93
|
|
|
|
TWO BUMS stroll casually along discussing current events.
|
|
|
|
FIRST BUM
|
|
I think you're right about Central
|
|
America but I completely disagree
|
|
about the other thing. A good
|
|
heavyweight boxer could take a
|
|
Karate guy every time.
|
|
|
|
Louis runs by them, almost knocking them over.
|
|
|
|
LOUIS
|
|
(screaming)
|
|
Run! Run!
|
|
79.
|
|
|
|
|
|
They turn to watch him go.
|
|
|
|
SECOND BUM
|
|
(shaking his head)
|
|
Rush, rush, rush.
|
|
|
|
They turn back just as the Terror Dog streaks past them in
|
|
hot pursuit. They recoil in fear and watch as the creature
|
|
sprints after Louis.
|
|
|
|
SECOND BUM
|
|
That is one speedy mutt.
|
|
|
|
FIRST BUM
|
|
He's a big one. You don't want to
|
|
mess with that particular breed.
|
|
|
|
SECOND BUM
|
|
Definitely some sort of fighting
|
|
Spaniel, I think.
|
|
|
|
|
|
94 EXT. CENTRAL PARK - NIGHT 94
|
|
|
|
Louis runs for his life, afraid to look back. He races
|
|
through a tunnel then sees the twinkling lights of the
|
|
Tavern on the Green restaurant and heads straight for it.
|
|
|
|
|
|
95 EXT. TAVERN ON THE GREEN -- NIGHT 95
|
|
|
|
Louis comes tearing into the courtyard of the restaurant.
|
|
|
|
Through the large picture windows he can see well-dressed
|
|
people sitting in the elegant dining room. He goes for a
|
|
door into the dining room but finds it locked. Then he
|
|
tries another door but it, too, is locked. Suddenly, he
|
|
hears a low rumbling growl from the bushes. Desperate now,
|
|
he starts pounding on the glass.
|
|
|
|
|
|
96 INT. TAVERN ON THE GREEN -- SAME TIME 96
|
|
|
|
The wealthy patrons look up and see Louis pounding on the
|
|
glass, screaming unintelligibly.
|
|
|
|
LOUIS
|
|
(muffled)
|
|
Help! Help!
|
|
|
|
They ignore his pleas and return to their salmon croute.
|
|
80.
|
|
|
|
|
|
97 EXT. COURTYARD -- NIGHT 97
|
|
|
|
Louis' heart is pounding, his breath coming in compulsive
|
|
gasps as he turns to face the relentless Terror Dog.
|
|
|
|
THE TERROR DOG
|
|
|
|
It stands there silhouetted in the dark. Then it starts
|
|
advancing toward Louis, casting giant shadows on the walls.
|
|
|
|
LOUIS
|
|
He is paralyzed with fear.
|
|
|
|
LOUIS
|
|
(trembling)
|
|
Nice doggie. Nice.
|
|
|
|
THE TERROR DOG
|
|
|
|
It pounces with a tremendous roar.
|
|
|
|
|
|
98 INT. TAVERN ON THE GREEN -- NIGHT 98
|
|
|
|
The roar echoes through the restaurant. There is the sound
|
|
of a violent struggle, then all is quiet. Nobody notices.
|
|
|
|
COLUMBUS CIRCLE LATER
|
|
|
|
Louis walks out of the park, walking stiffly with a glazed
|
|
look in his eyes. He sees a horse and carriage parked at
|
|
the curb. He goes right up to the horse and speaks to it,
|
|
obviously possessed by the Terror Dog.
|
|
|
|
LOUIS
|
|
(to the horse)
|
|
I am Vinz Clortho. Keymaster of
|
|
Gozer, Volguus Zildrohar, Lord of
|
|
the Sebouillia. Are you the
|
|
Gatekeeper?
|
|
|
|
The COACHMAN sees Louis talking to his horse.
|
|
|
|
COACHMAN
|
|
Hey! He pulls the wagon. I make the
|
|
deals. You wanna ride?
|
|
|
|
LOUIS
|
|
(to Coachman)
|
|
Are you the Gatekeeper?
|
|
|
|
COACHMAN
|
|
81.
|
|
|
|
|
|
No, I'm the Governor of New Jersey.
|
|
Now get outta here.
|
|
|
|
Louis glares at the Coachman. His eyes begin to glow,
|
|
magically.
|
|
|
|
LOUIS
|
|
(to Coachman)
|
|
You will perish in flames,
|
|
subcreature! Gozer will destroy you
|
|
and your kind!
|
|
(he whispers to the
|
|
horse)
|
|
Wait for the sign. Then all
|
|
prisoners will be released.
|
|
|
|
Louis lopes off across the street. The cars come screeching
|
|
to a halt to avoid hitting him.
|
|
|
|
THE STREET
|
|
TWO MOUNTED POLICEMEN notice his
|
|
strange behavior and follow him
|
|
down the street.
|
|
|
|
|
|
99 EXT. DANA'S APARTMENT BUILDING -- NIGHT 99
|
|
|
|
Venkman enters dressed neatly in a suit, holding a bouquet
|
|
of flowers for Dana. He sees two COPS talking to
|
|
dishevelled party guests. He sidles up to one of the cops.
|
|
|
|
VENKMAN
|
|
What's going on?
|
|
|
|
THE COP
|
|
Some moron brought a cougar to a
|
|
party and it went berserk,
|
|
|
|
VENKMAN
|
|
Oh.
|
|
|
|
He goes to the elevators.
|
|
|
|
|
|
100 INT. HALLWAY -- NIGHT 100
|
|
|
|
Venkman walks past Louis' apartment and curiously notes the
|
|
splintered door. Then he rings Dana's bell, waits, rings
|
|
again and knocks.
|
|
|
|
VENKMAN
|
|
(calls out)
|
|
Dana?
|
|
82.
|
|
|
|
|
|
The door opens and Dana is standing there, but she has
|
|
changed radically from the woman we met earlier. Her hair
|
|
is down, flowing loosely over her naked shoulders, her eyes
|
|
are wide open, filled with a kind of love-slave longing,
|
|
her lips are parted and wet and her clothes are seductively
|
|
tattered. She stares at Venkman.
|
|
|
|
VENKMAN
|
|
Hi.
|
|
(he notes the change in
|
|
her)
|
|
What happened to you? The cop
|
|
downstairs said an animal got loose
|
|
up here. What's the story? Are you
|
|
all right?
|
|
|
|
She stares at him as if she hasn't heard a word he said.
|
|
|
|
DANA
|
|
Are you the Keymaster?
|
|
|
|
Venkman realizes that something bizarre has happened.
|
|
|
|
VENKMAN
|
|
Not that I know of.
|
|
|
|
She starts to close the door but Venkman slides past her
|
|
into the apartment.
|
|
|
|
VENKMAN
|
|
(worried now)
|
|
Hey, Dana. What is it? What
|
|
happened?
|
|
|
|
DANA
|
|
I am Zuul. I am the Gatekeeper.
|
|
|
|
He looks around the apartment and notices the holes ripped
|
|
in the chair. Then he sees the kitchen doorframe charred
|
|
and blackened with soot.
|
|
|
|
VENKMAN
|
|
I think we better get out of here.
|
|
|
|
DANA
|
|
She crosses to the window and gazes
|
|
at the sky as if waiting for
|
|
something.
|
|
|
|
DANA
|
|
We must prepare for the coming of
|
|
Gozer.
|
|
83.
|
|
|
|
|
|
VENKMAN
|
|
(humoring her)
|
|
Okay, I'll help you. Should we make
|
|
some dip or something?
|
|
|
|
DANA
|
|
He is the Destructor.
|
|
|
|
VENKMAN
|
|
Really? Can't wait to meet him.
|
|
(he has an idea)
|
|
As long as we're waiting for him,
|
|
I'd really like to try something
|
|
with you -- in the bedroom.
|
|
|
|
He takes her hand and she yields. They enter the bedroom.
|
|
|
|
|
|
101 INT. DANA'S BEDROOM -- NIGHT 101
|
|
|
|
They enter and Venkman steers her onto the bed.
|
|
|
|
DANA
|
|
(wantonly)
|
|
Do you want this body?
|
|
|
|
VENKMAN
|
|
(taking her pulse)
|
|
Well, I'll just use it for a while
|
|
and get it right back to you.
|
|
|
|
DANA
|
|
Take me now.
|
|
|
|
He checks her pupil dilation with a penlight.
|
|
|
|
VENKMAN
|
|
Well, I make it a rule never to
|
|
sleep with possessed people.
|
|
|
|
She pulls him down on top of her and kisses him with
|
|
supernatural lust.
|
|
|
|
VENKMAN
|
|
(coming up for air)
|
|
Actually, it's more of a policy
|
|
than a rule.
|
|
|
|
DANA
|
|
(stroking him)
|
|
I want you inside me.
|
|
|
|
VENKMAN
|
|
84.
|
|
|
|
|
|
(reluctant)
|
|
I don't know. You've got two people
|
|
in there already. It could get a
|
|
little crowded.
|
|
(he gently pushes her
|
|
back down on the bed)
|
|
I want you to close your eyes and
|
|
relax.
|
|
(she complies)
|
|
Now I'm going to speak to Dana and
|
|
I want Dana to answer.
|
|
|
|
DANA
|
|
I am Zuul. I am ...
|
|
|
|
VENKMAN
|
|
Right ... You're the Gatekeeper.
|
|
But I want Dana. Dana, speak to me
|
|
...
|
|
|
|
DANA
|
|
(in a low, horrible
|
|
unearthly voice)
|
|
There is no Dana. I am Zuul.
|
|
|
|
VENKMAN
|
|
(recoils)
|
|
Whoa!! Nice voice.
|
|
|
|
She starts to sit up, but he restrains her with a light
|
|
touch on the shoulder.
|
|
|
|
VENKMAN
|
|
(trying another approach)
|
|
All right -- Zuul. Listen
|
|
carefully. I don't know where you
|
|
came from or why, but I want you to
|
|
get out of here and leave Dana
|
|
alone. I'm going to count to ten
|
|
and when I'm finished, you better
|
|
be gone. Okay? Here goes. One ...
|
|
Two ... Three ...
|
|
|
|
A shudder runs through Dana's body, then she slowly starts
|
|
to levitate, rising a full three feet off the bed.
|
|
|
|
VENKMAN
|
|
(aghast)
|
|
Wow!
|
|
85.
|
|
|
|
|
|
He stands up and circles around the bed looking for some
|
|
sort of explanation. He passes his hands over her, then
|
|
under her, looking for wires or a force field. Then he
|
|
makes a few theatrical moves like a cheap magician.
|
|
|
|
|
|
102 EXT. HUDSON PARKWAY -- SAME NIGHT 102
|
|
|
|
Ecto One speeds northward, strobes lit.
|
|
|
|
|
|
103 INT. ECTOMOBILE -- NIGHT 103
|
|
|
|
Winston is at the wheel. Stantz pops open a beer and lights
|
|
a smoke. They both look completely wasted. Stantz is
|
|
looking over some blueprints.
|
|
|
|
WINSTON
|
|
Hey man. What is it you're so
|
|
involved with there?
|
|
|
|
STANTZ
|
|
Uh ... Oh these are blueprints of
|
|
the structural ironwork in Dana
|
|
Barrett's apartment building ...
|
|
And they're most unusual.
|
|
|
|
WINSTON
|
|
(changing the subject)
|
|
Are you a Christian, Ray?
|
|
|
|
STANTZ
|
|
(examining documents)
|
|
Mmmhmmm.
|
|
|
|
WINSTON
|
|
Me, too.
|
|
|
|
STANTZ
|
|
(reacting to something in
|
|
the blueprint)
|
|
Boy! Solid cores of shielded
|
|
Selenium .325.
|
|
|
|
WINSTON
|
|
Do you believe in God?
|
|
|
|
STANTZ
|
|
No. But I liked Jesus' style.
|
|
|
|
WINSTON
|
|
Me, too. Parts of the Bible are
|
|
great.
|
|
86.
|
|
|
|
|
|
STANTZ
|
|
(hardly listening)
|
|
The whole roof cap was fabricated
|
|
with a magnesium-tungsten alloy.
|
|
|
|
WINSTON
|
|
Ray, do you remember something in
|
|
the Bible about a day when the dead
|
|
would rise up from their graves?
|
|
|
|
STANTZ
|
|
(still absorbed by the
|
|
blueprint)
|
|
And the seas would boil ...
|
|
|
|
WINSTON
|
|
Right. And the sky would fall ...
|
|
|
|
STANTZ
|
|
Judgement Day ...
|
|
|
|
WINSTON
|
|
Yeah, Judgement Day.
|
|
|
|
STANTZ
|
|
Every ancient religion had its own
|
|
myth about the end of the world.
|
|
|
|
WINSTON
|
|
Well, has it ever occurred to you
|
|
that the reason you've been so busy
|
|
lately is because the dead have
|
|
been rising from their graves?
|
|
|
|
They exchange a look of puzzlement and concern.
|
|
|
|
|
|
104 EXT.. FORT DETMERRING -- NIGHT -- SAME TIME 104
|
|
|
|
Ecto One pulls up to a pair of massive parapets and a hewn
|
|
timber gate set in a thick redoubt on an escarpment high
|
|
above the river. Two figures approach them from the
|
|
shadows.
|
|
|
|
As they draw closer, Stantz and Winston see their Stetson
|
|
hats and uniforms.
|
|
|
|
PARK RANGER
|
|
Evening. We've had a problem here
|
|
for quite some time. I called your
|
|
outfit a couple of weeks ago.
|
|
|
|
WINSTON
|
|
87.
|
|
|
|
|
|
Busy time of year.
|
|
|
|
PARK RANGER
|
|
Nobody likes to talk about this
|
|
sort of thing.
|
|
|
|
STANTZ
|
|
You don't have to worry about that
|
|
with us, sir.
|
|
|
|
WINSTON
|
|
Right. We'll believe anything.
|
|
|
|
|
|
105 INT. FORT -- GUNNER'S CORRIDOR -- NIGHT 105
|
|
|
|
Stantz and Winston walk past a long line of cannon. Their
|
|
visors are down. They wear the usual equipment.
|
|
|
|
STANTZ
|
|
You check the armory. I'll go down
|
|
to the officers' barracks.
|
|
|
|
They split up. Winston takes a long, low passageway. Stantz
|
|
descends a set of stone stairs. They both leave frame. The
|
|
sound of their separate footsteps fades O.S.
|
|
|
|
|
|
106 EXT. FIREHALL -- NIGHT -- SAME TIME 106
|
|
|
|
A police van pulls up, the garage door opens and Spengler
|
|
comes out of the building. He meets a POLICE SERGEANT.
|
|
|
|
They walk around to the back door of the van.
|
|
|
|
SERGEANT
|
|
We picked up this guy and now we
|
|
don't know what to do with him,
|
|
Bellevue doesn't want him and I'm
|
|
afraid to put him in the lock-up.
|
|
I'm telling you, there's something
|
|
weird about him. And I know you
|
|
guys are into this stuff so we
|
|
figured we'd check with you.
|
|
|
|
The Sergeant unlocks the door and pulls it open.
|
|
|
|
|
|
107 INT. THE POLICE VAN -- NIGHT 107
|
|
|
|
Louis is on the floor wearing a strait jacket. He is tied
|
|
to the bench with leather restraint straps and ankle cuffs.
|
|
88.
|
|
|
|
|
|
LOUIS
|
|
(forlorn)
|
|
Are you the Gatekeeper?
|
|
|
|
Spengler notes the strange glow in Louis' eyes,
|
|
|
|
SPENGLER
|
|
Bring him inside, Officer.
|
|
|
|
|
|
108 INT. BASEMENT -- LATER 108
|
|
|
|
Louis is hooked up to a variety of strange contraptions
|
|
including something on his head that looks like an aluminum
|
|
mixing bowl wired with hundreds of electrodes. Spengler
|
|
monitors Louis' reactions as he questions him. Janine
|
|
watches.
|
|
|
|
LOUIS
|
|
I am Vinz Clortho - Keymaster of
|
|
Gozer.
|
|
|
|
SPENGLER
|
|
(reacts to the name
|
|
Gozer)
|
|
I am Egon Spengler, Creature of
|
|
Earth, Doctor of Physics, Graduate
|
|
of M.I.T.
|
|
|
|
JANINE
|
|
(looking through Louis'
|
|
wallet)
|
|
According to this his name is Louis
|
|
Tully.
|
|
|
|
LOUIS
|
|
Oh, no. Tully is the fleshbag I'm
|
|
using. I must wait inside for the
|
|
sign.
|
|
|
|
JANINE
|
|
Do you want some coffee while
|
|
you're waiting?
|
|
|
|
LOUIS
|
|
(to Spengler)
|
|
Do I?
|
|
|
|
SPENGLER
|
|
Yes, have some.
|
|
(Janine goes to the table
|
|
and puts some water up to
|
|
boil)
|
|
89.
|
|
|
|
|
|
Vinz, what sign are you waiting
|
|
for?
|
|
|
|
LOUIS
|
|
Gozer the Traveller will come in
|
|
one of the pre-chosen forms. During
|
|
the rectification of the Vuldronaii
|
|
the Traveller came as a very large
|
|
and moving Torb. Then of course in
|
|
the third reconciliation of the
|
|
last of the Meketrex supplicants
|
|
they chose a new form for him, that
|
|
of a Sloar. Many Shubs and Zuuls
|
|
knew what it was to be roasted in
|
|
the depths of the Sloar that day I
|
|
can tell you.
|
|
|
|
Spengler stares at Louis for a moment then looks over at
|
|
Janine.
|
|
|
|
JANINE
|
|
She rolls her eyes at Spengler and
|
|
mimes the traditional sign for
|
|
lunacy by pointing to her temple
|
|
and tracing a circle with her index
|
|
finger. Then the phone rings and
|
|
Spengler answers it.
|
|
|
|
SPENGLER
|
|
Hello?
|
|
|
|
|
|
109 INT. DANA'S BEDROOM -- SAME TIME 109
|
|
|
|
Venkman is lying on the bed with the phone. Dana is asleep
|
|
next to him, still floating three feet in the air with a
|
|
blanket over her.
|
|
|
|
VENKMAN
|
|
It's Peter, Egon. I've got a
|
|
problem.
|
|
|
|
|
|
110 147 INTERCUT SPENGLER AND VENKMAN 110
|
|
|
|
SPENGLER
|
|
What is it?
|
|
|
|
VENKMAN
|
|
I'm with Dana Barrett and she's
|
|
floating three feet off the bed.
|
|
|
|
SPENGLER
|
|
90.
|
|
|
|
|
|
Does she want to be?
|
|
|
|
VENKMAN
|
|
I don't think so. It's more of that
|
|
Gozer thing. She says she's the
|
|
Gatekeeper. Does that make any
|
|
sense to you?
|
|
|
|
SPENGLER
|
|
Some. I just met the Keymaster.
|
|
He's here with me now.
|
|
(there's a long silence
|
|
on the other end)
|
|
Venkman? Are you there?
|
|
|
|
VENKMAN
|
|
Yeah, yeah. I was just thinking. It
|
|
probably wouldn't be a good idea
|
|
for them to get together at this
|
|
point.
|
|
|
|
SPENGLER
|
|
I agree.
|
|
|
|
VENKMAN
|
|
You have to keep him there. Do
|
|
whatever you have to, but don't let
|
|
him leave, He could be very
|
|
dangerous.
|
|
|
|
SPENGLER
|
|
He looks nervously at Louis.
|
|
|
|
LOUIS
|
|
He pours some instant coffee
|
|
crystals into his mouth and chews
|
|
them up, then he drinks a beaker of
|
|
boiling water that's been heating
|
|
over a Bunsen Burner.
|
|
|
|
SPENGLER
|
|
(into the phone)
|
|
All right. I'll try.
|
|
|
|
VENKMAN
|
|
I'll spend the night here and get
|
|
back first thing in the morning.
|
|
|
|
SPENGLER
|
|
All right, Peter. Good night.
|
|
|
|
They hang up.
|
|
91.
|
|
|
|
|
|
JANINE
|
|
She crosses to Spengler.
|
|
|
|
JANINE
|
|
(worried)
|
|
Egon, there's something very
|
|
strange about that man.
|
|
(she indicates Louis)
|
|
I'm very psychic usually and right
|
|
now I have this terrible feeling
|
|
that something awful is going to
|
|
happen to you. I'm afraid you're
|
|
going to die.
|
|
|
|
SPENGLER
|
|
Die in what sense?
|
|
|
|
JANINE
|
|
In the physical sense.
|
|
|
|
SPENGLER
|
|
I don't care. I see us as tiny
|
|
parts of a vast organism, like two
|
|
bacteria living on a rotting speck
|
|
of dust floating in an infinite
|
|
void.
|
|
|
|
JANINE
|
|
That's so romantic.
|
|
|
|
She hugs him, Spengler responds awkwardly, not sure where
|
|
to put his hands.
|
|
|
|
SPENGLER
|
|
(nervous)
|
|
You have nice clavicles.
|
|
(he gulps)
|
|
I wonder where Stantz is. I think
|
|
we're going to need him.
|
|
|
|
|
|
111 INT. FORT DETMERRING -- SINGLE OFFICERS' QUARTERS -- NIGHT 111
|
|
|
|
Stantz is in a painstakingly restored period room with a
|
|
four poster bed, writing table and wardrobe hung with
|
|
uniforms. His own jumpsuit and backpack lie in a heap
|
|
beside the bed. He fingers an officer's uniform then tries
|
|
it on. He steps to a full-length mirror and models it,
|
|
striking a few heroic poses. He shrugs, sits on the bed,
|
|
bouncing the mattress and squeezing it. He then lies down
|
|
full length and tests it, hands behind his head.
|
|
|
|
STANTZ
|
|
92.
|
|
|
|
|
|
He yawns. His eyes droop, blink and
|
|
finally close. His head lolls
|
|
sideways, his mouth drops open
|
|
slightly and he drops off to sleep,
|
|
exhausted.
|
|
|
|
|
|
112 INT. WARDROBE -- NIGHT 112
|
|
|
|
A uniform sleeve moves slightly. A sabre in its sheath
|
|
begins to tap lightly against the open doorsash. A
|
|
phosphorescent light streaks out in between gaps in the
|
|
clothing, casting patterns over the room.
|
|
|
|
STANTZ' PACK AND WANDS
|
|
|
|
A panel light winks on. The needle on his PKE meter jumps
|
|
into the red.
|
|
|
|
STANTZ
|
|
He rolls over. From inside the
|
|
wardrobe a shimmering pink mist
|
|
rises up and begins to take form on
|
|
the ceiling.
|
|
|
|
MIST
|
|
The vaguest remnants of a human
|
|
form take shape. It hovers and
|
|
shifts as if appraising Stantz,
|
|
|
|
STANTZ
|
|
He tosses and rolls onto his back,
|
|
still deeply asleep.
|
|
|
|
BED CANOPY
|
|
The mist slithers in through the
|
|
curtains and takes a position above
|
|
him. It begins to descend slowly.
|
|
|
|
STANTZ
|
|
The mist widens and elongates and
|
|
sprawls in suspension over his
|
|
body. He wakes.
|
|
|
|
STANTZ
|
|
The apparition is inches above his
|
|
face. He gasps but can't move,
|
|
totally transfixed with fear.
|
|
|
|
STANTZ' POV
|
|
93.
|
|
|
|
|
|
He is face-to-face with a lost soul. It is a beautiful
|
|
feminine face. It presses in closer. He sucks in his
|
|
breath. Is he being smothered? The gaunt figure then slides
|
|
slowly away from his face and down to a spot below his
|
|
waist.
|
|
|
|
STANTZ
|
|
He props himself up on his elbows
|
|
and looks down. Suddenly the
|
|
apparition vanishes. Then his belt
|
|
comes undone as if pulled by an
|
|
invisible hand and his zipper
|
|
slowly opens.
|
|
|
|
CLOSE-UP -- STANTZ' FACE
|
|
|
|
His look changes from fear to confusion to pleasure. He
|
|
closes his eyes and submits.
|
|
|
|
|
|
113 INT. BARRACKS CORRIDOR -- NIGHT 113
|
|
|
|
Winston is smoking a cigarette, ambling down the barracks
|
|
corridor. He hears voices and walks to the door of the
|
|
barracks.
|
|
|
|
WINSTON
|
|
Stantz? You okay in there?
|
|
|
|
STANTZ
|
|
(from inside)
|
|
LATER, MAN!!
|
|
|
|
Winston shrugs and slinks out.
|
|
|
|
|
|
114 EXT. FIREHALL -- MORNING 114
|
|
|
|
Two cars pull up out front, a New York City Police car and
|
|
a lime green K-car with U.S. Government plates. They are
|
|
followed by a Con Edison utilities van and a County
|
|
Sheriff's car. Peck gets out of the government car. Two
|
|
COPS step out and flank him. A POLICE CAPTAIN joins them
|
|
and they all enter the firehall.
|
|
|
|
|
|
115 INT. FIREHALL -- RECEPTION AREA 115
|
|
|
|
Janine is at her desk when the law enters and walks right
|
|
past her.
|
|
|
|
PECK
|
|
94.
|
|
|
|
|
|
(heading for the
|
|
basement)
|
|
This way, Captain.
|
|
|
|
JANINE
|
|
(rushes over to block
|
|
their way)
|
|
I beg your pardon! Just where do
|
|
you think you're going?
|
|
|
|
PECK
|
|
Step aside, Miss, or I'll have you
|
|
arrested for interfering with a
|
|
police officer.
|
|
|
|
JANINE
|
|
(not moving)
|
|
Who do you think you're talking to,
|
|
Mister? Do I look like a child? You
|
|
can't come in here without some
|
|
kind of warrant or writ or
|
|
something.
|
|
|
|
Peck hands her the court orders.
|
|
|
|
PECK
|
|
(naming them)
|
|
Cease and desist all commerce
|
|
order, seizure of premises and
|
|
chattels, ban on the use of public
|
|
utilities for non-licensed waste
|
|
handlers and a Federal Entry and
|
|
Inspection Order.
|
|
|
|
JANINE
|
|
(steps aside)
|
|
This is just like Poland.
|
|
|
|
Peck brushes past her and leads his cohorts toward the
|
|
basement.
|
|
|
|
|
|
116 INT. BASEMENT -- LATER 116
|
|
|
|
Spengler is arguing with Peck. Louis is sitting quietly in
|
|
the corner, watching the argument with interest.
|
|
|
|
PECK
|
|
(high-handed)
|
|
I want to see what's in there. Now
|
|
either you shut off those "beams"
|
|
or we'll shut them off for you.
|
|
95.
|
|
|
|
|
|
SPENGLER
|
|
(calmly)
|
|
You can see what's inside through
|
|
the monitor if you wish.
|
|
|
|
He switches it on.
|
|
|
|
PECK
|
|
(ignores it)
|
|
I'm not interested in TV right now.
|
|
|
|
|
|
117 EXT. FIREHALL 117
|
|
|
|
Venkman arrives in a taxi, sees the police cars parked
|
|
outside and dashes in.
|
|
|
|
|
|
118 INT. BASEMENT 118
|
|
|
|
The argument is still going on when Venkman enters and
|
|
asserts himself.
|
|
|
|
VENKMAN
|
|
(to Policemen)
|
|
At ease, Officers. I'm Peter
|
|
Venkman. I think there's been some
|
|
kind of misunderstanding here and I
|
|
want to cooperate in every way I
|
|
can.
|
|
|
|
PECK
|
|
(turns on him
|
|
immediately)
|
|
Forget it, Venkman. You had your
|
|
chance to cooperate but you thought
|
|
it was more fun to insult me. Now
|
|
it's my turn, smart-ass.
|
|
|
|
SPENGLER
|
|
(excited)
|
|
He wants to shut down the storage
|
|
grid.
|
|
|
|
VENKMAN
|
|
If you turn that thing off we won't
|
|
be responsible for the
|
|
consequences.
|
|
|
|
PECK
|
|
On the contrary! You will be held
|
|
completely responsible.
|
|
(to the Con-Ed Man)
|
|
96.
|
|
|
|
|
|
Turn it off.
|
|
|
|
The CON-ED MAN steps to the control panel and looks at the
|
|
switches, meters and chasing lights.
|
|
|
|
VENKMAN
|
|
(to the Con-Ed Man)
|
|
Don't do it! I'm warning you.
|
|
|
|
THE CON-ED MAN
|
|
|
|
He looks nervously at the Police Captain.
|
|
|
|
CON-ED MAN
|
|
I've never seen anything like this
|
|
before. I don't know ...
|
|
|
|
PECK
|
|
(enraged)
|
|
Just do it, fella. Nobody asked for
|
|
your opinion.
|
|
|
|
The Con-Ed Man reaches for a switch but Venkman grabs him
|
|
from behind.
|
|
|
|
VENKMAN
|
|
(to the Con-Ed Man)
|
|
Don't be a jerk!
|
|
|
|
The Cops grab Venkman and drag him off the Con-Ed Man.
|
|
|
|
PECK
|
|
If he tries that again, shoot him.
|
|
|
|
The Captain looks at Peck with contempt.
|
|
|
|
CAPTAIN
|
|
(to Peck)
|
|
You do your job, pencil-neck. Don't
|
|
tell us how to do ours.
|
|
|
|
VENKMAN
|
|
Thank you, Officer.
|
|
|
|
PECK
|
|
(to Con-Ed Man)
|
|
Now turn it off.
|
|
|
|
The Cops slacken their hold on Venkman. He looks at
|
|
Spengler, worried.
|
|
|
|
SPENGLER
|
|
97.
|
|
|
|
|
|
He mimes an explosion with his
|
|
hands.
|
|
|
|
VENKMAN
|
|
He nods and backs towards the door.
|
|
Spengler gets the same thought.
|
|
|
|
LOUIS
|
|
He sees Spengler backing away and
|
|
starts to do the same.
|
|
|
|
CONTROL PANEL
|
|
The Con-Ed Man turns all the
|
|
switches to the OFF position. The
|
|
panel lights go out.
|
|
|
|
POWER METER
|
|
The needle indicator drops to zero.
|
|
|
|
PECK
|
|
He feels the floor start to shake.
|
|
|
|
VENKMAN, SPENGLER AND LOUIS
|
|
|
|
They run like crazy for the stairs. Spengler grabs Janine
|
|
on the way out.
|
|
|
|
THE STORAGE FACILITY
|
|
|
|
A strange light starts to leak through the cracks between
|
|
the concrete blocks. Suddenly one of the blocks is blown
|
|
across the room.
|
|
|
|
|
|
119 EXT. THE FIREHALL 119
|
|
|
|
Everyone comes running out as the storage facility
|
|
explodes.
|
|
|
|
A powerful geyser of irridescent energy shoots out the top
|
|
of the building like a phenomenal Roman Candle reaching a
|
|
hundred feet in the air.
|
|
|
|
|
|
120 INT. DANA'S BEDROOM -- THAT INSTANT 120
|
|
|
|
As the explosion rumbles in the distance, Dana's eyes pop
|
|
open as if cued by the blast.
|
|
|
|
|
|
121 EXT. FIREHALL -- SAME TIME 121
|
|
98.
|
|
|
|
|
|
Venkman, Spengler and the others are dodging and ducking a
|
|
shower of debris.
|
|
|
|
LOUIS
|
|
He stands there oblivious to the
|
|
danger, looking up at the glowing
|
|
geyser of energy. Janine is beside
|
|
him.
|
|
|
|
LOUIS
|
|
It is time. This is the sign.
|
|
|
|
JANINE
|
|
It's a sign, all right ... "Going
|
|
Out Of Business."
|
|
|
|
Louis walks off down the street as if in the grip of some
|
|
powerful psychic compulsion. The others are too busy to
|
|
notice his departure.
|
|
|
|
|
|
122 EXT. LOWER MANHATTAN 122
|
|
|
|
A wide shot of the island shows the glistening geyser
|
|
spurting high into the air. The irridescent cloud,
|
|
generated by the geyser starts moving across Manhattan
|
|
toward Dana's building. Sirens are screaming all over town
|
|
as police cars, fire trucks and emergency vehicles race to
|
|
the scene.
|
|
|
|
|
|
123 EXT. FIREHALL -- LATER 123
|
|
|
|
Firetrucks, police cars, Con-Ed trucks and a general mob
|
|
are assembled, watching the roof of the building which is
|
|
spurting a translucent blue substance. It looks like a
|
|
massive natural gas flame. Bits of ecto material rain down
|
|
on the on-lookers.
|
|
|
|
SPENGLER
|
|
Flanked by police, he tries to
|
|
answer questions from fire
|
|
department officials and a
|
|
hazardous chemical EXPERT in a
|
|
bulky decontamination suit.
|
|
|
|
GUY IN SUIT
|
|
... does it contain TCE, PCB or
|
|
tailings from styrene esters or any
|
|
polyfluoric groups...?
|
|
|
|
FIRE CAPTAIN
|
|
99.
|
|
|
|
|
|
What are the pink particles? What
|
|
will happen if we use water?
|
|
|
|
Spengler just shakes his head.
|
|
|
|
SPENGLER
|
|
No ... no water. There's nothing
|
|
you can do.
|
|
|
|
FIRE CAPTAIN
|
|
Did you have any kind of solvents
|
|
or any concentrated sulphurs of any
|
|
kind?
|
|
|
|
Ecto One pulls up. Winston and Stantz jump out. Stantz
|
|
finds Venkman and Spengler.
|
|
|
|
STANTZ
|
|
What happened??!!!?
|
|
|
|
SPENGLER
|
|
The storage facility blew. This one
|
|
...
|
|
(indicates Peck)
|
|
... shut off the protection grid.
|
|
|
|
VENKMAN
|
|
Suddenly remembers another problem.
|
|
|
|
VENKMAN
|
|
(to Spengler)
|
|
Where's the Keymaster?
|
|
|
|
SPENGLER
|
|
(looks for Louis)
|
|
Oh, shit!
|
|
|
|
STANTZ
|
|
(at a loss)
|
|
Who's the Keymaster?
|
|
|
|
Spengler looks at Venkman. They both tear off to find Louis
|
|
but Peck intervenes.
|
|
|
|
PECK
|
|
(to a Cop)
|
|
Stop them! I want them arrested,
|
|
Captain. These men have been acting
|
|
in criminal violation of the
|
|
Environmental Protection Act and
|
|
this explosion was a direct result.
|
|
|
|
The Police Captain restrains Venkman from leaving.
|
|
100.
|
|
|
|
|
|
VENKMAN
|
|
(shouts at Peck)
|
|
You turned off the power!
|
|
(to Captain)
|
|
|
|
VENKMAN
|
|
Look, there was another man here
|
|
... You have to find him and bring
|
|
him back. A short determined-
|
|
looking guy with the eyes of a
|
|
happy zombie.
|
|
|
|
PECK
|
|
(to the Cop)
|
|
See! They are using drugs.
|
|
|
|
Spengler turns on Peck with uncharacteristic fury.
|
|
|
|
SPENGLER
|
|
If you don't shut up I'm going to
|
|
rip out your septum.
|
|
|
|
Peck backs off.
|
|
|
|
POLICE CAPTAIN
|
|
(exasperated)
|
|
I don't know what's going on here
|
|
but I'm going to have to arrest you
|
|
all. You can discuss it with the
|
|
judge. I'm going to read you your
|
|
rights now, so please listen
|
|
carefully ...
|
|
|
|
|
|
124 EXT. THE BOWERY 124
|
|
|
|
Louis walks briskly and purposefully uptown, gazing at the
|
|
symmetrical lights in the sky.
|
|
|
|
SUBWAY ENTRANCE
|
|
As Louis walks by, a huge crowd of
|
|
people descends the stairs into the
|
|
subway. The last of them disappears
|
|
around the corner. Then echoing
|
|
screams are heard and the whole
|
|
crowd comes charging back up the
|
|
stairs pursued by a strange
|
|
apparition.
|
|
|
|
|
|
125 INT. DANA'S APARTMENT 125
|
|
101.
|
|
|
|
|
|
She is standing at the open bedroom window gazing down into
|
|
the streets below.
|
|
|
|
|
|
126 EXT. SEDGEWICK HOTEL -- SAME TIME 126
|
|
|
|
A Sabrett HOT DOG VENDOR is dispensing pretzels and hot
|
|
dogs from his pushcart.
|
|
|
|
THE VENDOR
|
|
He opens the top of the bin and
|
|
reaches in to get a bun. He feels
|
|
around inside, knowing the cart
|
|
should be loaded with food. Then he
|
|
peers inside and yanks his arm out
|
|
with a shout. He falls back in
|
|
fear.
|
|
|
|
THE CART
|
|
The gluttonous Onion-Headed Vapor
|
|
rises out of the pushcart stuffed
|
|
with hot dogs, buns and pretzels.
|
|
It belches loudly at the gaping
|
|
spectators, then flits down the
|
|
street with the pushcart following
|
|
under its own power.
|
|
|
|
|
|
127 EXT. EXXON BUILDING -- SAME TIME 127
|
|
|
|
A well-dressed BUSINESSMAN comes rushing out and jumps into
|
|
a cab parked at the curb.
|
|
|
|
|
|
128 INT.. THE BACK SEAT 128
|
|
|
|
The Businessman leans close to the safety partition and
|
|
shouts his destination.
|
|
|
|
BUSINESSMAN
|
|
Gulf and Western Building! And I'm
|
|
in a hurry so let's not dawdle.
|
|
|
|
THE FRONT SEAT
|
|
|
|
Through the windshield we see that the driver is a badly
|
|
decomposed corpse in a leather jacket and snap-brim cap.
|
|
|
|
THE PASSENGER
|
|
Through the partition he sees a
|
|
skeletal hand reach out and start
|
|
the meter.
|
|
102.
|
|
|
|
|
|
129 EXT. THE STREET 129
|
|
|
|
The cab peels away from the curb at tremendous speed and
|
|
turns the wrong way up a one-way street.
|
|
|
|
|
|
130 INT. AN OFFICE - SAME TIME 130
|
|
|
|
It's the accounts department of a major corporation. Young
|
|
men and women are working at typewriters and computer
|
|
terminals in the sterile, modern office.
|
|
|
|
A PROGRAMMER
|
|
She bends over at the file cabinets
|
|
and something gooses her. She looks
|
|
around, miffed, but sees no one.
|
|
She goes back to her desk. Her
|
|
skirt hikes up suddenly. She yanks
|
|
it back down. Then she feels a
|
|
strange, not unpleasant tickling
|
|
under her. She squirms. Her skirt
|
|
goes up again. The tickling gets
|
|
unbearable, forcing her to stand.
|
|
She walks briskly between the rows
|
|
of desks, trying to get to the
|
|
ladies room, fighting to keep her
|
|
skirt down. Her co-workers begin to
|
|
notice and laugh.
|
|
|
|
A TYPIST
|
|
She stands up to look and her
|
|
blouse pops open.
|
|
|
|
THE OFFICE
|
|
All the women begin to scream and
|
|
squirm as the invisible molester
|
|
runs wild in the office.
|
|
|
|
|
|
131 EXT. CENTRAL PARK -- SAME TIME 131
|
|
|
|
Louis enters a long dark pedestrian tunnel.
|
|
|
|
INSIDE THE TUNNEL
|
|
|
|
A gang of MUGGERS is smoking something in a weird pipelike
|
|
device. One of them sees the approaching silhouette of
|
|
Louis and hisses to his cohorts. The others all look and
|
|
slowly begin to fan out across the width of the tunnel.
|
|
|
|
LOUIS
|
|
103.
|
|
|
|
|
|
He is staring straight ahead and
|
|
entirely focused on his destination
|
|
as the muggers approach and
|
|
confront him. He stops. They are
|
|
deliberately blocking his path.
|
|
|
|
MUGGER
|
|
(to Louis)
|
|
Okay ... give me.
|
|
|
|
Louis blinks stupidly.
|
|
|
|
LOUIS
|
|
Are you the Gatekeeper?
|
|
|
|
MUGGER
|
|
Come on. You want me to stick you?
|
|
Come on.
|
|
|
|
VINZ
|
|
I am Vinz Clortho. I am the
|
|
Keymaster. Do you bar my way?
|
|
|
|
MUGGER #2
|
|
Are you crazy, man? You don't give,
|
|
Jino's gonna rip you, man. Nobody
|
|
gets by Jino.
|
|
|
|
LOUIS
|
|
(repeats)
|
|
Do you bar my way?
|
|
|
|
MUGGER
|
|
Yeah. We bar your way.
|
|
|
|
LOUIS
|
|
His eyes widen, he inhales deeply,
|
|
then opens his mouth and roars.
|
|
Irridescent lights pour out of his
|
|
mouth.
|
|
|
|
THE MUGGERS
|
|
They scream and run, horrified and
|
|
disgusted by Louis' unearthly
|
|
display.
|
|
|
|
|
|
132 EXT. STREET 132
|
|
|
|
The cab driven by the corpse weaves through traffic at
|
|
breakneck speed. Cars are forced up on the curb.
|
|
Pedestrians run for safety.
|
|
104.
|
|
|
|
|
|
133 INT. THE BACK SEAT 133
|
|
|
|
The Businessman is reading the Wall Street Journal,
|
|
oblivious to the whole situation.
|
|
|
|
|
|
134 EXT. ST. MARKS PLAYHOUSE -- DAY 134
|
|
|
|
A worn, graffiti-spattered $1.99 triple bill movie house in
|
|
the New Wave district near Second Avenue. The bill reads:
|
|
|
|
ALL NIGHT ALL DAY HORROR SHOW IN 3-D
|
|
|
|
|
|
135 INT. THEATER 135
|
|
|
|
The house is packed with hooting, jeering, beer-drinking
|
|
potsmoking downtowners, all wearing cardboard 3-D glasses.
|
|
|
|
They are wildly razzing and throwing things at the screen
|
|
on which is running a bad sixties British horror indie pic.
|
|
|
|
The film breaks. The sound crackles off and the lights come
|
|
on. There is a storm of protest and abuse hurled at the
|
|
projectionist. Then from all around them there starts a
|
|
thin whistling whine. It builds above the shouts and jeers
|
|
in the theater until everyone stops to hear what it is. It
|
|
is like no other sound ever heard -- a piercing, all-
|
|
permeating shrill whistle like the fan blades of some
|
|
massive unseen turbine beginning to rotate.
|
|
|
|
The lights in the theater flicker. The musty ancient
|
|
curtains on either side of the screen are picked up in an
|
|
unseen wind which lifts them, spreading dust and ripped old
|
|
fabric about the house. There are shouts and sounds and
|
|
noises from deep beyond the recesses of the backstage. The
|
|
curtains are now flying in a serious wind. All the lights
|
|
in the theater go out except that from the projection
|
|
booth.
|
|
|
|
From a point in the center of the screen, a searing bolt of
|
|
phosphorescent light rips back along the projection beam
|
|
into the booth. The beam evolves into an etheric strand of
|
|
unified glistening particles. The wind dies down. People in
|
|
the house are hushed. They gaze transfixed as a procession
|
|
of phantasms emerge in single file through the illuminated
|
|
screen. As if suspended on a clothesline, they weave and
|
|
bounce along the length of the pulsating beam, and pass
|
|
through the hole in the projection booth. The apparition is
|
|
gone. All is quiet. Then the audience bursts into wildly
|
|
enthusiastic applause.
|
|
105.
|
|
|
|
|
|
136 INT. NYPD LOCK-UP 136
|
|
|
|
Winston is staring out through the bars talking to himself.
|
|
|
|
WINSTON
|
|
(depressed)
|
|
We're gonna get five years for
|
|
this. Plus they're gonna make us
|
|
retrap all those spooks. I knew I
|
|
shouldn't have taken this job.
|
|
|
|
He bangs on the bars and crosses to Venkman, Stantz and
|
|
Spengler who are huddled together looking at blueprints of
|
|
Dana's building.
|
|
|
|
STANTZ
|
|
(intense)
|
|
Look at the structure of the roof
|
|
cap. It looks exactly like the kind
|
|
of telemetry tracker NASA uses to
|
|
identify dead pulsars in other
|
|
galaxies.
|
|
|
|
SPENGLER
|
|
And look at this, Peter
|
|
(indicates another
|
|
diagram)
|
|
Cold-riveted girders with selenium
|
|
cores.
|
|
|
|
Venkman leans in to look but suddenly notices that they
|
|
have an audience.
|
|
|
|
THE CELL
|
|
The Ghostbusters are surrounded by
|
|
a motley assortment of BUMS, PUNKS,
|
|
HOODS and a particularly mean-
|
|
looking gang of BIKERS, all
|
|
listening intently to their
|
|
discussion.
|
|
|
|
VENKMAN
|
|
(to their cellmates)
|
|
Everybody with us so far?
|
|
|
|
The other prisoners mutter and scratch their heads, then
|
|
drift off.
|
|
|
|
STANTZ
|
|
(back to his point)
|
|
The ironwork extends down through
|
|
fifty feet of bedrock and touches
|
|
the water table!
|
|
106.
|
|
|
|
|
|
He looks at Venkman who doesn't see the significance.
|
|
|
|
VENKMAN
|
|
(shrugs)
|
|
I guess they don't build them like
|
|
they used to, huh?
|
|
|
|
STANTZ
|
|
No! Nobody ever built them like
|
|
this! The architect was either an
|
|
authentic whacko or a certified
|
|
genius. The whole building is like
|
|
a huge antenna for pulling in and
|
|
concentrating psychokinetic energy.
|
|
|
|
VENKMAN
|
|
Who was the architect?
|
|
|
|
STANTZ
|
|
He's listed on the blueprints as I.
|
|
Shandor.
|
|
|
|
SPENGLER
|
|
(exclaims)
|
|
Of course!
|
|
(the others turn and look
|
|
at him)
|
|
Ivo Shandor, I saw his name in
|
|
Tobin's SPIRIT GUIDE. He started a
|
|
secret society in 1920.
|
|
|
|
VENKMAN
|
|
(putting it all together)
|
|
Let me guess -- Gozer Worshippers.
|
|
|
|
SPENGLER
|
|
Yes. After the First World War
|
|
Shandor decided that society was
|
|
too sick to survive. And he wasn't
|
|
alone. He had close to a thousand
|
|
followers when he died. They
|
|
conducted rituals, bizarre rituals,
|
|
intended to bring about the end of
|
|
the world.
|
|
|
|
VENKMAN
|
|
(now very worried about
|
|
Dana)
|
|
She said he was "the Destructor."
|
|
|
|
SPENGLER
|
|
Who?
|
|
107.
|
|
|
|
|
|
VENKMAN
|
|
Gozer.
|
|
|
|
SPENGLER
|
|
(confused)
|
|
You talked to Gozer?
|
|
|
|
VENKMAN
|
|
Get a grip on yourself, Egon. I
|
|
talked to Dana Barrett and she
|
|
referred to Gozer as the
|
|
Destructor.
|
|
|
|
STANTZ
|
|
(proud)
|
|
See? I told you something big was
|
|
about to happen.
|
|
|
|
Winston has heard enough.
|
|
|
|
WINSTON
|
|
This is insane! You actually
|
|
believe that some moldy Babylonian
|
|
God is going to drop in at 78th and
|
|
Central Park West and start tearing
|
|
up the city?
|
|
|
|
SPENGLER
|
|
(corrects him)
|
|
Sumarian -- not Babylonian,
|
|
|
|
Winston just shakes his head. Then a uniformed GUARD
|
|
appears with a high-ranking POLICE OFFICIAL and unlocks the
|
|
cell door.
|
|
|
|
POLICE OFFICIAL
|
|
Are you the Ghostbusters?
|
|
|
|
VENKMAN
|
|
What about it?
|
|
|
|
POLICE OFFICIAL
|
|
The mayor wants to see you -- right
|
|
away. The whole island is going
|
|
crazy. Let's go.
|
|
|
|
They exit.
|
|
|
|
|
|
137 EXT. CITY HALL 137
|
|
|
|
The official cars arrive and the Ghostbusters are hustled
|
|
past a mob of reporters, all shouting questions at once.
|
|
108.
|
|
|
|
|
|
REPORTERS
|
|
(as babble)
|
|
Are you under arrest? Did you have
|
|
a bomb factory in the basement?
|
|
What are you going to do about all
|
|
these ghosts?
|
|
|
|
|
|
138 INT. MAYOR'S OFFICE 138
|
|
|
|
Secretaries and aides scurry about in a chaos of telephones
|
|
and waiting city officials. As the Ghostbusters are led
|
|
through the outer offices, everyone stops what they're
|
|
doing to stare at them.
|
|
|
|
|
|
139 INT. OFFICE OF THE MAYOR OF NEW YORK CITY 139
|
|
|
|
The Ghostbusters enter and see a very concerned group of
|
|
leaders arguing like crazy.
|
|
|
|
The Police and Fire Commissioners, State and City Police
|
|
Commandants, the Archbishop of the New York Diocese, the
|
|
Regional Director of the Environmental Protection Agency,
|
|
the Governor of the State of New York, and various other
|
|
high-ranking officials.
|
|
|
|
THE AIDE
|
|
(entering with the
|
|
Ghostbusters)
|
|
The Ghostbusters are here, Mr.
|
|
Mayor.
|
|
|
|
At once, the group turns and instantly regains perfect
|
|
decorum.
|
|
|
|
THE MAYOR
|
|
He is a likeable Democrat and a man
|
|
of the people -- particularly the
|
|
Irish, Italian and Jewish people.
|
|
|
|
MAYOR
|
|
(looking them over)
|
|
Okay, the Ghostbusters. And who's
|
|
Peck?
|
|
|
|
Peck shoulders his way forward.
|
|
|
|
PECK
|
|
(adrenalin pumping)
|
|
I'm Walter Peck, sir. And I'm
|
|
prepared to make a full report.
|
|
(holds up dossier)
|
|
109.
|
|
|
|
|
|
These men are complete snowball
|
|
artists. They use nerve and sense
|
|
gases to induce hallucinations. The
|
|
people think they're seeing ghosts
|
|
and call these bozos, who
|
|
conveniently show up to get rid of
|
|
the problem with a fake electronic
|
|
light show.
|
|
|
|
MAYOR
|
|
(to Venkman)
|
|
You using nerve gas?
|
|
|
|
VENKMAN
|
|
The man is a psychopath, Your
|
|
Honor.
|
|
|
|
PECK
|
|
Probably a mixture of gases, no
|
|
doubt stolen from the Army ...
|
|
|
|
STANTZ
|
|
Bullshit!!!
|
|
|
|
PECK
|
|
... improperly stored and touched
|
|
off with those high-voltage laser
|
|
beams they use in their light show.
|
|
They caused an explosion.
|
|
|
|
The Mayor looks for help from the assembled leaders,
|
|
|
|
FIRE COMMISSIONER
|
|
All I know is, that wasn't a light
|
|
show we saw this morning. I've seen
|
|
every form of combustion known to
|
|
man, but this beats me.
|
|
|
|
POLICE COMMISSIONER
|
|
And nobody's using nerve gas on all
|
|
the people that have seen those ...
|
|
things ... all over the city. The
|
|
walls were bleeding at the 53rd
|
|
Precinct. How do you explain that?
|
|
|
|
He looks to the Archbishop. Everybody focuses on the
|
|
ornately attired Prelate.
|
|
|
|
ARCHBISHOP
|
|
110.
|
|
|
|
|
|
Officially, the Church will not
|
|
take a position on the religious
|
|
implications of these ...
|
|
phenomena. However, since they
|
|
started, people have been lining up
|
|
at every church in the city to
|
|
confess and take communion. We've
|
|
had to put on extra priests.
|
|
Personally, I think it's a sign
|
|
from God but don't quote me on
|
|
that.
|
|
|
|
MAYOR
|
|
(shaking his head)
|
|
I can't call a press conference and
|
|
tell everyone to start praying.
|
|
|
|
WINSTON
|
|
He steps forward.
|
|
|
|
WINSTON
|
|
I'm Winston Zeddemore, Your Honor.
|
|
I've only been with the company for
|
|
a couple of weeks, but I gotta tell
|
|
you -- these things are real.
|
|
|
|
WINSTON
|
|
Since I joined these men I have
|
|
seen shit that would turn you
|
|
white.
|
|
|
|
THE MAYOR
|
|
He rubs his eyes wearily.
|
|
|
|
MAYOR
|
|
(to Venkman)
|
|
So what do I do now?
|
|
|
|
VENKMAN
|
|
He seizes the moment.
|
|
|
|
VENKMAN
|
|
Mr. Mayor, it's a pretty simple
|
|
choice. You can believe Mr. Pecker
|
|
here ...
|
|
|
|
PECK
|
|
(snaps)
|
|
That's "Peck!"
|
|
|
|
VENKMAN
|
|
(ignores him)
|
|
111.
|
|
|
|
|
|
... or you can accept the fact that
|
|
this city is heading for a disaster
|
|
of really Biblical proportions.
|
|
|
|
MAYOR
|
|
What do you mean "Biblical?"
|
|
|
|
VENKMAN
|
|
Old Testament, Mr. Mayor. "Wrath of
|
|
God"-type stuff. The seas could
|
|
boil, fire and brimstone falling
|
|
from the sky ...
|
|
|
|
STANTZ
|
|
(chimes in)
|
|
... forty years of darkness,
|
|
earthquakes, mass hysteria, human
|
|
sacrifice ...
|
|
|
|
MAYOR
|
|
Enough! I get the point.
|
|
(really torn)
|
|
But what if you're wrong?
|
|
|
|
VENKMAN
|
|
If I'm wrong then nothing happens
|
|
and you toss us in the can. But if
|
|
I'm right, and if we can stop this
|
|
thing ...
|
|
|
|
VENKMAN
|
|
well, let's just say that you could
|
|
save the lives of a lot of
|
|
registered voters.
|
|
|
|
The Mayor starts nodding affirmatively, clearly convinced
|
|
by Venkman's rational assessment.
|
|
|
|
PECK
|
|
(furious)
|
|
I don't believe you're seriously
|
|
considering listening to these men!
|
|
|
|
The Mayor takes a long look at Peck.
|
|
|
|
MAYOR
|
|
Get him out of here.
|
|
(Peck looks stricken)
|
|
We've got work to do. What do you
|
|
need from me?
|
|
|
|
|
|
140 EXT. DANA'S APARTMENT BUILDING - SAME TIME 140
|
|
112.
|
|
|
|
|
|
Louis arrives in front of the building and looks up,
|
|
Strange lights are beginning to flash from the windows, He
|
|
enters the building and a moment later a huge tremor shakes
|
|
the structure.
|
|
|
|
|
|
141 INT. DANA'S FLOOR 141
|
|
|
|
The elevator doors open and Louis gets out. A crowd of
|
|
tenants rushes onto the elevator clutching their most
|
|
prized possessions. He gets through the panicked tenants
|
|
and walks down the hall.
|
|
|
|
MRS. BLUM, a neighbor, comes out of her apartment carrying
|
|
an armload of small appliances.
|
|
|
|
MRS. BLUM
|
|
Louis! What are you doing standing
|
|
there ... get out of the building
|
|
... don't you know it's an
|
|
earthquake or something?
|
|
|
|
LOUIS
|
|
The Traveller is coming.
|
|
|
|
MRS. BLUM
|
|
Don't be crazy. Nobody is going to
|
|
come and visit you with all this
|
|
commotion going on.
|
|
|
|
She rushes off leaving Louis alone in the hall. He goes to
|
|
Dana's door and mechanically knocks three times. His
|
|
knocking echoes thunderously throughout the building.
|
|
|
|
THE DOOR
|
|
It opens and Louis sees Dana
|
|
standing there. A tremendous
|
|
thunderclap rattles the building.
|
|
|
|
LOUIS
|
|
(his eyes light up)
|
|
Are you the Gatekeeper?
|
|
|
|
DANA
|
|
(nods)
|
|
I am Zuul.
|
|
|
|
Hearing that, Louis grabs Dana with a passion that's been
|
|
building in his unconscious for 8000 years. He kisses her
|
|
with savage lust and pulls her to the floor out of frame as
|
|
an explosive force blows through the apartment.
|
|
113.
|
|
|
|
|
|
142 INT. CITY HALL CORRIDOR 142
|
|
|
|
Venkman, Stantz and the Mayor walk briskly toward the
|
|
vehicle dock at the back of the building. Aides scurry
|
|
along behind them, awaiting instructions.
|
|
|
|
MAYOR
|
|
I don't understand it, Why here?
|
|
Why now?
|
|
|
|
VENKMAN
|
|
What goes around, comes around, Mr.
|
|
Mayor. The big Lazy Susan of Karma
|
|
just keeps turning and sometimes we
|
|
get the short end of the stick.
|
|
|
|
STANTZ
|
|
This may be Nature's way of telling
|
|
us to slow down. You have to admit
|
|
it's kind of humbling, isn't it?
|
|
|
|
MAYOR
|
|
(shouts after them)
|
|
We're humble already! Hasn't this
|
|
city suffered enough?
|
|
|
|
They come out onto the loading dock.
|
|
|
|
|
|
143 EXT. LOADING DOCK 143
|
|
|
|
The Ectomobile is parked there. Winston and Spengler are
|
|
charging all the packs off the building current. There's a
|
|
lot of police activity around them as orders are
|
|
dispatched.
|
|
|
|
A POLICE CAPTAIN reports to Venkman.
|
|
|
|
CAPTAIN
|
|
We've cleared the whole building
|
|
and cordonned off the street. I'm
|
|
massing our own special tactics
|
|
squad and the National Guard is on
|
|
standby.
|
|
|
|
AIDE
|
|
I better alert the Red Cross, too.
|
|
|
|
SPENGLER
|
|
He looks up and sees Janine
|
|
standing on the dock. She crosses
|
|
to him.
|
|
114.
|
|
|
|
|
|
JANINE
|
|
(a little teary)
|
|
I want you to have this.
|
|
(she hands him a coin)
|
|
|
|
SPENGLER
|
|
What is it?
|
|
|
|
JANINE
|
|
It's a souvenir from the 1964
|
|
World's Fair at Flushing Meadow.
|
|
It's my lucky coin.
|
|
|
|
SPENGLER
|
|
I don't believe in luck.
|
|
|
|
JANINE
|
|
Keep it anyway. I have another one
|
|
at home.
|
|
|
|
SPENGLER
|
|
Thank you.
|
|
|
|
They hug.
|
|
|
|
THE ECTOMOBILE
|
|
Stantz, Venkman and Winston get in.
|
|
Spengler rushes over and joins
|
|
them.
|
|
|
|
|
|
144 INT. ECTOMOBILE 144
|
|
|
|
Venkman turns around and looks at his friends.
|
|
|
|
VENKMAN
|
|
Okay. Just remember, whatever
|
|
happens out there, we are total
|
|
professionals.
|
|
|
|
VENKMAN
|
|
Not only are we the best
|
|
Ghostbusters around, we're the only
|
|
Ghostbusters around. It's up to us.
|
|
|
|
They all shake hands. Then Venkman sticks his hand out the
|
|
window and signals like a cavalry officer.
|
|
|
|
VENKMAN
|
|
(shouts)
|
|
Move 'em out!
|
|
115.
|
|
|
|
|
|
145 EXT. REAR OF CITY HALL 145
|
|
|
|
A pair of police motorcycles comes roaring up the driveway
|
|
followed by the Ectomobile and two police cruisers. The
|
|
motorcade turns up the street and heads uptown at high
|
|
speed. They pass a column of National Guard trucks.
|
|
|
|
|
|
146 EXT. DANA'S APARTMENT BUILDING 146
|
|
|
|
The street has been blocked off with police barricades but
|
|
a huge crowd has gathered nonetheless to watch the strange
|
|
lights and flashes emanating from the upper floors of the
|
|
building.
|
|
|
|
THE CROWD
|
|
The news media are out in front
|
|
filming and taping everything. A
|
|
contingent of Doomsday freaks is
|
|
gathered with signs proclaiming
|
|
"REPENT FOR THE END IS AT HAND!" A
|
|
few Catholic priests are kneeling,
|
|
performing rites of exorcism.
|
|
|
|
THE CROWD
|
|
A gang of punks is hanging around
|
|
hoping for a disaster. A handful of
|
|
Hassidic Jews behind them are
|
|
wailing in earnest. The police work
|
|
to restrain the crowd.
|
|
|
|
THE STREET
|
|
The screaming of sirens turns the
|
|
attention of the crowd as the
|
|
motorcade arrives. As the
|
|
Ectomobile rounds the corner a huge
|
|
cheer goes up from the crowd.
|
|
|
|
THE CROWD
|
|
The punks cheer. The Hassidic Jews
|
|
wave their black hats and start
|
|
dancing for joy.
|
|
|
|
THE ECTOMOBILE
|
|
It pulls up in front of the
|
|
building. The doors fly open and
|
|
the Ghostbusters all jump out at
|
|
once. The crowd roars.
|
|
|
|
THE PRIESTS
|
|
They leap to their feet and give
|
|
each other "high fives."
|
|
116.
|
|
|
|
|
|
VENKMAN
|
|
He raises both fists like a
|
|
victorious boxer.
|
|
|
|
VENKMAN
|
|
(shouts to the crowd)
|
|
Ghostbusters!
|
|
|
|
The crowd thunders its approval.
|
|
|
|
THE GHOSTBUSTERS
|
|
They quickly finish suiting up at
|
|
the rear of the Ectomobile.
|
|
|
|
VENKMAN
|
|
(keyed up)
|
|
Are we all together on this now?
|
|
|
|
WINSTON
|
|
(in earnest)
|
|
I think we should get on a plane
|
|
right now and go to Australia or
|
|
Indonesia until this blows over.
|
|
|
|
VENKMAN
|
|
I'm going to make a note of your
|
|
suggestion and possibly bring it up
|
|
later if this thing really gets out
|
|
of hand. Now let's move.
|
|
|
|
They start heading for the lobby entrance to the building,
|
|
|
|
VOICE IN CROWD (MAN)
|
|
Get 'em!
|
|
|
|
VOICE IN CROWD (GIRL)
|
|
All right, Ghostbusters!
|
|
|
|
The crowd applauds as the Ghostbusters approach the
|
|
entrance.
|
|
|
|
THE GHOSTBUSTERS
|
|
They stop in front of the building
|
|
and look up at the roof.
|
|
|
|
THEIR POV
|
|
|
|
A blinding flash of light shoots
|
|
|
|
from the rooftop temple.
|
|
|
|
THE BUILDING ENTRANCE
|
|
117.
|
|
|
|
|
|
The whole building seems to groan as if under enormous
|
|
pressure. Then suddenly the concrete facade cracks open and
|
|
the pavement in front of the building collapses dropping
|
|
the Ghostbusters and a police car into the enormous
|
|
sinkhole.
|
|
|
|
The crowd gasps.
|
|
|
|
THE SINKHOLE
|
|
There is a tense moment of silence,
|
|
then the Ghostbusters pop up and
|
|
climb out of the pit.
|
|
|
|
VENKMAN
|
|
I've heard of underground parking
|
|
but this is ridiculous.
|
|
|
|
They flash the "okay" sign to the crowd and enter the
|
|
building.
|
|
|
|
|
|
147 EXT. THE ROOFTOP -- SAME TIME 147
|
|
|
|
Dana and Louis emerge from the stairwell, approach the
|
|
Temple and mount the pedestals once occupied by the Terror
|
|
Dogs.
|
|
|
|
THE TEMPLE
|
|
The walls begin to vibrate in
|
|
response.
|
|
|
|
|
|
148 EXT. THE STREET BELOW 148
|
|
|
|
Blinding beams of light flash from all the windows.
|
|
|
|
|
|
149 INT. STAIRWELL 149
|
|
|
|
The Ghostbusters trudge up thirty-five flights of stairs.
|
|
|
|
|
|
150 INT. THIRTY-FIFTH FLOOR HALLWAY 150
|
|
|
|
The stairwell door opens and the Ghostbusters stagger into
|
|
the hallway, completely exhausted.
|
|
|
|
VENKMAN
|
|
(gasping and spitting)
|
|
I'm glad we took the stairs.
|
|
|
|
|
|
151 INT. DANA'S DOOR 151
|
|
118.
|
|
|
|
|
|
The Ghostbusters arrive. The door frame is charred and
|
|
blackened by soot. Venkman rings the doorbell. DING-DONG.
|
|
|
|
VENKMAN
|
|
Dana?
|
|
|
|
WINSTON
|
|
Maybe we should go downstairs and
|
|
call first?
|
|
|
|
Venkman knocks on the door and the door simply falls off
|
|
its hinges and crashes to the floor. The Ghostbusters gape
|
|
at the damage to the apartment.
|
|
|
|
|
|
152 INT. DANA'S APARTMENT 152
|
|
|
|
The exterior building wall is completely gone providing an
|
|
unobstructed view of the Hudson and New Jersey. All the
|
|
furniture is overturned and the other walls are cracked. A
|
|
powerful wind blows through the apartment fluttering the
|
|
shredded curtains.
|
|
|
|
WINSTON
|
|
(ready to leave)
|
|
Well, she's not here. Let's go.
|
|
|
|
VENKMAN
|
|
No! The kitchen!
|
|
|
|
|
|
153 INT. THE KITCHEN 153
|
|
|
|
The team enters and sees that the refrigerator has been
|
|
blown away revealing a hole in the wall and the entrance to
|
|
a stone staircase behind it.
|
|
|
|
VENKMAN
|
|
He looks at the forbidding portal
|
|
and turns to Stantz.
|
|
|
|
VENKMAN
|
|
(slaps his shoulder)
|
|
Go!
|
|
|
|
Stantz realizes that Venkman expects him to go first. He
|
|
leads the charge up the stairs.
|
|
|
|
|
|
154 EXT. THE ROOF 154
|
|
119.
|
|
|
|
|
|
Dana and Louis stare at the Temple, then begin a miraculous
|
|
and horrible transformation into the hideous forms of the
|
|
Terror Dogs.
|
|
|
|
THE TEMPLE
|
|
The solid stone walls rumble
|
|
ominously and start to separate.
|
|
|
|
THE GHOSTBUSTERS
|
|
They come running out onto the roof
|
|
and gape at the scene.
|
|
|
|
THE TEMPLE
|
|
The walls open completely revealing
|
|
the secret architecture of the
|
|
Temple: A stone staircase leading
|
|
to a set of monumental doors, and
|
|
beyond them a massive pyramid that
|
|
appears to be suspended in mid-air
|
|
with no visible means of support.
|
|
|
|
LOUIS AND DANA
|
|
|
|
They complete their transformation into the Terror Dogs,
|
|
which now turn and snarl menacingly at the Ghostbusters.
|
|
|
|
THE GHOSTBUSTERS
|
|
They can't believe their eyes.
|
|
|
|
VENKMAN
|
|
(aghast)
|
|
Shit! I've been out with some real
|
|
dogs, but this is ridiculous!
|
|
|
|
The heavy rumbling of moving stone draws their attention
|
|
back to the temple.
|
|
|
|
THE TEMPLE
|
|
The Terror Dogs have now taken
|
|
ritual positions on the staircase.
|
|
The heavy stone gates begin to open
|
|
and a bright white light starts to
|
|
emerge. As the light descends the
|
|
stairs a human form slowly
|
|
materializes.
|
|
|
|
THE FORM
|
|
120.
|
|
|
|
|
|
It is a thin, hollow-cheeked,
|
|
distinguished looking man in his
|
|
early sixties. His eyes are burning
|
|
red pin-holes, He looks around at
|
|
the spectacular rooftop view, then
|
|
acknowledges the two Terror Dogs
|
|
and starts stroking them like house
|
|
pets.
|
|
|
|
THE GHOSTBUSTERS
|
|
They stare at the apparition,
|
|
|
|
SPENGLER
|
|
(recognizes him)
|
|
It's Shandor - the architect!
|
|
|
|
WINSTON
|
|
I thought he died!
|
|
|
|
VENKMAN
|
|
It doesn't seem to have slowed him
|
|
down any.
|
|
|
|
STANTZ
|
|
I don't think it's Shandor.
|
|
|
|
He gets to his feet and speaks sharply to Gozer.
|
|
|
|
STANTZ
|
|
Gozer the Gozerian?
|
|
|
|
GOZER
|
|
He looks up and seems to notice the
|
|
Ghostbusters for the first time.
|
|
|
|
STANTZ
|
|
He 'busts' Gozer.
|
|
|
|
STANTZ
|
|
(forceful)
|
|
As a duly-constituted
|
|
representative of the City of New
|
|
York, and on behalf of the County
|
|
and State of New York, the United
|
|
States of America, the Planet Earth
|
|
and all its inhabitants, I hereby
|
|
order you to cease and desist any
|
|
and all supernatural activity and
|
|
return at once to your place of
|
|
origin or next parallel dimension.
|
|
|
|
VENKMAN
|
|
(to Stantz)
|
|
121.
|
|
|
|
|
|
Well, that ought to do it.
|
|
|
|
GOZER
|
|
He stands up to his full height and
|
|
regards Stantz curiously.
|
|
|
|
GOZER
|
|
Are you a god?
|
|
|
|
STANTZ
|
|
(compulsively honest)
|
|
No.
|
|
|
|
GOZER
|
|
Then die!
|
|
|
|
He raises his arms and blows away the Ghostbusters with
|
|
searing bolts of energy.
|
|
|
|
THE GHOSTBUSTERS
|
|
Momentarily stunned, they tumble
|
|
all the way down the stairs and
|
|
almost fall off the edge of the
|
|
roof.
|
|
|
|
WINSTON
|
|
(to Stantz)
|
|
You should've said "yes!" He might
|
|
have been willing to negotiate.
|
|
|
|
Venkman gets to his feet first, really mad now.
|
|
|
|
VENKMAN
|
|
(setting his wands)
|
|
Okay. That's it! I'm gonna turn
|
|
this guy into toast.
|
|
|
|
The Ghostbusters leap into action. One by one they activate
|
|
their Proton packs and take up positions for an entrapment.
|
|
|
|
GOZER
|
|
He braces for the onslaught.
|
|
|
|
VENKMAN
|
|
He shoots a particle stream at
|
|
Gozer.
|
|
|
|
GOZER
|
|
He leaps out of the way with
|
|
superhuman agility and executes a
|
|
perfect double-flip with a half-
|
|
twisting round-off at the end.
|
|
122.
|
|
|
|
|
|
VENKMAN
|
|
He can't believe his eyes.
|
|
|
|
VENKMAN
|
|
Agile bastard, isn't he?
|
|
|
|
STANTZ
|
|
Forget the trapping! Just blast
|
|
him!
|
|
|
|
The others adjust their units and they all blaze away at
|
|
Gozer.
|
|
|
|
GOZER
|
|
He stands there calmly and absorbs
|
|
the force of the streams. There is
|
|
a brilliant pink flash and Gozer
|
|
disappears.
|
|
|
|
THE GHOSTBUSTERS
|
|
They stare for a long moment,
|
|
finding it hard to believe that
|
|
they won. Then Winston lets out a
|
|
triumphant whoop.
|
|
|
|
SPENGLER
|
|
He scans the temple with his PKE
|
|
meter, not at all convinced the
|
|
danger has passed.
|
|
|
|
STANTZ
|
|
He bounds up the stairs.
|
|
|
|
STANTZ
|
|
(jubilant)
|
|
We neutronized him! The guy's a
|
|
molecular nonentity.
|
|
|
|
VENKMAN AND SPENGLER
|
|
|
|
He wants to believe it but sees the doubt on Spengler's
|
|
face.
|
|
|
|
SPENGLER
|
|
(reading the meter)
|
|
Not necessarily.
|
|
|
|
There is a deep seismic rumble and the entire building
|
|
begins to vibrate. The Ghostbusters look around nervously
|
|
as the entire building starts to sway.
|
|
|
|
|
|
155 EXT. THE EAVES 155
|
|
123.
|
|
|
|
|
|
Cement carvings and moldings around the edge of the roof
|
|
crack and break off.
|
|
|
|
|
|
156 EXT. THE STREET 156
|
|
|
|
The crowd screams and runs as cement debris rains down the
|
|
side of the building and crashes on the sidewalk.
|
|
|
|
THE GHOSTBUSTERS
|
|
They look up at the sky waiting for
|
|
the big blow. An incredibly loud
|
|
thunderclap rocks the rooftop.
|
|
|
|
THE SKY
|
|
A bolt of lightning crackles from
|
|
the swirling dark cloud and strikes
|
|
the rooftop.
|
|
|
|
The Ghostbusters stand there facing their new God like
|
|
Moses on Mount Sinai. And then Gozer speaks to them in a
|
|
voice that can be heard throughout Metropolitan New York
|
|
and parts of New Jersey.
|
|
|
|
GOZER
|
|
SUBCREATURES! GOZER THE GOZERIAN,
|
|
GOZER THE DESTRUCTOR, VOLGUUS
|
|
ZILDROHAR, THE TRAVELLER HAS COME.
|
|
CHOOSE AND PERISH.
|
|
|
|
VENKMAN
|
|
(shouting to be heard)
|
|
Is he talking to us?
|
|
|
|
WINSTON
|
|
What's he talking about? Choose
|
|
what?
|
|
|
|
STANTZ
|
|
(to the heavens)
|
|
What do you mean "choose?" We don't
|
|
understand.
|
|
|
|
GOZER
|
|
CHOOSE!!
|
|
|
|
SPENGLER
|
|
I think he's saying that since
|
|
we're about to be sacrificed
|
|
anyway, we get to choose the form
|
|
we want him to take.
|
|
|
|
STANTZ
|
|
124.
|
|
|
|
|
|
You mean if I stand here and
|
|
concentrate on the image of Roberto
|
|
Clemente, Gozer will appear as
|
|
Roberto Clemente and wipe us out?
|
|
|
|
SPENGLER
|
|
That appears to be the case.
|
|
|
|
VENKMAN
|
|
(quickly)
|
|
Don't think of anything yet. Clear
|
|
your minds. We only get one crack
|
|
at this.
|
|
|
|
GOZER
|
|
The choice is made. The Traveller
|
|
has come.
|
|
|
|
VENKMAN
|
|
(in a panic)
|
|
We didn't choose anything!
|
|
(to the others)
|
|
I didn't think of an image, did
|
|
you?
|
|
|
|
SPENGLER
|
|
No.
|
|
|
|
They look at Winston.
|
|
|
|
WINSTON
|
|
My mind's a total void!
|
|
|
|
They all look at Stantz.
|
|
|
|
STANTZ
|
|
(guilty)
|
|
I couldn't help it! It just popped
|
|
in there!
|
|
|
|
VENKMAN
|
|
(desperately)
|
|
What? What popped in there?
|
|
|
|
STANTZ
|
|
(pointing)
|
|
Look!
|
|
|
|
They all turn and look to the south.
|
|
|
|
GHOSTBUSTERS POV
|
|
125.
|
|
|
|
|
|
Looking south past Columbus Circle, they see part of
|
|
something big and white moving between the buildings
|
|
accompanied by thunderous footsteps of almost seismic
|
|
proportions.
|
|
|
|
VENKMAN
|
|
He doesn't know what it is yet, but
|
|
he knows it's coming.
|
|
|
|
VENKMAN
|
|
(desperately)
|
|
What is it? Ray, what did you think
|
|
of?
|
|
|
|
BROADWAY AND 55TH
|
|
|
|
The massive white shape passes behind some buildings,
|
|
offering a glimpse of what appears to be a fat, white arm.
|
|
|
|
STANTZ
|
|
He's about to go into shock.
|
|
|
|
STANTZ
|
|
(babbling)
|
|
It can't be! It can't be!
|
|
|
|
COLUMBUS CIRCLE
|
|
The thundering footsteps continue
|
|
to plod as the thing starts to
|
|
emerge from behind the buildings.
|
|
Now we can see part of a blue
|
|
garment covering its enormous
|
|
chest.
|
|
|
|
STANTZ
|
|
He recognizes the monster.
|
|
|
|
STANTZ
|
|
It's ... It's ... It's the STAY-
|
|
PUFT MARSHMALLOW MAN.
|
|
|
|
Winston, Venkman and Spengler gape.
|
|
|
|
THEIR POV
|
|
|
|
They look across the roof tops and see a large, square,
|
|
white, bobbing, laughing head atop a massive body of
|
|
similar puffed white squares. The being is dressed in a
|
|
tiny sailor's hat, red bosun's whistle and lanyard and a
|
|
little blue vest with a button undone in the middle
|
|
revealing a little white belly. It is the cute,
|
|
quintessential American brand symbol, looming as large as
|
|
Godzilla.
|
|
126.
|
|
|
|
|
|
STANTZ (V.O.)
|
|
(desperately apologizing)
|
|
I tried to think of the most
|
|
harmless thing ... something that
|
|
could never destroy us ...
|
|
something I loved from my
|
|
childhood.
|
|
|
|
THE GHOSTBUSTERS
|
|
They watch the Marshmallow Man
|
|
plodding toward them.
|
|
|
|
VENKMAN
|
|
AND YOU CAME UP WITH THAT?
|
|
|
|
STANTZ
|
|
The Stay-Puft Marshmallow Man! He
|
|
was on all the packages we used to
|
|
buy when I was a kid. We used to
|
|
roast Stay-Puft marshmallows at
|
|
Camp Waconda!
|
|
|
|
VENKMAN
|
|
Great! The marshmallows are about
|
|
to get their revenge.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
He plods relentlessly uptown toward the Ghostbusters'
|
|
rooftop vantage point. The ground rumbles as his big, soft
|
|
feet come down on the pavement.
|
|
|
|
THE STREET
|
|
People are fleeing in panic as the
|
|
marshmallow feet pad along kicking
|
|
over lampposts and mail boxes.
|
|
|
|
A CAR
|
|
The driver jumps out just before an
|
|
enormous white marshmallow foot
|
|
comes down and flattens his
|
|
automobile.
|
|
|
|
THE GHOSTBUSTERS
|
|
They stand there helplessly
|
|
watching the laughing bobbing head
|
|
of the Stay-Puft Man as he comes
|
|
toward them.
|
|
|
|
VENKMAN
|
|
What now?
|
|
|
|
SPENGLER
|
|
127.
|
|
|
|
|
|
(adjusting his thrower)
|
|
Full-stream with strogon pulse.
|
|
|
|
Venkman looks at Stantz. Stantz shrugs.
|
|
|
|
VENKMAN
|
|
(decides)
|
|
I guess that's all we've got.
|
|
|
|
They step to the edge of the roof, moving like warriors now
|
|
ready to face the consequences.
|
|
|
|
|
|
157 EXT. THE STREET 157
|
|
|
|
Peck comes running up to the front of the apartment
|
|
building. People are fleeing the oncoming monster. Peck
|
|
grabs a COP who is just about to flee himself.
|
|
|
|
PECK
|
|
(in a rage)
|
|
Are the Ghostbusters up there?
|
|
|
|
COP
|
|
(desperate to get away)
|
|
Yeah!
|
|
|
|
PECK
|
|
I want you to go up on the roof and
|
|
arrest them. This time they've gone
|
|
too far.
|
|
|
|
The Cop looks at Peck like he's insane, then sees the Stay-
|
|
Puft Man looming up at the end of the block.
|
|
|
|
COP
|
|
(knocking Peck's hands
|
|
away)
|
|
You arrest them, numb nuts! I'm
|
|
getting out of here.
|
|
|
|
He runs off. Peck turns to face the monster.
|
|
|
|
THE STAY PUFT MAN
|
|
|
|
The ground shakes with every step as he reaches the
|
|
building. Then, using the church next door as a stepping
|
|
stone, he begins climbing the wall.
|
|
|
|
THE GHOSTBUSTERS
|
|
They look over the edge of the roof
|
|
as the Marshmallow Man climbs
|
|
higher and higher.
|
|
128.
|
|
|
|
|
|
VENKMAN
|
|
(shouts)
|
|
Hit him!
|
|
|
|
They each fire point blank at the Stay-Puft Man.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
He bellows with pain and rage as the beams strike him right
|
|
in the chest and set his skin on fire.
|
|
|
|
He begins to burn with a blue flame that spreads quickly
|
|
across his torso and down his arms. The Stay-Puft Man
|
|
bellows even louder, flailing its huge arms in response to
|
|
the searing flames that are starting to engulf him.
|
|
|
|
THE GHOSTBUSTERS
|
|
They stare at the horrible
|
|
conflagration.
|
|
|
|
WINSTON
|
|
Good. Now we made him mad.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
Carbonous, flaming hunks of melting marshmallow are flying
|
|
from his arms as he waves them in wild rage.
|
|
|
|
THE STREET
|
|
Peck stands there paralyzed with
|
|
fear. A mass of flaming marshmallow
|
|
falls and flattens a news stand
|
|
nearby. Then a huge glob of sticky
|
|
toasted marshmallow comes zipping
|
|
down from above and lands right on
|
|
him, burying him up to his neck in
|
|
melted sucrose.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
The flaming monster keeps coming intent on their
|
|
destruction. Most of his chest has melted away revealing
|
|
horrid musculature and a skeletal rib cage.
|
|
|
|
THE GHOSTBUSTERS
|
|
They square off and face him for
|
|
the last time, their weapons
|
|
poised.
|
|
|
|
VENKMAN
|
|
(calmly)
|
|
We're going to be killed by a
|
|
hundred-foot marshmallow.
|
|
129.
|
|
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
He is almost on them now, fully engulfed in flames,
|
|
reaching for them, ready to swat them with his burning
|
|
fist.
|
|
|
|
VENKMAN
|
|
(to the others)
|
|
On the count of three! One ... Two
|
|
...
|
|
|
|
SPENGLER
|
|
(he has the best idea of
|
|
his life)
|
|
No! Them! Shoot them!
|
|
(he points at the Terror
|
|
Dogs)
|
|
Cross the beams.
|
|
|
|
THE TERROR DOGS
|
|
|
|
They stand beside the portal literally petrified.
|
|
|
|
VENKMAN
|
|
He hesitates.
|
|
|
|
VENKMAN
|
|
(protesting)
|
|
No! You said crossing the beams
|
|
would be BAD. It'll kill her! And
|
|
us!
|
|
|
|
SPENGLER
|
|
Life is just a state of mind.
|
|
|
|
VENKMAN
|
|
But it's my favorite state.
|
|
|
|
STANTZ
|
|
Either way we're history.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
His burning fist is starting to descend on the
|
|
Ghostbusters.
|
|
|
|
VENKMAN
|
|
He chooses the only way out.
|
|
|
|
VENKMAN
|
|
(shouts)
|
|
Now!!
|
|
130.
|
|
|
|
|
|
THE GHOSTBUSTERS
|
|
They turn and fire at the two
|
|
petrified Terror Dogs and blow them
|
|
to oblivion. The entire front of
|
|
the temple is obliterated along
|
|
with the door.
|
|
|
|
THE STAY-PUFT MAN
|
|
|
|
With the destruction of his earthly portal, the flaming
|
|
monster is suddenly engulfed in a cyclonic wind that begins
|
|
to swirl around him like a fire-storm.
|
|
|
|
The flames are whipped higher and higher as the tornado
|
|
begins to pick up rotational speed. Then the Marshmallow
|
|
Man seems to explode from deep inside creating a flaming
|
|
air burst high above the rooftops.
|
|
|
|
THE ROOFTOP
|
|
The Ghostbusters are blasted off
|
|
their feet.
|
|
|
|
THE SKY
|
|
The fireball reaches its maximum
|
|
explosive force, then a sudden jet
|
|
of air pressure occurs like a
|
|
titanic vacuum cleaner in the sky
|
|
and sucks the flaming mass of
|
|
gasses and ash up through our
|
|
atmosphere and right out of our
|
|
dimension. The dark clouds
|
|
disappear with it, leaving a
|
|
beautiful clear blue sky over the
|
|
whole area.
|
|
|
|
THE TEMPLE
|
|
It now looks like an ancient ruin.
|
|
|
|
THE GHOSTBUSTERS
|
|
They are lying at the foot of the
|
|
stairs. Everything is still. One by
|
|
one they get slowly to their feet
|
|
and look around to see that the
|
|
crisis has passed.
|
|
|
|
STANTZ
|
|
Everybody okay?
|
|
|
|
Venkman looks up at the portal.
|
|
|
|
THE TERROR DOGS
|
|
131.
|
|
|
|
|
|
They are still on the pedestals but charred almost beyond
|
|
recognition. Venkman mounts the stairs and gazes sadly at
|
|
the remains.
|
|
|
|
THE PEDESTAL
|
|
Venkman stands there mourning, then
|
|
a slight movement under the
|
|
blackened skin of the Terror Dog
|
|
catches his eye. The movement gets
|
|
stronger, then suddenly a human
|
|
hand pokes through the carbonous
|
|
coating.
|
|
|
|
VENKMAN
|
|
Hope surges in him and he starts
|
|
frantically tearing away the black
|
|
coating, finally revealing Dana
|
|
alive and well under the burnt skin
|
|
of the Terror Dog.
|
|
|
|
STANTZ AND SPENGLER
|
|
|
|
They peel the charred coating off Louis and help him to his
|
|
feet.
|
|
|
|
LOUIS
|
|
He looks around wondering how he
|
|
ended up on the roof of a wrecked
|
|
high-rise. He looks at his scorched
|
|
and ripped suit crusted with the
|
|
still-smoking gobs of melted
|
|
marshmallow.
|
|
|
|
LOUIS
|
|
(amazed)
|
|
Jeez! Somebody must have spiked the
|
|
egg salad.
|
|
|
|
VENKMAN
|
|
He helps Dana to her feet.
|
|
|
|
VENKMAN
|
|
Are you all right?
|
|
|
|
She looks around at the incredible scene.
|
|
|
|
DANA
|
|
(totally confused)
|
|
Oh, sure. I'm getting used to this.
|
|
|
|
LOUIS
|
|
(seeing Dana for the
|
|
first time)
|
|
132.
|
|
|
|
|
|
I'm innocent! Honest, Dana. I never
|
|
touched you. Not that I remember
|
|
anyway.
|
|
|
|
DANA
|
|
(getting annoyed)
|
|
All right, what happened to me?
|
|
|
|
VENKMAN
|
|
Nothing! We just got rid of that
|
|
thing in your kitchen.
|
|
|
|
DANA
|
|
Really! Is it gone?
|
|
|
|
VENKMAN
|
|
Yeah, along with most of your
|
|
furniture and a lot of your
|
|
personal possessions. This one took
|
|
some work.
|
|
|
|
DANA
|
|
(noting the wrecked
|
|
temple)
|
|
Thank you. Next time I want to
|
|
break a lease I'll know who to
|
|
call.
|
|
|
|
She hugs him.
|
|
|
|
VENKMAN
|
|
This is going to cost you, you
|
|
know. Our fees are ridiculously
|
|
high.
|
|
|
|
DANA
|
|
Talk to my accountant.
|
|
(she indicates Louis)
|
|
|
|
LOUIS
|
|
Oh, great! I bet we could write off
|
|
all the damage as an Act of God.
|
|
|
|
THE GHOSTBUSTERS
|
|
They look at each other and nod.
|
|
|
|
STANTZ
|
|
I'll go along with that.
|
|
|
|
|
|
158 EXT. STREET - NEAR THE APARTMENT - NIGHT - THE TWO BUMS 158
|
|
133.
|
|
|
|
|
|
They hear the cheering down the street as they cautiously
|
|
inspect a massive mound of cooling sucrose.
|
|
|
|
FIRST BUM
|
|
Well, that definitely looks like
|
|
marshmallow to me.
|
|
|
|
SECOND BUM
|
|
(sniffing it)
|
|
Yeah, it's some kind of mallow-type
|
|
substance - that's for sure.
|
|
|
|
FIRST BUM
|
|
You have to wonder why anybody
|
|
would dump a marshmallow that size
|
|
right in the middle of the street.
|
|
|
|
SECOND BUM
|
|
I wonder if there might not be a
|
|
very large cup of hot chocolate
|
|
somewhere in the area.
|
|
|
|
FIRST BUM
|
|
That would definitely explain it.
|
|
|
|
|
|
159 EXT. THE STREET - NIGHT 159
|
|
|
|
A HAPPY THRONG OF JUBILANT CITIZENS IS GATHERED OUTSIDE THE
|
|
LOBBY ENTRANCE TO THE APARTMENT BUILDING.
|
|
|
|
THE ENTRANCE
|
|
|
|
The battered but victorious Ghostbusters emerge from the
|
|
lobby. Venkman and Dana are holding hands. The crowd roars
|
|
with unrestrained joy and gratitude, Janine runs over and
|
|
hugs Spengler enthusiastically. The Ghostbusters wave and
|
|
head for the Ectomobile parked at the curb.
|
|
|
|
THE GHOSTBUSTERS
|
|
|
|
They get into the Ectomobile and drive off with lights
|
|
flashing and sirens screaming as the crowd cheers wildly.
|
|
|
|
THE END
|
|
|