Hugging Face's logo

Datasets:
jbilcke
/
clapper-samples

Modalities:
Text
License:
Dataset card Data Studio Files
xet
Community
clapper-samples / scripts /Ghostbusters.txt
jbilcke's picture
jbilcke
Upload 104 files
d37f4ef verified
raw
history blame contribute delete
222 kB
 1.
FADE IN
1 EXT. NEW YORK PUBLIC LIBRARY - DAY 1
The sun shines brightly on the classic facade of the main
library at Fifth Avenue and 42nd Street. In the adjacent
park area, pretty hustlers and drug peddlers go about their
business.
FRONT STEPS
A few people lounge on the steps flanked by the familiar
stone lions.
2 INT. MAIN READING ROOM -- DAY 2
People are dotted throughout the room sitting at the long
oak tables polished by decades of use. Reading lamps with
green glass shades cast a golden glow on the tables. The
patina of age is everywhere. It is very quiet.
LIBRARIAN
A slightly stout, studious looking girl in her late
twenties circulates quietly among the tables picking up
books and putting them on her cart. Everything seems
completely normal and peaceful.
POV
A single eerie musical note signals the presence of
something strange looking down on the Librarian from a
vantage point high above the room. It follows the Librarian
as she pushes her cart around the corner.
3 INT. WORK AREA 3
The Librarian is alone in a back room sorting books for
reshelving. Behind her is the card catalogue. One of the
books attracts her interest and she starts leafing through
it.
THE CARD CATALOGUE
Another eerie note is heard as one of the drawers silently
slides open behind the Librarian and hundreds of index
cards start popping out. The Librarian continues reading
completely oblivious to this strange phenomenon.
2.
She gets up and moves past another row of cabinets. Two
more drawers quietly slide open, and thousands of file
cards start shooting out of the open drawers just behind
her, but the Librarian still doesn't notice.
THE STACKS
The Librarian works her way through rows and rows of old
iron shelves containing many thousands of volumes stacked
from floor to ceiling. As she puts the books back in their
proper places, she slowly gets the feeling that she's being
watched. She continues her task but suddenly hears a
scratching noise and stops.
LIBRARIAN
(puzzled)
Hello? Is anybody there?
A ROW OF BOOKS
As the Librarian walks down the aisle, books start shooting
off the shelf behind her. She turns suddenly and sees the
fallen books.
THE LIBRARIAN
Frightened now, she walks slowly to the end of the aisle
and tentatively peeks around the corner. Seeing no one, she
starts to scratch her head and suddenly a dozen books fly
off the shelf right in front of her and fall to the floor.
LIBRARIAN
(frightened)
All right! Who's there? Lyle? Is
that you?
Very slowly now, her heart pounding, the Librarian tiptoes
to the other end of the aisle. She gets to the corner and
starts to peek around it, afraid to look but unable to
resist.
4 INT. THE NEXT AISLE - DAY 4
The Librarian comes slowly around the end of the stacks and
gets her first look at the thing that's been watching her.
Her eyes go very wide and her mouth opens in horror. She
screams.
5 EXT. COLUMBIA UNIVERSITY - DAY 5
3.
Students are entering and leaving a neo-Gothic building on
the University's upper west side campus. A sign identifies
the building as: Weaver Hall -- Department of Psychology.
6 INT. BASEMENT - WEAVER HALL - DAY 6
At one end of the dingy corridor is a door marked
PARANORMAL STUDIES LABORATORY. A sign dangles from the
doorknob: Maid - - Please Make Up This Room. Scrawled
across the door is a line of student graffiti that reads:
"Venkman Burn In Hell!"
It looks like it's been written in blood.
VENKMAN (V.O.)
Now I'm going to turn over the next
card and I want you to concentrate
and tell me what you think it is.
7 INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY 7
DR. PETER VENKMAN is administering an ESP test to two
student volunteers, a boy and a girl, who sit across the
table from him separated from each other by a screen.
Venkman is an associate professor but his rumpled suit and
the manic gleam in his eyes indicate an underlying
instability in his nature. However, while a little short on
academic credentials, Venkman is long on confidence, charm
and salesmanship.
He turns to the male volunteer, an obnoxious SOPHOMORE, and
pulls out a card from the standard deck of ESP symbols. The
card is visible to the camera over Venkman's shoulder but
hidden from the sophomore by a Masonite board that rests
between them on the table. The card shows a star symbol on
it.
VENKMAN
All right. What is it?
SOPHOMORE
(concentrates)
A square?
VENKMAN
(shakes his head)
Good guess -- but no.
4.
He shows the Sophomore the star card then presses a button
on the table which administers a mild electric shock to the
volunteer.
The Sophomore twitches involuntarily as the shock passes
through the electrode attached to his fingertips. Then
Venkman turns to the female volunteer, a very beautiful
COED.
VENKMAN
Now just clear your mind and tell
me what you see.
He turns over a card with a circle on it.
COED
(thinks hard)
Is it a star?
VENKMAN
(feigning surprise)
It is a star! That's great. You're
very good.
The Coed beams proudly as Venkman turns back to the
Sophomore without showing her the card.
VENKMAN
(to the Sophomore)
Now think.
He turns up the diamond card.
The Sophomore glances nervously at the electrodes, then
ventures a guess.
SOPHOMORE
Circle?
VENKMAN
Close -- but definitely wrong.
He shocks him again and swivels around to face the Coed.
VENKMAN
Ready?
(she nods and he turns up
the triangle card)
What is it?
COED
(biting her lip)
Ummm -- figure eight?
5.
VENKMAN
(lies)
Incredible! Five for five. You're
not cheating on me here, are you?
COED
(amazed at her own
ability)
No. They're just coming to me.
VENKMAN
Well, you're doing great. Keep it
up.
He turns back to the Sophomore who winces as the next card
is turned up -- two parallel wavy lines.
VENKMAN
Nervous?
SOPHOMORE
Yes. I don't like this.
VENKMAN
Well, just 75 more to go. What's
this one?
SOPHOMORE
(takes a deep breath)
Two wavy lines?
VENKMAN
(burying the card)
Sorry. This isn't your day.
He zaps him again but this time the Sophomore really jumps.
SOPHOMORE
(angry)
Hey! I'm getting a little tired of
this.
VENKMAN
You volunteered, didn't you? Aren't
we paying you for this?
SOPHOMORE
Yeah, but I didn't know you were
going to give me electric shocks.
What are you trying to prove?
VENKMAN
6.
I'm studying the effect of negative
reinforcement on ESP ability.
SOPHOMORE
I'll tell you the effect! It pisses
me off!
VENKMAN
Then my theory was correct.
The Sophomore gets up, pulls the electrodes off his
fingertips and exits.
SOPHOMORE
(as he goes)
Keep the five bucks. I've had it!
Venkman turns back to the Coed and shrugs.
VENKMAN
Well, I guess some people have it
and some don't.
COED
(provocatively)
Do you think I have it, Dr.
Venkman?
VENKMAN
Definitely. I think you may be a
very gifted telepath.
Suddenly the door opens and RAY STANTZ enters.
STANTZ
He is Venkman's colleague and best
friend. A hard scientist with a
good academic background, Stantz is
a maverick who genuinely loves a
challenge. At the moment, he seems
really keyed up.
STANTZ
Drop everything, Venkman. We got
one.
He starts rummaging through cabinets and drawers, gathering
up a variety of electronic devices.
VENKMAN
He frowns at the intrusion and
turns to the Coed.
7.
VENKMAN
Excuse me for a minute.
(he crosses to Stantz)
Ray, I'm right in the middle of
something here. Can you come back
in about an hour?
STANTZ
(excited, but hushed and
confidential)
Peter, at 1:40 this afternoon at
the main branch of the New York
Public Library on Fifth Avenue, ten
people witnessed a free-roaming,
vaporous, full-torso apparition. It
blew books from shelves at twenty
feet away. Scared the socks off
some poor librarian.
VENKMAN
(unimpressed)
Sure. That's great, Ray. I think
you should get down there right
away and check it out. Let me know
what happens.
STANTZ
(insistent)
No, this one's for real, Peter.
Spengler went down there and took
some PKE readings. Right off the
top of the scale. Buried the
needle. We're close this time. I
can feel it.
Venkman looks at Stantz, then back at the Coed, torn
between duty and pleasure.
VENKMAN
(decides)
Okay. Just give me a second here.
(he crosses back to the
Coed)
I have to leave now but if you've
got some time I'd like you to come
back this evening and do some more
work with me.
COED
Eight o'clock?
VENKMAN
(lying again)
8.
I was just going to say "eight."
You're fantastic!
He waves good-bye and exits with Stantz.
8 EXT. PUBLIC LIBRARY -- DAY 8
Venkman and Stantz arrive in a taxi and trot up the front
steps. Stantz is loaded down with equipment.
STANTZ
Spengler and I have charted every
psychic occurrence in the Tri-State
area for the past two years. The
graph we came up with definitely
points to something big.
VENKMAN
Ray, as your friend I have to tell
you I think you've really gone
around the bend on this ghost
stuff. You've been running your ass
off for two years checking out
every schizo in the Five Boroughs
who thinks he's had an experience.
And what have you seen?
STANTZ
What do you mean by "seen?"
VENKMAN
Looked at with your eyes.
STANTZ
Well, I was at an unexplained
multiple high-altitude rockfall
once.
VENKMAN
Uh-huh. I've heard about the
rockfall, Ray. I think you've been
spending too much time with
Spengler.
9 INT. MAIN READING ROOM - DAY 9
EGON SPENGLER is looking for spirits when Venkman and
Stantz arrive. Spengler is a real egghead, a New Wave Mr.
Spock, who single-handedly got Venkman through graduate
school.
9.
Spengler is incredibly intelligent but amazingly dense at
the same time. At the moment he is listening to a table
using a stethoscope connected to stereo earphones. Venkman
comes up behind him and taps on the table to get his
attention.
VENKMAN
Egon?
Spengler hears the tapping and thinks he's made contact
with the spirit world. Then Venkman slams a heavy book down
on the table.
VENKMAN
Egon!
Spengler jumps at the deafening noise in his earphones and
turns to see Venkman and Stantz.
SPENGLER
Oh! You're here.
VENKMAN
What have you got, Egon?
SPENGLER
Oh, this is big, Peter. This is
very big. There's definitely
something here.
VENKMAN
Egon, somehow this reminds me of
the time you tried to drill a hole
in your head. Do you remember that?
HEAD LIBRARIAN
A choleric, middle-aged civil
servant, MR. DELACORTE, hurries
over to meet them.
HEAD LIBRARIAN
(nervous)
Hello, I'm Roger Delacorte - the
Head Librarian. Are you the men
from the University?
VENKMAN
Yes. I'm Dr. Venkman and this is
Dr. Stantz.
HEAD LIBRARIAN
(leads them off)
10.
Thank you for coming. I'd
appreciate it if we could take care
of this quickly and quietly.
VENKMAN
One thing at a time. We don't even
know what it is yet.
10 INT. AN OFFICE -- A LITTLE LATER 10
Venkman is questioning the plump Librarian who saw the
spirit, while a Paramedic continues treating her for shock.
LIBRARIAN
I don't remember seeing any legs,
but it definitely had arms because
it reached for me.
STANTZ
(excited)
Arms! Great! I can't wait to get a
look at this thing.
Venkman glowers at him, still skeptical.
VENKMAN
(to the girl)
All right, miss. Have you or has
any member of your family ever been
diagnosed schizophrenic or mentally
incompetent?
LIBRARIAN
Well, my uncle thought he was St.
Jerome.
VENKMAN
(looks at Stantz)
I'll call that a big "yes."
(to the girl)
Do you yourself habitually use
drugs, stimulants or alcohol?
LIBRARIAN
No.
VENKMAN
I thought not. And one last thing.
Are you currently menstruating?
HEAD LIBRARIAN
(shocked)
11.
What's that got to do with it?
VENKMAN
(snaps)
Back off, man! I'm a scientist!
THE DOOR
Spengler sticks his head in.
SPENGLER
(excited)
It's moving!
Stantz and Venkman rush out.
11 INT. DEEP IN THE STACKS -- DAY 11
They come slowly down the dark aisle with Spengler leading,
taking constant readings. Their faces are lit mainly by the
light of their own monitoring and recording equipment.
HIGH POV
Looking down on them from the
spectral point of view.
A SPIRAL STAIRCASE
One by one, Venkman, Stantz and Spengler come down the
tightly winding, old iron staircase. They are scared.
Books are strewn all over the floor.
A BOOKSHELF
The books start to slide forward
then the whole shelving unit
topples over and almost crushes the
team under a ton of books. They
jump to safety.
VENKMAN
Nice.
(out loud)
Hello...
Spengler looks at his meters and silently points at a dark
aisle intersecting the one they're in. The team inches
toward it.
SPENGLER
It's here.
12.
They stop at the corner.
12 INT. THE DARK AISLE -- DAY 12
The team peeks around the corner and looks toward camera.
THEIR POV -- DAY
An ethereal presence is hovering between the stacks about
four feet off the ground. It seems to waver on the edge of
being and non-being, then a large legless, headless torso
begins to emerge.
VENKMAN, STANTZ AND SPENGLER
They stand there amazed.
STANTZ
(whispers)
What is it?
VENKMAN
It looks like a big pair of breasts
and a pot belly.
THE TORSO -- DAY
A head and arms begin to form. The apparition is now
unmistakably a full-bodied, somewhat elderly lady.
SPENGLER
It's a woman.
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