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Ghostbusters
by
Harold Ramis
and
Dan Aykroyd
Final Shooting Script
Last revised October 7, 1983
FADE IN
EXT. NEW YORK PUBLIC LIBRARY -- DAY
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.
INT. MAIN READING ROOM -- DAY
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.
INT. WORK AREA
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.
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.
INT. THE NEXT AISLE -- DAY
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.
EXT. COLUMBIA UNIVERSITY -- DAY
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.
INT. BASEMENT -- WEAVER HALL -- DAY
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.
INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY
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.
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 (CONT'D)
Ready?
(she nods and he turns up
the triangle card)
What is it?
COED
(biting her lip)
Ummm -- figure eight?
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 (CONT'D)
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
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.
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)
I was just going to say "eight." You're
fantastic!
He waves good-bye and exits with Stantz.
EXT. PUBLIC LIBRARY -- DAY
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.
INT. MAIN READING ROOM -- DAY
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. 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 (CONT'D)
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)
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.
INT. AN OFFICE -- A LITTLE LATER
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)
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.
INT. DEEP IN THE STACKS -- DAY
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.
They stop at the corner.
INT. THE DARK AISLE -- DAY
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?
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 (CONT'D)
(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
They scream and fall backwards.
EXT. LIBRARY -- MAIN ENTRANCE - DAY
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.
EXT. COLUMBIA UNIVERSITY -- DAY.
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)
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. 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!
EXT. WEAVER HALL -- A LITTLE LATER
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.
INT. WEAVER HALL -- DAY
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.
INT. THE BASEMENT -- DAY
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.
INT. THE LAB -- DAY
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
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. 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.
EXT. COLUMBIA UNIVERSITY -- DAY -- A LITTLE LATER
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! 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
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?
EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY
EXT. AVENUE OF THE AMERICAS -- DAY
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.
VENKMAN
Maybe. But no one ever advertised before.
Stantz and Spengler exchange doubtful looks.
EXT. FIREHALL -- DAY
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.
INT. GARAGE BAY -- DAY
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
(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.
EXT. UPPER WEST SIDE -- DAY
A high panoramic view of the city shows heavy traffic moving up and down
Central Park West on a beautiful sunny day.
EXT. 78th AND CENTRAL PARK WEST -- DAY
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.
INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY
Dana crosses the lobby and gets into the elevator.
INT. THIRTY FIFTH FLOOR -- DAY
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. 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 ...
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 (CONT'D)
... in case of emergencies ...
(he discovers he has
locked himself out of his
apartment)
... like this one.
DANA' S APARTMENT -- DAY
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
INT. CHILDREN'S BEDROOM -- NIGHT
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. Just pick up the phone
and call the professionals -- Ghostbusters.
EXT. FIREHALL
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
24 hours a day to serve all your supernatural
elimination needs.
INT. RECEPTION AREA
Janine is seen answering the telephone with a big fake smile on her face.
JANINE
(cheery)
Ghostbusters. We'll be right there.
INT. CHILDREN'S BEDROOM
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)
EXT. FRONT DOOR
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.
INT. KITCHEN
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.
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
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.
Then she shakes her head and leaves the kitchen.
EXT. FIREHALL -- DAY
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.
INT. GARAGE BAY -- DAY
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.
STANTZ
Just needs a little suspension work ... And
a muffler ... And maybe brakes.
RECEPTION AREA -- DAY
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.
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)
So what do you think it was?
INT. OFFICE -- SAME TIME
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)
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.
INT. DANA'S APARTMENT -- LATER THAT AFTERNOON
The door opens and Dana enters the darkened flat with Venkman. She
switches on the light and leads him to the living room.
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?
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.
INT. THE KITCHEN -- DAY
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 (CONT'D)
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 (CONT'D)
Damn!
DANA
(off-camera)
Are you all right?
VENKMAN
Yeah, yeah.
He grips the side of the fridge door and pulls it open.
INT. LIVING ROOM - DAY
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?
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.
EXT. HALLWAY -- DAY
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.
INT. FIREHALL KITCHEN -- NIGHT
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. 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.
EXT. HOTEL SEDGEWICK -- NIGHT
Two uniformed DOORMEN help people in and out of taxis and limos under the
hotel's elegant awning.
INT. HOTEL -- NIGHT
A "DO NOT DISTURB" sign hangs on the doorknob of Room 1210. Soft music
is heard coming from the room.
INT. ROOM 1210 -- NIGHT
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?
(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.
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 (CONT'D)
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!!
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 ...
INT. FIREHALL OFFICE -- NIGHT
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.
INT. KITCHEN - NIGHT
The alarm sounds and everyone jumps up, scattering takeout cartons.
INT. DORM -- NIGHT
The alarm continues. Everyone enters in haste and scrambles into
jumpsuits. There is much hopping on one leg and bumping into one another.
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.
INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT
Everyone pulls throwers, traps, packs and harnesses off the wall.
EXT. FIREHALL -- NIGHT
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.
EXT. HOTEL -- FRONT DOOR -- NIGHT
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.
INT. HOTEL LOBBY -- NIGHT
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
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.
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.
INT. THE ELEVATOR -- NIGHT
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.
INT. TWELFTH FLOOR CORRIDOR -- NIGHT
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.
STANTZ
He hears the rattle of the dishes behind him, whirls and fires a stream of
protons from his wand. 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.
INT. ROOM 1210 -- NIGHT
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
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.
INT. A CORRIDOR -- NIGHT
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.
INT. ANOTHER CORRIDOR -- SAME TIME
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.
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.
INT. A HOTEL ROOM -- NIGHT
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.
THE MAN
He looks at the air vent then back at his dinner jacket which has turned
several shades of sickly yellow and brown.
INT. A CORRIDOR -- NIGHT
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 (CONT'D)
(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.
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.
INT. STAIRWELL -- SAME TIME
Stantz runs downstairs taking them three at a time as Venkman is heard
screaming over the radio.
VENKMAN
(screaming)
Veeaaaaaahh!
INT. THIRD FLOOR
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.
Stantz helps Venkman to his feet and they rush off.
INT. BANQUET ROOM -- NIGHT
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
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 (CONT'D)
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.
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.
INT. CORRIDOR -- SAME TIME
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.
INT. BANQUET ROOM - NIGHT
Stantz has the thing cornered to some extent.
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.
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 (CONT'D)
(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.
INT. LOBBY -- NIGHT
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?
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.
EXT. HOTEL SEDGEWICK -- NIGHT
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
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
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 (CONT'D)
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)
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.
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.
INT. FIREHALL
The team hears the alarm buzzer. They leap from their beds and slide down
the pole.
ANNOUNCER (V.O.) (CONT'D)
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.
EXT. YANKEE STADIUM -- DAY
The Ectomobile is parked at home plate. The Ghostbusters enter the Yankee
dugout as a concerned Groundskeeper looks on.
EXT. TIMES SQUARE -- NIGHT
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.
EXT. IN FRONT OF FIREHALL
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. 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.
EXT. TUDOR CITY -- DAY
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
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.
INT. ECTOMOBILE -- NIGHT
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?
INT. RADIO STUDIO
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?
EXT. LINCOLN CENTER -- DAY
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
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
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.
She starts walking away.
VENKMAN (CONT'D)
(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.
INT. RECEPTION AREA -- DAY
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)
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.
EXT. FIREHALL -- SAME TIME
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.
INT. GARAGE BAY -- DAY
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.
RECEPTION AREA - DAY
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
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.
INT. THE OFFICE -- SAME TIME
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)
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
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.
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.
PECK
(exiting)
Have it your way, Mr. Venkman.
VENKMAN
(shouts after him)
Hey! Make yourself useful! Go save a tree!
INT. FIREHALL BASEMENT -- SAME TIME
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 (CONT'D)
I've got to sleep.
STANTZ
I need two new purge valves. How's the grid
around the storage facility holding up?
SPENGLER
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.
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.
EXT. MANHATTAN SKYLINE -- NIGHT
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.
EXT. THE TEMPLE -- NIGHT
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.
INT. HALLWAY -- NIGHT
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.
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 (CONT'D)
(knocking on his door)
Hey. Lemme in ...
INT. DANA'S APARTMENT -- NIGHT
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.
INT. THE KITCHEN DOOR NIGHT
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.
EXT. DANA'S ROOFTOP -- NIGHT
A bright flash shoots out from the center of the pyramid, lighting up the
roof of Dana's building.
ROOF TEMPLE
All is as before except that both stone Terror Dogs are ominously missing
from the structure.
INT. LOUIS' APARTMENT -- SAME TIME
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.
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.
INT. BEDROOM -- NIGHT
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.
INT. LIVING ROOM -- NIGHT
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
He lunges after Louis, but Louis gets out just in time and slams the door
behind him.
INT. HALLWAY -- NIGHT
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.
EXT, DANA'S BUILDING NIGHT
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.
EXT. CENTRAL PARK
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!
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 (CONT'D)
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.
EXT. CENTRAL PARK - NIGHT
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.
EXT. TAVERN ON THE GREEN -- NIGHT
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.
INT. TAVERN ON THE GREEN -- SAME TIME
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.
EXT. COURTYARD -- NIGHT
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.
INT. TAVERN ON THE GREEN -- NIGHT
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
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.
EXT. DANA'S APARTMENT BUILDING -- NIGHT
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.
INT. HALLWAY -- NIGHT
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?
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 (CONT'D)
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 (CONT'D)
(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.
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.
INT. DANA'S BEDROOM -- NIGHT
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
(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 (CONT'D)
(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 wh