08a5821c3e1845f6112f2114e61b717ca8ee79ac
movie
http://www.imsdb.com/scripts/Ghostbusters-2.html
Ghostbusters II by
. THE END
 After saving New York City from the demi-god Gozer, the GhostbustersâPeter Venkman, Egon Spengler, Ray Stantz, and Winston Zeddemoreâwere sued by several city and state agencies for the property damage. Rather than face financial ruin, they accepted a restraining order barring them from operating as paranormal investigators and eliminatorsâforcing them out of business. In the eyes of the city, they are now considered frauds.
Five years later, Ray owns an occult bookstore and works as an unpopular children's entertainer with Winston; Egon has returned to Columbia University to conduct experiments into human emotion; and Peter hosts a pseudo-psychic television show. Peter's former girlfriend Dana Barrett has had a son, Oscar, with a violinist whom she married then divorced when he received an offer to join the London Symphony Orchestra. In order to take care of her baby, Dana quit performing and now works as a restorer at the fictional Manhattan Museum of Art, working to prepare a malevolent-looking portrait of a legendary sixteenth-century tyrant named Vigo the Carpathian of Moldavia for an upcoming exhibition.
After an incident in which Oscar's baby carriage is controlled by an unseen force and drawn to a busy intersection, Dana turns to the Ghostbusters for help. Meanwhile, Dana's colleague Dr. Janosz Poha has become increasingly obsessed with the glowering image of Vigo in the painting and falls under its spell. Vigo, whose spirit inhabits the painting, orders Janosz to locate a child that he can possess, allowing him to return to life on the New Year. Janosz, infatuated with Dana, offers to bring baby Oscar to Vigo in exchange for Dana, a deal which Vigo accepts.
The Ghostbusters' investigation leads them to illegally excavate First Avenue at the point where the baby carriage stopped. Lowered underneath, Ray discovers a vast river of pink slime filling an abandoned pneumatic transit line. Attacked by the slime after obtaining a sample, Ray causes a city-wide blackout by accidentally kicking a cast iron pipe that breaks, falls, and shorts out an electric cable. After this, the Ghostbusters are arrested by the NYPD. Ineffectually defended by Louis Tully, they are found guilty of violating the restraining order by Judge Wexler, aka "The Hammer." Before they are taken to Riker's Island, Wexler angrily berates them. In response, the slime recovered by Ray and taken as evidence explodes, releasing the ghosts of two murderers that the judge had condemned to death that proceed to devastate the courtroom. The Ghostbusters capture the ghosts in return for the cancellation of the restraining order.
Later, the slime invades Dana's apartment via the bathtub and attacks her and Oscar. She seeks refuge with Peter, and the two begin to renew their relationship. Investigating the 'psychomagnatheric' slime and Vigo's history, the Ghostbusters discover that it reacts to emotions; it can be charged positively or negatively. They suspect that it has been generated by the negative attitudes of New Yorkers. While Peter and Dana have dinner together, Egon, Ray, and Winston explore the underground river of slime. While measuring its depth, Winston gets pulled into the slime flow, and Ray and Egon jump in after him. After they escape back to the surface Ray and Winston begin an angry argument, but Egon realizes that they are being influenced by the slime, so they strip off their clothes. They also learn the river is flowing underground directly to the museum where Dana works.
The Ghostbusters go to the mayor with their suspicions, but are dismissed; the mayor's assistant, Jack Hardemeyer, has them committed to a psychiatric hospital to protect the mayor's campaign for governor. Meanwhile, a spirit resembling Janosz as a nanny kidnaps Oscar from Peter's apartment, and Dana pursues them to the museum alone. After she enters, the museum is covered with a cocoon of impenetrable slime.
New Year's Eve sees a sudden increase of supernatural activity as the slime rises from the subway line and onto the city streets, causing widespread paranormal activity with ghosts attacking citizens. In response, the mayor fires Hardemeyer and has the Ghostbusters released. After heading to the museum, they are unable to breach the slime barrier with their proton packs. Determining that they need a powerful symbol to rally the citizens and weaken the slime, the Ghostbusters use positively charged mood slime and a remix of "Higher and Higher" to animate the Statue of Liberty and pilot it through the streets before the cheering crowds. As they arrive at the museum, the slime begins to recede and they use the Statue's flaming torch to break through a skylight to attack Vigo and Janosz.
Janosz is neutralized with positively charged mood slime, but Vigo immobilizes the Ghostbusters and attempts to transfer into Oscar's body. The positive feelings accompanying a chorus of "Auld Lang Syne" by the citizens outside weakens Vigo, returning him to the painting and freeing the Ghostbusters. Vigo momentarily possesses Ray, and the other Ghostbusters attack him with a combination of proton streams and positively charged mood slime. This destroys Vigo and changes the painting to a likeness of the four Ghostbusters standing protectively around Oscar. Outside, the Ghostbusters receive a standing ovation from the crowd and, at a later ceremony to restore the Statue, the Key to the City from the mayor.
After saving New York City from the demi-god Gozer , the GhostbustersâPeter Venkman , Egon Spengler , Ray Stantz , and Winston Zeddemoreâwere sued by several city and state agencies for the property damage . Rather than face financial ruin , they accepted a restraining order barring them from operating as paranormal investigators and eliminatorsâforcing them out of business . In the eyes of the city , they are now considered frauds . Five years later , Ray owns an occult bookstore and works as an unpopular children s entertainer with Winston ; Egon has returned to Columbia University to conduct experiments into human emotion ; and Peter hosts a pseudo-psychic television show . Peter s former girlfriend Dana Barrett has had a son , Oscar , with a violinist whom she married then divorced when he received an offer to join the London Symphony Orchestra . In order to take care of her baby , Dana quit performing and now works as a restorer at the fictional Manhattan Museum of Art , working to prepare a malevolent-looking portrait of a legendary sixteenth-century tyrant named Vigo the Carpathian of Moldavia for an upcoming exhibition . After an incident in which Oscar s baby carriage is controlled by an unseen force and drawn to a busy intersection , Dana turns to the Ghostbusters for help . Meanwhile , Dana s colleague Dr. Janosz Poha has become increasingly obsessed with the glowering image of Vigo in the painting and falls under its spell . Vigo , whose spirit inhabits the painting , orders Janosz to locate a child that he can possess , allowing him to return to life on the New Year . Janosz , infatuated with Dana , offers to bring baby Oscar to Vigo in exchange for Dana , a deal which Vigo accepts . The Ghostbusters ' investigation leads them to illegally excavate First Avenue at the point where the baby carriage stopped . Lowered underneath , Ray discovers a vast river of pink slime filling an abandoned pneumatic transit line . Attacked by the slime after obtaining a sample , Ray causes a city-wide blackout by accidentally kicking a cast iron pipe that breaks , falls , and shorts out an electric cable . After this , the Ghostbusters are arrested by the NYPD . Ineffectually defended by Louis Tully , they are found guilty of violating the restraining order by Judge Wexler , aka The Hammer . Before they are taken to Riker s Island , Wexler angrily berates them . In response , the slime recovered by Ray and taken as evidence explodes , releasing the ghosts of two murderers that the judge had condemned to death that proceed to devastate the courtroom . The Ghostbusters capture the ghosts in return for the cancellation of the restraining order . Later , the slime invades Dana s apartment via the bathtub and attacks her and Oscar . She seeks refuge with Peter , and the two begin to renew their relationship . Investigating the psychomagnatheric ' slime and Vigo s history , the Ghostbusters discover that it reacts to emotions ; it can be charged positively or negatively . They suspect that it has been generated by the negative attitudes of New Yorkers . While Peter and Dana have dinner together , Egon , Ray , and Winston explore the underground river of slime . While measuring its depth , Winston gets pulled into the slime flow , and Ray and Egon jump in after him . After they escape back to the surface Ray and Winston begin an angry argument , but Egon realizes that they are being influenced by the slime , so they strip off their clothes . They also learn the river is flowing underground directly to the museum where Dana works . The Ghostbusters go to the mayor with their suspicions , but are dismissed ; the mayor s assistant , Jack Hardemeyer , has them committed to a psychiatric hospital to protect the mayor s campaign for governor . Meanwhile , a spirit resembling Janosz as a nanny kidnaps Oscar from Peter s apartment , and Dana pursues them to the museum alone . After she enters , the museum is covered with a cocoon of impenetrable slime . New Year s Eve sees a sudden increase of supernatural activity as the slime rises from the subway line and onto the city streets , causing widespread paranormal activity with ghosts attacking citizens . In response , the mayor fires Hardemeyer and has the Ghostbusters released . After heading to the museum , they are unable to breach the slime barrier with their proton packs . Determining that they need a powerful symbol to rally the citizens and weaken the slime , the Ghostbusters use positively charged mood slime and a remix of Higher and Higher to animate the Statue of Liberty and pilot it through the streets before the cheering crowds . As they arrive at the museum , the slime begins to recede and they use the Statue s flaming torch to break through a skylight to attack Vigo and Janosz . Janosz is neutralized with positively charged mood slime , but Vigo immobilizes the Ghostbusters and attempts to transfer into Oscar s body . The positive feelings accompanying a chorus of Auld Lang Syne by the citizens outside weakens Vigo , returning him to the painting and freeing the Ghostbusters . Vigo momentarily possesses Ray , and the other Ghostbusters attack him with a combination of proton streams and positively charged mood slime . This destroys Vigo and changes the painting to a likeness of the four Ghostbusters standing protectively around Oscar . Outside , the Ghostbusters receive a standing ovation from the crowd and , at a later ceremony to restore the Statue , the Key to the City from the mayor .
http://en.wikipedia.org/wiki/Ghostbusters_II
Ghostbusters II
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<pre>						Ghostbusters II

							by
						Harold Ramis
							and
						Dan Aykroyd

					 September 29, 1988
				Last revised Feburary 27, 1989


<b>EXT.  MANHATTAN ISLAND - DAY
</b>
A high AERIAL SHOT of the island features the Statue of Liberty
prominently in the foreground then TRAVELS ACROSS the harbor, OVER the
Battery and Lower Manhattan to Greenwich Village.

<b>EXT.  EAST 77TH STREET - DAY
</b>
A car is being hoisted up by a municipal tow truck while its owner is
having a terrible screaming arguement with a parking enforcement officer.
DANA BARRETT comes home pushing a baby buggy, struggling with two full
bags of groceries, and trying to dig her keys out of her purse. The

building superintendent FRANK, sees her struggling but pretends not to
notice.

<b>						DANA
</b>				 (exasperated)
			Frank, do you think you could give me a hand
			with these bags?

<b>						FRANK
</b>			I'm not a doorman, Miss Barrett.  I'm a
			building superintendent.

<b>						DANA
</b>			You're also a human being, Frank.

<b>						FRANK
</b>				 (reluctantly going to help)
			Okay, okay.  It's not my job, but what the
			hell.  I'll do you a favor.  He takes the
			grocery bags from her.

<b>						DANA
</b>				 (setting the wheel brakes on
				 the buggy)
			Thank you, Frank.  I'll get the hang of this
			eventually.

She continues digging in her purse while Frank leans over the buggy and
makes funny faces at the baby, OSCAR, a very cute nine-month old boy.

<b>						FRANK
</b>				 (to the baby)
			Hiya, Oscar.  What do you say, slugger?

<b>						FRANK
</b>				 (to Dana)
			That's a good-looking kid you got there, Ms.
			Barrett.

<b>						DANA
</b>				 (finding her keys)
			Thank you, Frank.  Oh, are you ever going to
			fix the radiator in my bedroom?  I asked you
			last week.

<b>						FRANK
</b>			Didn't I do it?

<b>BABY BUGGY
</b>
It starts to vibrate as if shaken by an unseen hand.

<b>EXT.  EAST 77TH STREET - BABY - DAY
</b>
He GURGLES with delight at the movement.

<b>EXT.  EAST 77TH STREET - DANA AND FRANK - DAY
</b>
Neither of them notice the movement of the carriage.

<b>						DANA
</b>			No, you didn't, Frank.

<b>						FRANK
</b>			Okay, that's no problem.

<b>						DANA
</b>			That's exactly what you said last week.

<b>BUGGY WHEELS
</b>
The brakes unlock themselves.

<b>DANA
</b>
She reaches for the handlebar of the buggy, but the buggy rolls forward
just out of her reach and stops.  Surprised by the movement, she reaches
for the handlebar again, but this time the buggy rolls away even
further.  Alarmed now, Dana hurries after it, but the buggy keeps
rolling down the street at ever increasing speed.

<b>SIDEWALK
</b>
Dana chases the buggy down the street, shouting to passing pedestrians
for help, but every time someone reaches out to stop it, the buggy
swerves and continues unchecked.

<b>INTERSECTION
</b>
Cars, trucks, and buses speed by in both directions as the buggy races
toward the corner.

<b>DANA
</b>
She puts her head down and sprints after the buggy like an Olympian.

<b>EXT.  EAST 77TH STREET - INTERSECTION - DAY
</b>
A city bus is on a collision course with the speeding baby buggy.

<b>BUGGY
</b>
It careens toward the corner.

<b>EXT.  EAST 77TH STREET - BABY - DAY
</b>
Its eyes are wide open with excitement.

<b>EXT.  EAST 77TH STREET - INTERSECTION - DAY
</b>
Bus and buggy are closing fast as the buggy bounces over the curb and
into the crosswalk.

<b>BUS
</b>
The bus driver reacts in helpless horror as he sees the buggy enter the
intersection at high speed.

<b>BUGGY
</b>
It comes to a dead stop right in the middle of the street.  The bus
continues missing the buggy by inches.

<b>INTERSECTION
</b>
Cars and trucks swerve and hit their brakes as Dana runs into the
intersection and snatches up the baby.  She hugs it close, deeply
relieved, then looks at the buggy with the dawning awareness that the
supernatural has re-entered her life.

<b>												 CUT TO:
</b>
<b>EXT.  UPPER WEST SIDE - NEW YORK CITY STREET - GHOSTBUSTERS LOGO - DAY
</b>
THEME MUSIC kicks in strongly as we see the familiar "No Ghosts" symbol
and PULL BACK to reveal that it's painted on the side of Ecto-1, the
Ghostbusters' emergency vehicle, which is speeding up Broadway on the
Upper West Side.  RAY STANTZ is driving and WINSTON ZEDDEMORE is riding
shotgun.

<b>EXT.  WEST 77TH STREET - DAY  (MOMENTS LATER)
</b>
The Ectomobile pulls up in front of a carefully-restored brownstone.
Stantz and Winston, wearing their official Ghostbuster uniforms, jump
out of the old ambulance, shoulder their proton packs and enter the
house.

<b>INT.  BROWNSTONE - DAY  (CONTINUOUS ACTION)
</b>
A WOMAN greets them and leads them through the expensively-furnished
house.

<b>						STANTZ
</b>				 (all business)
			How many of them are there, ma'am?

<b>						WOMAN
</b>			Fourteen.  They're in the back.  I hope you can
			handle them.  It's been like a nightmare.

<b>						WINSTON
</b>			How big are they?

She holds her hand out indicating about four feet.

<b>						WINSTON
</b>				 (resolute)
			We'll do our best, ma'am.

<b>						WOMAN
</b>			They're right out here.

She leads them to a set of French doors that open into another room.
Stantz and Winston pause to make final adjustments to their equipment.

<b>						STANTZ
</b>			Ready?

<b>						WINSTON
</b>			I'm ready.

<b>						STANTZ
</b>			Then let's do it.

He pushes through the French doors and they step into the room.

<b>INT.  BROWNSTONE - DAY  (CONTINUOUS ACTION)
</b>
They are immediately attacked by fourteen or fifteen screaming KIDS
between the ages of seven and ten.

<b>						KIDS
</b>				 (disappointed)
			Ghostbusters!!  Boooo!!

Tables are set with party favors, ice cream and birthday cake and the
room is strewn with discarded toys and games.  A couple of weary parents
sink onto lawn chairs as Stantz and Winston take over the party.

<b>						WINSTON
</b>				 (trying his best)
			How you doin', kids?

<b>						LITTLE BOY
</b>				 (nasty)
			I though we were having He-Man.

<b>						STANTZ
</b>			He-Man couldn't make it today.  That's why
			we're here.

<b>						BOY
</b>			My dad says you're full of crap.

<b>						STANTZ
</b>				 (stopped cold)
			Well, a lot of people have trouble believing
			in the paranormal.

<b>						BOY
</b>			No, he just says you're full of crap and that's
			why you went out of business.

He kicks Stantz in the leg.  Stantz grabs him by the shirtfront.

<b>						STANTZ
</b>				 (low and menacing)
			I'm watching you.
				 (to Winston)
			Song.

Winston switches on a tiny TAPE RECORDER which starts PLAYING the
Ghostbusters THEME SONG. Stantz and WInston start singing

<b>						STANTZ AND WINSTON
</b>			'There's something wrong in the neighborhood.
			Who you gonna call?'

<b>						KIDS
</b>				 (all together)
			He-Man!!

<b>												 CUT TO:
</b>
<b>EXT. WEST 77TH STREET - DAY (LATER)
</b>
Stantz and Winston wearily load their equipment into the Ectomobile.

<b>						WINSTON
</b>			That's it, Ray.  I've had it.  No more parties.
			I'm tired of taking abuse from over-privileged
			nine-year-olds.

<b>						STANTZ
</b>			Come on, Winston.  We can't quit now.  The
			holidays are coming up.  It's our best season.

They get in the car

<b>INT.  ECTO-1 - DAY (CONTINUOUS ACTION)
</b>
Stantz tries to start the car, but the engine won't turn over.

<b>						WINSTON
</b>			Give it up, Ray.  You're living in the past.
			Ghostbusters doesn't exist anymore.  In a year
			these kids won't even remember who we are.

<b>						STANTZ
</b>				 (tries to start the car again)
			Ungrateful little Yuppie larvae.  After all we
			did for this city.

<b>						WINSTON
</b>			Yeah, what did we do, Ray?  The last real job
			we had we bubbled up a hundred foot marshmallow
			man and blew the top three floors off an uptown
			highrise.

<b>						STANTZ
</b>			Yeah, but what a ride.  You can't make a
			hamburger without chopping up a cow.

He turns the key again, the ENGING TURNS OVER, then starts GRINDING and
CLUNKING disastrously, chewing up vital parts and dropping twisted bits
of metal onto the pavement.  Finally, with a BLAST of black sooty
exhaust from the tailpipe, Ecto-1 shudders and dies.  Frustrated, Stantz
bangs his head lightly on the steering wheel

<b>												 CUT TO:
</b>
<b>INT.  WKRR-TV STUDIO RECEPTION AREA - DAY (LATER)
</b>
A bank of monitors in the lobby show the program now running on WKRR,
Channel 10 in New York. We PUSH IN ON one of the monitors as a title
card and logo come up accompanied by some EERIE SYNTHESIZER MUSIC, and
we return to the show in progress: "World of the Psychic with Dr. Peter
Venkman."  There is a video dissolve to a standard talk show set and
sitting there is our host PETER VENKMAN, the renowned and somewhat
infamous ex-Ghostbuster.

<b>VENKMAN
</b>
He turns TO CAMERA and talks to his viewers in a suavely engaging tone,
understated and intimate.

<b>						VENKMAN
</b>			Hi, welcome back to the 'World of the Psychic,'
			I'm Peter Venkman and I'm chatting with my guest,
			author, lecturer and of course, psychic, Milton
			Anglund.
				 (to his guest)
			Milt, your new book is called The End of the
			World.  Isn't that kind of like writing about
			gum disease.  Yes, it could happen, but do you
			think anybody wants to read a book about it?

<b>						MILTON
</b>			Well, I think it's important for people to know
			that the world is in danger.

<b>						VENKMAN
</b>			Okay, so can you tell us when it's going to
			happen or do we have to buy the book?

<b>						MILTON
</b>			I predict that the world will end at the
			stroke of midnight on New Year's Eve.

<b>						VENKMAN
</b>			This year?  That's cutting it a little close,
			isn't it?  I mean, just from a sales point of
			view, the book just came out, right?  So you're
			not even looking at the paperback release for
			maybe a year.  And it's going to be at least
			another year after that if the thing has
			movie-of-the-week or mini-series potential.
			You would have been better off predicting 1992
			or even '94 just to be safe.

<b>						MILTON
</b>				 (irritated)
			This is not just some money-making scheme!  I
			didn't just make up the date.  I have a strong
			psychic belief that the world will end on New
			Year's Eve.

<b>						VENKMAN
</b>				 (placating)
			Well, for your sake, I hope you're right.  But
			I think my other guest may disagree with you.
			Elaine, you had another date in mind?

The CAMERA REVEALS ELAINE, an attractive, aggressive New Jersey
housewife, sitting on the other side of Venkman.

<b>						ELAINE
</b>			According to my sources, the world will end
			on February 14, in the year 2016.

<b>						VENKMAN
</b>			Valentine's Day.  That's got to be a bummer.
			Where did you get that date, Elaine?

<b>						ELAINE
</b>			I received this information from an alien.  I
			was at the Paramus Holiday Inn, I was having
			a drink in the bar when he approached me and
			started talking.  Then he must have used some
			sort of ray or a mind control device because
			he made me follow him to his room and that's
			where he told me about the end of the world.

<b>						VENKMAN
</b>			Your alien had a room in the Holiday Inn?

<b>						ELAINE
</b>			It may have been a room on the spacecraft made
			up to look like a room in the Holiday Inn.  I
			can't be sure, Peter.

<b>						VENKMAN
</b>				 (humoring her)
			No, you can't, and I think that's the whole
			problem with aliens; you just can't trust them.
			You may get some nice ones occasionally like
			Starman or E.T., but most of them turn out to
			be some kind of lizard.  Anyway, we're just
			about out of time.
				 (does his wrap-up right TO
				 the CAMERA)
			Next week on 'World of the Psychic,' hairless
			pets.
				 (holds up a hairless cat)
			Until then, this is Peter Venkman saying ...
				 (puts a finger to his temple
				 and sends out a though to his
				 viewers)
			... Good night.

<b>												 CUT TO:
</b>
<b>INT. TV STUDIO - CORRIDOR - DAY (LATER)
</b>
Venkman comes out of the studio squabbling with his producer, NORMAN, a
well-meaning young incompetent.

<b>						VENKMAN
</b>			Where do you find these people?  I thought
			we were having the telekinetic guy who bends
			the spoons?

<b>						NORMAN
</b>			A lot of the better psychics won't come on the
			show.  They think you're too skeptical.

<b>						VENKMAN
</b>			Skeptical!  Norman, I'm a pushover.  I think
			professional wrestling is real.

There is a small commotion down the hall as two plainclothes cops come
out of the next studio followed by a group of mayoral assistants.

<b>						VENKMAN
</b>				 (to Norman)
			What's all this?

<b>						NORMAN
</b>			They just interviewed the mayor on 'Cityline.'

<b>						VENKMAN
</b>			The Mayor!  He's a friend of mine.

Venkman starts down the hall as the MAYOR and his principal aide, JACK
HARDEMEYER, come walking out of the studio.

<b>						VENKMAN
</b>				 (calling to the Mayor)
			Lenny!

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

<b>						VENKMAN
</b>				 (starts to follow him)
			Lenny!  It's Pete Venkman!

The plainclothesmen cut Venkman off and Hardemeyer puts a heavy hand
against Venkman's chest.

<b>						HARDEMEYER
</b>				 (snide)
			Can I help you?

<b>						VENKMAN
</b>				 (dangerous)
			Yeah, you can get your hand off my chest.

Hardemeyer smiles and drops his hand.

<b>						HARDEMEYER
</b>			I'm Jack Hardemeyer.  I'm the mayor's assistant.
			What can I do for you?

<b>						VENKMAN
</b>			I'm an old friend of the mayor's.  I just
			want to say hello to him.

<b>						HARDEMEYER
</b>				 (scornful)
			I know who you are, Doctor Venkman.  Busting
			any ghosts lately?

<b>						VENKMAN
</b>			No, that's what I want to talk to the mayor
			about.  We did a little job for the city a
			while back and we ended up getting sued,
			screwed and tattooed by deskworms like you.

<b>						HARDEMEYER
</b>				 (bristling)
			Look, you stay away from the mayor.  Next fall,
			barring a disaster, he's going to be elected
			governor of this state and the last thing we
			need is for him to be associated with two-bit
			frauds and publicity hounds like you and your
			friends.  You read me?

Hardemeyer walks off with the two cops.

<b>						VENKMAN
</b>			Okay, I get it.  But I want you to tell Lenny
			that, because of you, I'm not voting for him.

<b>												 CUT TO:
</b>
<b>EXT. MANHATTAN MUSEUM OF ART - DAY
</b>
The broad front steps of the museum are crowded with tourists and
visitors.  Dana arrives carrying a portfolio and artist's tackle box and
enters the museum.

<b>INT. MUSEUM - RESTORATION STUDIO - DAY (LATER)
</b>
We are FULL-FRAME ON a larger-than-life, full-figure portrait of VIGO
THE CARPATHIAN, a demented and sadistic 16th century despot with an
incredibly powerful evil presence.  Then we PULL BACK to reveal the
studio, which is a large open space on the top floor of the museum, lit
by large skylights in the ceiling.  Working on the Vigo painting is
JANOSZ POHA, a youngish art historian and painter, the head of the
department, quirky, intense and somewhat creepy.  Janosz is staring
longingly across the room at Dana.

<b>DANA
</b>
She is carefully cleaning a 19th Century landscape painting, still
preoccupied by the extraordinary near-accident with the buggy.  Janosz
watches her for a moment, then comes up behind her and looks over her
shoulder.

<b>						JANOSZ
</b>				 (with an East European accent)
			Still working on the Turner?

Dana jumps, startled by the intrusion.

<b>						DANA
</b>			Oh, yes, I got in a little late this morning,
			Janosz.

<b>						JANOSZ
</b>			You know, you are really doing very good work
			here.  I think soon you may be ready to assist
			me in some of the more important restorations.

<b>						DANA
</b>			Thank you, Janosz.  I've learned a lot here,
			but now that my baby's a little older, I was
			hoping to rejoin the orchestra.

<b>VIGO PAINTING
</b>
At the mention of Dana's baby, the figure of Vigo miraculously turns his
head and looks at Dana.

<b>JANOSZ AND DANA
</b>
Neither of them notice the movement in the painting.

<b>						JANOSZ
</b>				 (disappointed)
			We'll be very sorry to lose you.  Perhaps I
			could take you to lunch today?

<b>						DANA
</b>			Actually, I'm not eating lunch today.  I have
			an appointment.
				 (looks at her watch)
			In fact, I'd better go.

She starts gathering up her things.

<b>						JANOSZ
</b>			Every day I ask you, and every day you've got
			something else to do.  Do I have bad breath
			or something?

<b>						DANA
</b>				 (trying to brush him off)
			I'm sorry.  Perhaps some other time.

<b>						JANOSZ
</b>			Okay, I'll take a raincheck on that.

Janosz smiles at her as she exits, then goes back to his easel.

<b>						JANOSZ
</b>				 (to himself)
			I think she likes me.

He switches on an English language TAPE and starts practicing the
phrases as he resumes working.

<b>												 CUT TO:
</b>
<b>EXT. UNIVERSITY - DAY
</b>
Dana Barrett crosses the quad and enters a modern building.  A sign
identifies it as "The Institute for Advanced Theoretical Research."

<b>INT. UNIVERSITY - DAY (A LITTLE LATER)
</b>
Dana is explaining the buggy incident to EGON SPENGLER, the soberly
intellectual techno-wizard and former Ghostbuster, as he conducts an
experiment assisted by a research team of graduate students, all of whom
are Japanese, Chinese, or Korean.  The device he is testing is a black
box about the size of a Sony Watchman with both digital and graphic
displays.

<b>						DANA
</b>			... and then the buggy just suddenly stopped
			dead in the middle of the street

<b>						SPENGLER
</b>
			Did anyone else see this happen?

<b>						DANA
</b>			Hundreds of people.  Believe me, I didn't
			imagine this.

<b>						SPENGLER
</b>			I'm not saying you did.  In science we always
			look for the simplest explanation.

An ASSISTANT interrupts.

<b>						ASSISTANT
</b>			We're ready, Dr. Spengler

<b>						SPENGLER
</b>				 (to the Assistant)
			We'll start with the negative calibration.

He picks up the device and prepares to test it.

<b>						DANA
</b>				 (curious)
			What are you working on, Egon?

<b>						SPENGLER
</b>			I'm trying to determine whether human
			emotional states have a measurable effect on
			the psychomagnetheric energy field.  It's a
			theory Ray and I were working on when we had
			to dissolve Ghostbusters.

An assistant draws a curtain revealing a large picture window, actually
a two-way mirror, that looks into a small waiting room.  Inside the
waiting room they can see but not hear a youngish couple having a heated
arguement.

<b>						SPENGLER
</b>				 (to Dana)
			They think they're here for marriage
			counseling.  We've kept them waiting for two
			hours and we've been gradually increasing the
			temperature in the room.
				 (checking a heat sensor)
			It's up to 95 degrees at the moment.  Now my
			assistant is going to enter and ask them if
			they'd mind waiting another half-hour.

As Spengler, Dana, and the research team watch, the assistant enters the
waiting room and tells the couple about the new delay.  They explode
with anger both at him and each other while Spengler monitors them
through the glass.  After recording his readings, he returns to his
Assistant.

<b>						SPENGLER
</b>			We'll do the happiness index next.
				 (to Dana)
			I'd like to bring Ray in on your case, if
			it's all right with you.

<b>						DANA
</b>			Okay, whatever you think -- but not Venkman.

<b>						SPENGLER
</b>			Oh no.

<b>						DANA
</b>				 (affectedly casual)
			Do you ever see him?

<b>						SPENGLER
</b>			Occasionally

<b>						DANA
</b>			How is he these days?

<b>						SPENGLER
</b>			Venkman?  I think he was borderline for a
			while there.  Then he crossed the border.

<b>						DANA
</b>			Does he ever mention me?

<b>						SPENGLER
</b>			No.  Not that I can recall.

They move to another two-way mirror through which they can see a lovely
little girl playing with a wonderful array of toys.

<b>						DANA
</b>				 (slightly disappointed)
			Well, we didn't part on very good terms and
			we sort of lost track of each other when I
			got married.

The Assistant interrupts again.

<b>						ASSISTANT
</b>			We're ready for the affection test.

<b>						SPENGLER
</b>				 (to the assistant)
			Good.  Send in the puppy.

<b>						DANA
</b>				 (continuing)
			I thought of calling him after my marriage
			ended, but --.  Anyway, I appreciate you're
			doing this, Egon

They watch as another assistant enters the playroom with an adorable
Cocker Spaniel puppy and gives it to the little girl.  Spengler monitors
her as she jumps for joy and hugs the little dog.

<b>						DANA
</b>				 (handing him a card)
			This is my address and telephone number.
			Will you call me?

<b>						SPENGLER
</b>			Certainly.

<b>						DANA
</b>			Egon, I'd rather you didn't mention any of
			this to Peter if you don't mind.

<b>						SPENGLER
</b>			I won't.

<b>						DANA
</b>			Thank you.

She shakes his hand and exits.

<b>						SPENGLER
</b>				 (to his assistant)
			Now let's see how she reacts when we take
			away the puppy

<b>												 CUT TO:
</b>
<b>EXT. RAY'S OCCULT BOOK STORE - DAY (LATER)
</b>
It's a small basement shop located on a quaint commercial block in
Greenwich Village.  The window is crowded with occult artifacts and old
books full of arcane metaphysical lore.  The TELEPHONE RINGS.

<b>						STANTZ
</b>				 (v.o., answering the phone)
			Ray's Occult.

<b>INT. RAY'S OCCULT BOOKS - CONTINUOUS
</b>
The shelves are jammed floor to ceiling with books on the paranormal.
Ray sits on a barstool behind the counter wearing an old cardigan
sweater over a T-shirt.  He has on a pair of reading glasses and chews
on a battered, reeking pipe.  As he talks on the phone he prepares a cup
of herb tea for Spengler who is thumbing through an arcane text.

<b>						STANTZ
</b>				 (on the phone)
			Yeah ... mmhmm ... What do you need? ... What
			have I got?  I've got alchemy, astrology,
			apparitions, Bundu Magic Men, demon
			intercession, U.F.O. abductions, psychic
			surgery, stigmata, modern miracles, pixie
			sightings, golden geese, geists, ghosts, I've
			got it all -- what are you looking for? ...
			Don't have any.  Try the stockyards.

He hangs up.

<b>						SPENGLER
</b>			Who was that?

<b>						STANTZ
</b>			Some crank.  Looking for goat hooves.  Come
			up with anything?

<b>						SPENGLER
</b>				 (referring to the book)
			This one's interesting.  Berlin, 1939, a
			flower cart took off by itself and rolled
			approximately half a kilometer over level
			ground.  Three hundred eyewitnesses.

<b>						STANTZ
</b>			You might want to check those Duke University
			mean averaging studies on controlled
			psychokinesis.

<b>						SPENGLER
</b>				 (going to the stacks)
			Good idea.

The bones hanging over the door rattle as Venkman enters the shop.

<b>						VENKMAN
</b>			Oh, hello, perhaps you could help me.  I'm
			looking for an aerosol love potion I could
			spray on a certain Penthouse Pet that would
			make her unconditionally submit to an unusual
			personal request.

<b>						STANTZ
</b>			Oh, hiya, Pete.

<b>						VENKMAN
</b>			So, no goat hooves, huh?

<b>						STANTZ
</b>				 (strung)
			I knew that voice sounded familiar.  What's
			up?  How's it going?

<b>						VENKMAN
</b>			Nowhere -- fast.  Why don't you lock up and
			buy me a sub?

<b>						STANTZ
</b>				 (slightly evasive)
			Uh, I can't.  I'm kind of working on something.

Spengler steps out of the stacks.

<b>						VENKMAN
</b>			Egon!

<b>						SPENGLER
</b>			Hello, Venkman.

<b>						VENKMAN
</b>			How've you been?  How's teaching?  I bet
			those science chicks really dig that big
			cranium of yours, huh?

<b>						SPENGLER
</b>			I think they're more interested in my
			epididymis.

<b>						VENKMAN
</b>			I don't even want to know where that is.

Venkman steps behind the counter and takes a beer from Ray's mini-fridge.

<b>						STANTZ
</b>			Oh, your book came in, Venkman.  Magical
			Paths to Fortune and Power.

He hands Venkman the book.

<b>						VENKMAN
</b>			Great.
				 (reading the contents)
			So what are you guys working on?

<b>						STANTZ
</b>			Oh, just checking something for an old friend.

<b>						VENKMAN
</b>			Who?

<b>						STANTZ
</b>				 (at a loss)
			Who?  Just -- someone we know.

<b>						VENKMAN
</b>			Oh, Ray --

He grabs Stantz by both ears and pulls up.

<b>						VENKMAN
</b>			Who?  Who?  Who?

<b>						STANTZ
</b>			Aaah!  Nobody!  I can't tell you!

<b>						VENKMAN
</b>			Who, Ray?

<b>						STANTZ
</b>				 (giving in)
			Dana!  Dana Barrett!

Venkman lets go of his ears and smiles.  Spengler looks at Stantz and
shakes his head.

<b>												 CUT TO:
</b>
<b>INT. DANA'S APARTMENT - DAY (LATER)
</b>
The apartment is old and creatively furnished with a comfortable mix of
modern and traditional pieces.  Maria, a young Hispanic woman who does
day care for Dana, is feeding the baby in the kitchen when the DOORBELL
<b>RINGS.
</b>
<b>												 CUT TO:
</b>
Dana enters from the bedroom and crosses to the front door.  She opens
it and admits Ray and Egon.

<b>						DANA
</b>				 (hugging Ray)
			Hi, Ray.  It's good to see you.  Thanks for
			coming.

<b>						STANTZ
</b>			No problem.  Always glad to help -- and hug.

<b>						DANA
</b>				 (to Spengler)
			Hi, Egon.

She shakes his hand and is about to close the door when Venkman appears
in the doorway.

<b>						VENKMAN
</b>			Hi, Dana.

Dana is caught completely off guard by Venkman's surprise appearance.

<b>						VENKMAN
</b>			I knew you'd come crawling back to me.

She regards him coolly, as always amused and amazed at his
presumptuousness.

<b>						DANA
</b>			Hello, Peter.

<b>						VENKMAN
</b>				 (to Dana)
			You know, Dana, I'm very very hurt that you
			didn't call me first.  I'm still into all
			this stuff, you know.  Haven't you ever seen
			my show?

<b>						DANA
</b>			I have.  That's why I didn't call you first.

<b>						VENKMAN
</b>			I can see that you're still very bitter about
			us, but in the interest of science, I'm going
			to give it my best shot.  Let's go to work,
			boys.

Stantz and Spengler begin a comprehensive parapsychological work-up on
the baby and the immediate physical environment.

<b>VENKMAN AND DANA
</b>
Venkman starts nosing around the apartment.  Dana follows him.

<b>						VENKMAN
</b>			So what happened to Mr. Right?  I hear he
			ditched you and the kid and moved to Europe.

<b>						DANA
</b>			He didn't "ditch" me.  We had some problems,
			he got a good offer from an orchestra in
			England and he took it.

<b>						VENKMAN
</b>			He ditched you.  You should've married me,
			you know.

<b>						DANA
</b>			You never asked me, and every time I brought
			it up you'd get drowsy and fall asleep.

<b>						VENKMAN
</b>			Men are very sensitive, you know.  We need to
			feel loved and desired, too.

<b>						DANA
</b>			Well, when you started introducing me as "the
			old ball and chain," that's when I left.

<b>						VENKMAN
</b>			I may have a few personal problems but one thing
			I am is a total professional.

He leaves her and crosses to Spengler.

<b>SPENGLER
</b>
He's taking a complete set of body and head measurements of the baby
with a tape measure and calipers.

<b>						VENKMAN
</b>			What are you going to do, Egon?  Knit him a
			snowsuit?

Spengler ignores the remark and hands Venkman a specimen jar.

<b>						SPENGLER
</b>			I'd like to have a stool specimen

<b>						VENKMAN
</b>			Yeah, you would.  Is that for personal or
			professional reasons?

<b>						VENKMAN
</b>				 (picking up the baby)
			Okay, kid.  Up you go.

He starts clowning with the baby, holding him over his head and pressing
his nose into the baby's belly, pretending that the baby is attacking
him.

<b>						VENKMAN
</b>			Help!  Please somebody help me!  Get him off!
			Quickly!  He's gone completely berserk!

Dana is amused and somewhat disarmed by Venkman's rapport with the baby.

<b>						DANA
</b>			What do you think?

<b>						VENKMAN
</b>			There's no doubt about it.  He's got his
			father's looks.  The kid is ugly -- extremely
			ugly.  And smelly.
				 (resumes playing with the baby)
			You stink!  It's just horrible.  You are the
			stinkiest baby I ever smelled.
				 (to Dana)
			What's his name?

<b>						DANA
</b>			His name is Oscar.

<b>						VENKMAN
</b>			Oscar!  You poor kid!

<b>						DANA
</b>				 (losing patience)
			Peter, this is serious.  I need to know if you
			think there's anything unusual about him.

<b>						VENKMAN
</b>			Unusual?
				 (holds up the baby and
				 scrutinizes him)
			I don't know.  I haven't had a lot of
			experience with babies.

He looks at the baby, pulling his feet up, trying to get the sleeper
off.

<b>						DANA
</b>				 (taking the specimen jar)
			I'll do it.

<b>						VENKMAN
</b>			I'll supervise.

<b>INT. DANA'S APARTMENT - NURSERY - DAY (CONTINUOUS ACTION)
</b>
Venkman enters and finds Stantz monitoring the room.

<b>						VENKMAN
</b>				 (to Stantz)
			Well, Holmes, what do you think?

<b>						STANTZ
</b>			It's an interesting one, Pete.  If anything
			was going on it's totally subdued now.

Spengler enters.

<b>						VENKMAN
</b>				 (to Spengler)
			What now, Brainiac?

<b>						SPENGLER
</b>			I think we should see if we can find
			anything abnormal on the street.

<b>						VENKMAN
</b>			Finding something abnormal on the street
			shouldn't be too hard.

<b>												 CUT TO:
</b>
<b>EXT. EAST 77TH STREET - DAY (LATER)
</b>
Dana walks down the street with Venkman, retracing the path of the
runaway buggy.  Spengler and Stantz follow, monitoring PKE valences from
the pavement and the buildings.

<b>						VENKMAN
</b>				 (to Dana, nostalgic)
			Brings back a lot of sweet memories, doesn't
			it?
				 (pointing out familiar
				 neighborhood sights)
			There's our old cash machine.  And the dry
			cleaners we used to go to.  And the old
			video store.
				 (he wipes away an imaginary
				 tear)
			We really had some good times, didn't we?

<b>						DANA
</b>			We definitely had a moment or two.

Dana stops at the intersection and points to the middle of the street.

<b>						DANA
</b>			That's where the buggy stopped.

<b>						VENKMAN
</b>			Okay, let's take a look.

Venkman walks right out into the middle of the street, completely
oblivious to the CARS HONKING and whizzing past him and starts motioning
like a traffic cop, bringing traffic to a standstill.  Then he signals
for Dana, Stantz and Spengler to join him in the middle of the street.

<b>						STANTZ
</b>				 (reading the PKE meter)
			Is this the spot?

<b>						DANA
</b>			A little to the left.  Right there!  That's
			where it stopped.

Stantz reads the PKE meter.

<b>						STANTZ
</b>			Nothing.  Not a trace.

<b>						SPENGLER
</b>			Why don't we try the Giga-meter?

<b>						VENKMAN
</b>			What's that?

<b>						STANTZ
</b>			Egon and I have been working on a gauge to
			measure psychomagnetheric energy in GEVs -
			giga electron volts.

<b>						SPENGLER
</b>			That's a thousand million electron volts.

<b>						VENKMAN
</b>			I knew that.

Spengler switches on the Giga-meter, the device he was testing in the
lab, and passes it over the spot on the street where the buggy stopped.
The indicator goes right into the red zone and the DEVICE starts CLICKING
<b>WILDLY.
</b>
<b>						STANTZ
</b>			I think we hit the honeypot, boys.  There's
			something brewing under the street.

<b>						DANA
</b>				 (worried, to Venkman)
			Peter, do you think maybe I have some genetic
			problem or something that makes me vulnerable
			to these supernatural things.

<b>						VENKMAN
</b>			You mean like the time you got possessed and
			turned into a monster terror dog?  No, not
			a chance.  Total coincidence.
				 (to Stantz and Spengler)
			Am I right?

Stantz and Spengler look at him skeptically, not convinced by the
coincidence theory.

<b>												 CUT TO:
</b>
<b>INT.  MANHATTAN MUSEUM OF ART - LATE AFTERNOON
</b>
The museum has just closed for the day and the last of the visitors and
employees are leaving.

<b>INT.  RESTORATION STUDIO - SAME TIME
</b>
Janosz is working late on the painting of Vigo.

<b>VIGO PAINTING
</b>
Unnoticed by Janosz, the eyes of Vigo start to glow.

<b>JANOSZ
</b>
He touches his brush to the canvas and a powerful current of red,
crackling energy surges through the brush and courses through his body,
driving him to his knees.

<b>PAINTING
</b>
The figure of Vigo comes to life, turns toward Janosz and gestures
dramatically at him.  Then he speaks to Janosz in a commanding voice.

<b>						VIGO
</b>			I, Vigo, the scourge of Carpathia, the
			sorrow of Moldavia, command you.

<b>						JANOSZ
</b>				 (in agony)
			Command me, lord.

<b>						VIGO
</b>			On a mountain of skulls in a castle of pain,
			I sat on a throne of blood.  What was will
			be, what is will be no more.  Now is the
			season of evil.  Find me a child that I might
			live again.

Bolts of red-hot energy shoot from the eyes of Vigo into Janosz's eyes.
He screams and falls to his knees.

<b>												 CUT TO:
</b>
<b>EXT. COFFEE SHOP - EAST 77TH STREET - NIGHT
</b>
Venkman and Stantz come out with small boxes containing coffee,
sandwiches and Danish and start walking up the street.

<b>						VENKMAN
</b>			I love this.  We're onto something really
			big.  I can smell it, Ray.  We're going to
			make some headlines with this one.

<b>						STANTZ
</b>			Hey, hey, hey, stresshound!  Are you nuts?
			If anybody found out about this we'd be in
			serious trouble.  The judge couldn't have
			been clearer - no ghostbusting.

<b>						VENKMAN
</b>			Relax.  We're going to keep this whole thing
			nice and quiet, low key, no profile.

<b>EXT.  EAST 77TH STREET - NIGHT (CONTINUOUS ACTION)
</b>
Spengler, wearing a hardhat, is JACKHAMMERING a hole in the middle of the
street.  Safety cones and reflectors have been set up and a small area is
lit by strong work lights.

<b>POLICE CAR
</b>
It turns onto East 77th Street, cruises slowly up to the makeshift
worksite and stops.  The noise of the JACKHAMMER is so loud, Spengler
doesn't notice the police car and the two COPS inside looking at them.
Finally, he looks up, sees the police car and freezes.

<b>						FIRST COP
</b>			How ya doing?

<b>						SPENGLER
</b>				 (reeking with guilt)
			Fine!  It's cutting fine now.

<b>						FIRST COP
</b>				 (curious)
			Why are you cutting?

<b>						SPENGLER
</b>				 (looking for one of the
				 others)
			Why are we cutting?  Uh - boss!

Venkman and Stantz arrive just in time wearing Con Ed hardhats, doing a
good imitation of a Consolidated Edison repairman.

<b>						FIRST COP
</b>			What are you doing here?

<b>						VENKMAN
</b>				 (belligerent)
			What the hell's it look like we're doing?
			We're bustin out asses over here 'cause
			some douchebag downtown ain't got nothin'
			better to do than make idiots like us work
			late on a Friday night, right?
				 (looks to Spengler for
				 agreement)

<b>						SPENGLER
</b>				 (with a "right on" fist)
			Yo.

The cops seem satisfied by the explanation.

<b>						FIRST COP
</b>			Okay, boys, take it easy.

They drive off.  Spengler breathes a great sigh of relief and starts
rubbing his sore shoulders.

<b>						SPENGLER
</b>			You were supposed to help me with this.

<b>						VENKMAN
</b>			You need the exercise.

Stantz resumes JACKHAMMERING, while Venkman and Spengler clear the
rubble from the hole.  Suddenly he hits metal.  They clear away
generations of paving material revealing an ornate iron manhole cover.
The manhole cover bears a strange logo and the letters NYPRR.

<b>						STANTZ
</b>				 (examing it)
			NYPRR.  What the hell -- ?  Help me lift
			this.

They prey off the iron cover with crowbars, uncovering a very dark and
very deep abyss.

<b>						STANTZ
</b>				 (shining a flashlight into
				 the hole)
			Wow!  It's an old airshaft.  It just goes
			forever.

Spengler leans in with the giga-meter which is reading even higher now.

<b>						SPENGLER
</b>			Very intense.  We need a deeper reading.
			Somebody has to go down there.

Venkman and Spengler both look at Ray.

<b>						STANTZ
</b>			Thanks, boys.

They snap Stantz into a harness and lower him into the hole on a strong
cable attached to a winch.  Ray calls out orders to them as he descends
deeper and deeper.

<b>						STANTZ (O.S.)
</b>				 (his voice echoing in the
				 airshaft)
			Keep going -- more -- more --

<b>INT.  HOLE - NIGHT (CONTINUOUS ACTION)
</b>
Stantz rappels off the sides of the airshaft as he continues his descent
in total darkness.

<b>						STANTZ
</b>				 (using a radio now)
			Lower -- lower --
				 (to himself)
			Gee, this really is deep.

Suddenly, his feet kick thin air as he gets to the bottom of the airshaft
and swings free in some kind of tunnel.

<b>						STANTZ
</b>				 (shouts)
			Hold it!  Steady!

He pulls a powerful flashlight from his utility belt and shines it into
the tunnel below.

<b>INT.  VAN HORNE STATION - STANTZ'S POV - NIGHT
</b>
He is suspended near the top of a beautifully preserved chamber with
rounded, polished tile walls ardorned with intricate, colorfully enameled
Art Nouveau mosaics.  A finely inlaid sign identifies it as VAN HORNE
<b>STATION.
</b>
<b>STANTZ
</b>
He pans the walls with his flashlight, admiring the excellent tilework,
and speaks quietly to Venkman and Spengler over his walkie-talkie.

<b>						STANTZ
</b>				 (reverently)
			This is it, boys, the end of the line.  Van
			Horne Station.  The old New York Pneumatic.
			It's still here.

<b>EXT.  EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)
</b>
Venkman has no idea what he's talking about.

<b>						SPENGLER
</b>				 (explaining)
			The New York Pneumatic Railway.  It was an
			experimental subway system.  Fan-forced
			air-trains, built around 1870.

<b>						STANTZ
</b>				 (over the walkie-talkie)
			This is about as deep as you can go under
			Manhattan without digging your own hole.

<b>						SPENGLER
</b>				 (to Stantz)
			What's the reading?

<b>INT.  VAN HORNE STATION - NIGHT (CONTINUOUS ACTION)
</b>
Stantz shines his flashlight on the meter and whistles at the extremely
high reading.

<b>						STANTZ
</b>				 (on the radio)
			Off the top of the scale.  This place is
			really hot.  Lower me to the floor.

As Venkman and Spengler feed him some more cable, he pans his flashlight
down the wall of the station, then onto the floor.

<b>						STANTZ
</b>				 (shouts)
			Hold it!!  Stop!!  Whoa!!

<b>INT. VAN HORNE STATION - STANTZ'S POV - FLOOR - NIGHT
</b>
Below him is a river of bubbling seething, glowing slime, a veritable
torrent of disgusting ooze.

As he stares into the foul effluent, we become aware of the strangely
amplified and magnified sounds of great ENGINES THROBBING and pulsing in
the bowels of the city, of WATER RUSHING through pipes, STEAM HISSING
through ducts, the muffled RUMBLE of the SUBWAY and the ROAR of TRAFFIC,
and mixed with it all, the unmistakable sounds of human conflict and pain
-- VOICES SHOUTING in anger, SCREAMING in fear, GROANING in pain, a sad
and eerie symphony.

<b>INT.  VAN HORNE STATION - STANTZ - NIGHT
</b>
<b>						STANTZ
</b>				 (ranting on the radio)
			Oh, my God!  It's a seething, bubbling,
			psychic cess!  Interlocked tubes of plasm,
			crackling with negative GEVs!  It's glowing
			and moving!  It's -- it's a river of slime!!

<b>STANTZ
</b>
He dangles from the end of the cable, holding his feet up as high as he
can.  He unhooks a device from his utility belt and pulls the trigger on
it, shooting out a long telescoping fishing-pole with a scoop on the end.
Reaching down, he scoops up a sample of the slime and starts retracting
the pole.

<b>SLIME
</b>
Suddenly, a grotesque arm with a long skeletal fingers reaches up out of
the slime and snatches at Stantz's dangling feet.  He jerks his legs up
as several more arms poke up out of the slime and reach for him.

<b>						STANTZ
</b>				 (on the radio)
			Haul me up, Venkman!  Now!

<b>EXT.  EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)
</b>
Venkman and Spengler start hauling in the cable as a Con Ed Supervisor's
car drives up, and behind it, the same police car they saw earlier.  A
burly SUPERVISOR gets out and crosses toward them, followed by the two
cops.

<b>						SUPERVISOR
</b>				 (no nonsense)
			Okay, what's the story here?

Venkman and Spengler stop pulling up the cable and Venkman tries the
belligerent worker ploy again, only this time he's wearing a Nynex
hardhat.

<b>						VENKMAN
</b>			What, I got time for this?  We got three
			thousand phones out in the Village and about
			eight million miles of cable to check.

<b>						SUPERVISOR
</b>				 (not buying it)
			The phone lines are over there.
				 (points to the curb)

Venkman pops Spengler on the head.

<b>						VENKMAN
</b>			I told ya!

Stantz can be heard ranting over Venkman's walkie-talkie.

<b>						STANTZ (O.S.)
</b>				 (filtered)
			Help!  Help!  Pull me up!  It's alive!  It's
			eating my boots.

Venkman switches off the walkie-talkie.

<b>						FIRST COP
</b>			You ain't with Con Ed or the phone company.
			We checked.  Tell me another one.

Venkman stares at the Cop for a long moment.

<b>						VENKMAN
</b>			Gas leak?

<b>INT.  VAN HORNE STATION - SAME TIME
</b>
Stantz is hanging there, looking down into the shaft at the slime which
is now bubbling up the shaft after him.

<b>						STANTZ
</b>				 (shouting)
			Get me out of here!!

Desperate now, he kicks wildly and knocks loose a section of an old,
rusting conduit.

<b>INT.  VAN HORNE STATION - BOTTOM OF THE SHAFT
</b>
The conduit falls on a heavy electrical transmission line, ripping
through the cable with a SHOWER OF SPARKS.

<b>EXT.  EAST 77TH STREET - HOLE - CONTINUOUS ACTION
</b>
Venkman, Spengler, the cops and the supervisor all react to a bright
FLASH deep down in the hole and a SHOUT from Stantz.

<b>EXT.  EAST 77TH STREET - STREET - NIGHT
</b>
One by one, all the streetlights go out; then the lights on all the
buildings along East 77th street; then the whole neighborhood blacks
out, and finally the entire city is plunged into darkness.

<b>						STANTZ (O.S.)
</b>			Sorry.

<b>INT. DANA BARRETT'S APARTMENT - NIGHT (SAME TIME)
</b>
She walks around in the dark lighting candles and placing them all over
the living room.  Then she finds a transistor radio and turns it on for
information about the blackout.  She listens to a special news report
for a moment, then has a compelling impulse to go check on the baby.
She crosses to the nursery carrying a candle and quietly opens the door
and looks in.  Suddenly the DOORBELL RINGS, scaring her half to death.
Leaving the chain on the door, she opens it a crack and sees Janosz
standing in the hall, eerily lit by a red emergency spot at the end of
the hallway.  He looks slightly dazed and even creepier.

<b>						DANA
</b>				 (surprised)
			Janosz?

<b>						JANOSZ
</b>			Hello, Dana.  I happened to be in the
			neighborhood and I thought I'd stop by to
			see if everything's all right with you --
			you know, with the blackout and everything?
			Are you okay?  Is the baby all right?

His affected concern is chilling.  She is frightened but conceals it
from him.

<b>						DANA
</b>				 (mechanically and cautiously)
	We're fine, Janosz.

He tires to look around her into the apartment.

<b>						JANOSZ
</b>			Do you need anything?  You want me to come
			in?

<b>						DANA
</b>			No, everything's fine.  Honestly.  Thanks
			anyway.

<b>						JANOSZ
</b>			Okay, just thought I'd check.  Good night,
			Dana.  Sleep well.  Don't let the bedbugs
			bite you.

<b>						DANA
</b>			Good night, Janosz.

She closes the door behind him and double locks it, then stands there
staring into the candlelight, alone and afraid.

<b>INT.  HALLWAY OF DANA'S BUILDING - NIGHT (CONTINUOUS ACTION)
</b>
Janosz stands there in semi-darkness, then his eyes light up like
headlights and he walks off down the hall.

<b>												 CUT TO:
</b>
<b>INT.  COURTROOM - WITNESS STAND - NEXT DAY
</b>
The JUDGE, a rather sour-looking jurist of the old school, calls the
court to order.

<b>						JUDGE
</b>			I want to make one thing very clear before
			we go any further.  The law does not recognize
			the existence of ghosts, and I don't believe
			in them either, so I don't want to hear a
			lot of malarkey about goblins and spooks and
			demons.  We're going to stick to the facts
			in this case and save the ghost stories for
			the kiddies.  Understood?

<b>DEFENSE TABLE
</b>
Stantz leans over and whispers to Spengler.

<b>						STANTZ
</b>			Seems like a pretty open-minded guy, huh?

<b>						SPENGLER
</b>			His nickname is "The Hammer."

Stantz and Spengler are seated with their attorney LOUIS TULLY, lawyer,
CPA and former demonic possession victim.  Louis is desperately paging
through a mountain of legal textbooks.

<b>						LOUIS
</b>				 (nervous)
			I think you're making a big mistake here,
			fellas.  I do mostly tax law and some probate
			stuff occasionally.  I got my law degree at
			night school.

<b>						STANTZ
</b>			That's all right.  We got arrested at night.

<b>SPECTATORS' GALLERY
</b>
Venkman is talking to Dana at the wooden rail in front of the gallery.

<b>						DANA
</b>			I wish I could stay.  I feel personally
			responsible for you being here.

<b>						VENKMAN
</b>			You are personally responsible.  If I can
			get conjugal rights, will you visit me at
			Sing Sing?

<b>						DANA
</b>			Please don't say that.  You won't go to prison.

<b>						VENKMAN
</b>			Don't worry about me.  I'm like a cat.

<b>						DANA
</b>			You mean you cough up hairballs all over
			the rug?

<b>						VENKMAN
</b>			I'm El Gato.  I always land on my feet.

<b>						DANA
</b>				 (sincerely)
			Good luck.

<b>						VENKMAN
</b>			Thanks.

She gives him a quick, unexpected kiss and exits.  Venkman savors it for
a moment then goes back to the defense table.

<b>PROSECUTION TABLE
</b>
Jack Hardemeyer, the mayor's principal aide, is goading the PROSECUTOR,
a very sober, humorless woman in her late thirties.

<b>						HARDEMEYER
</b>			How are you doing, hon?  Just put these guys
			away fast and make sure they go away for a
			long, long time.

<b>						PROSECUTOR
</b>			It shouldn't be hard with this list of charges.

<b>						HARDEMEYER
</b>			Good.  Very good.  The mayor and future
			governor won't forget this.

He smiles conspiratorially and makes a point of passing the defense table
on his way out of the courtroom.

<b>DEFENSE TABLE
</b>
The Ghostbusters look up as Hardemeyer approaches.

<b>						HARDEMEYER
</b>				 (gloating)
			Nice going, Venkman.  Violating a judicial
			restraining order, willful destruction of
			public property, fraud, malicious mischief
			-- smooth move.  See you in a couple years
			-- at your first parole hearing.

Herdemeyer exits.  Louis looks devastated.

<b>						LOUIS
</b>			Gee, the whole city's against us.  I think
			I'm going to be sick.

Spengler hands him a waste basket as the Prosecutor calls her first
witness.

<b>INT.  COURTROOM - WITNESS STAND - DAY (LATER)
</b>
The Con Ed Supervisor is testifying.

<b>						PROSECUTOR
</b>			Mr. Fianella, please look at Exhibits A
			through F on the table over there.  Do you
			recognize that equipment?

<b>EXHIBIT TABLE
</b>
Lying on the table are the basic tools of the Ghostbusting trade: three
proton packs and particle throwers, a couple of ghost traps, and various
meters and detection devices.

<b>						CON ED
</b>				 (o.c.)
			That's the stuff the cops found in their
			truck.

<b>WITNESS STAND
</b>
She continues.

<b>						PROSECUTOR
</b>			Do you know what this equipment is used for?

<b>						CON ED
</b>				 (shrugs)
			I don't know.  Catching ghosts, I guess.

<b>						PROSECUTOR
</b>				 (to the Judge)
			May I remind the court that the defendants
			are under a judicial restraining order that
			specifically forbids them from performing
			services as paranormal investigators and
			eliminators.

<b>						JUDGE
</b>			So noted.

<b>						PROSECUTOR
</b>			Now, Mr. Fianella, can you identify the
			substance in the jar on the table marked
			Exhibit F?

<b>PROSECUTOR
</b>
She goes to the exhibit table and picks up a specimen jar containing the
slime sample Stantz removed from the tunnel.

<b>						CON ED
</b>			I been working underground for Con Ed for
			27 years and I never saw anything like that
			in my life.  We checked out that tunnel the
			next day and we didn't find nothing.  If it
			was down there, they must have put it there.

<b>DEFENSE TABLE
</b>
Venkman and Spengler look at Stantz.

<b>						STANTZ
</b>				 (defensively)
			Hey, I didn't imagine it.  There must have
			been ten thousand gallons of it down there.

<b>						SPENGLER
</b>			It may be ebbing and flowing from some tidal
			source.

<b>						LOUIS
</b>				 (nervously)
			Should I say that?

<b>						SPENGLER
</b>			I doubt that they'd believe us.

Louis moans and goes back to his notes.

<b>												 WIPE TO:
</b>
<b>INT.  COURTROOM - WITNESS STAND - LATER
</b>
Venkman himself is on the stand and Louis is questioning him.

<b>						LOUIS
</b>			So like you were just trying to help out
			your old friend because she was scared and
			you didn't really mean to do anything bad
			and you really love the city and won't ever
			do anything like this again, right?

<b>						PROSECUTOR
</b>			Objection, your Honor.  He's leading the
			witness.

<b>						JUDGE
</b>			The witness is leading him.  Sustained.

<b>						LOUIS
</b>			Okay, let me rephrase that question.
				 (to venkman)
			Didn't you once coach a basketball team for
			underprivileged children?

<b>						VENKMAN
</b>			Yes, I did.  We were city champs.

<b>						PROSECUTOR
</b>			Objection.  Irrelevant and immaterial.

<b>						JUDGE
</b>			Sustained.  Mr. Tully, do you have anything
			to ask this witness that may have some
			bearing on this case?

<b>						LOUIS
</b>				 (to Venkman)
			Do I?

<b>						VENKMAN
</b>			No, I think you've helped them enough already.

<b>						LOUIS
</b>				 (to the Judge)
			No, I guess not.
				 (to the Prosecutor)
			Your witness.

The Prosecutor rises and approaches the witness stand with relish.

<b>						PROSECUTOR
</b>			So, Dr. Venkman, please explain to the court
			why it is you and your co-defendants took it
			upon yourselves to dig a big hole in the
			middle of the street.

<b>						VENKMAN
</b>			Seventy-seventh and First Avenue has so many
			holes already we didn't think anyone would
			notice.

The gallery laughs and the Judge gavels for order.

<b>						JUDGE
</b>			Keep that up, mister, and I'll find you in
			contempt.

<b>						VENKMAN
</b>			Sorry, your Honor, but when somebody sets
			me up like that I can't resist.

<b>						PROSECUTOR
</b>			I'll ask you again, Dr. Venkman.  Why were
			you digging the hole?  And please remember
			that you're under oath.

<b>						VENKMAN
</b>			I had my fingers crossed when they swore me
			in, but I'm going to tell you the truth.
			There are things in this world that go way
			beyond human understanding, things that
			can't be explained and that most people don't
			want to know about anyway.  That's where we
			come in.

<b>						PROSECUTOR
</b>			So what are you saying?  That the world of
			the supernatural is your special province?

<b>						VENKMAN
</b>			No, I guess I'm just saying that shit happens
			and somebody has to deal with it.

The spectators in the gallery cheer and the judge gavels for order.

<b>												 WIPE TO:
</b>
<b>INT.  COURTROOM - LATER
</b>
The trial is nearing its end.  The Judge calls on Louis to make his
summation.

<b>						JUDGE
</b>			Does the counsel for the defense wish to
			make any final arguements?

Louis rises.

<b>						LOUIS
</b>			Your honor, may I approach the bench?

<b>						JUDGE
</b>				 (impatient)
			Yes.

Louis crosses to the judge's bench.

<b>						LOUIS
</b>				 (to the judge)
			Can I have some of your water?

<b>						JUDGE
</b>			Get on with it, counselor!

<b>						LOUIS
</b>				 (scared)
			Your honor, ladies and gentlemen of the --
				 (he remembers there's no
				 jury)
			audience.  I don't think it's fair to call
			my clients frauds.  Okay, the blackout was
			a big problem for everybody.  I was stuck in
			an elevator for about three hours and I had
			to go to the bathroom the whole time, but I
			don't blame them because once I turned into
			a dog and they helped me.  Thank you.

He goes back to the defense table and sits down.  Stantz and Spengler
hang their heads.  Venkman pats Louis on the back.

<b>						SPENGLER
</b>				 (to Louis)
			Way to go.  Concise and to the point.

<b>JUDGE
</b>
He stares at Louis, astonished at his summation.

<b>						JUDGE
</b>			That's it?  That's all you have to say?

<b>						LOUIS
</b>			Did I forget something?

He searches through a disorderly pile of notes.

<b>						JUDGE
</b>			That was unquestionably the worst
			presentation of a case I've ever heard in a
			court of law!  I ought to cite you for
			contempt and have you disbarred.  As for
			your clients, Peter Venkman, Raymond Stantz
			and Egon Spengler, on the charges of
			conspiracy, fraud and the willful destruction
			of public property, I find you guilty on all
			counts.  I order you to pay fines in the
			amount of $25,000 each and I sentence you to
			eighteen months in the city correctional
			facility at Ryker's Island.

<b>STANTZ
</b>
He sees the activity in the jar

<b>						STANTZ
</b>			Uh-oh, she's twitchin'.

<b>THE BENCH
</b>
The Judge continues

<b>						JUDGE
</b>			And on a more personal note, let me go on
			record as saying that there is no place in
			decent society for fakes, charlatans and
			tricksters like you who prey on the
			gullibility of innocent people.  You're
			beneath the contempt of this court.  And
			believe me, if my hands were not tied by the
			unalterable fetters of the law, a law which
			has become in my view far too permissive and
			inadequate in it's standards of punishment,
			I would invoke the tradition of our
			illustrious forebearers, reach back to a
			sterner, purer justice and have you burned
			at the stake!

He hammers the bench with his gravel as the gallery erupts noisily.  Then
he feels a LOW RUMBLING TREMOR in the courtroom.

<b>SPECIMEN JAR
</b>
The slime starts to pulse and swell, pushing up the lid on the jar.

<b>DEFENSE TABLE
</b>
Stantz anticipates big trouble.

<b>						STANTZ
</b>			Under the table, boys!

The Ghostbusters duck under the defense table.

<b>LOUIS
</b>
He stands up and looks around fearfully.

<b>INT.  COURTROOM - GHOST BATTLE - DAY
</b>
Everybody is silent now as the rumbling increases.  All eyes turn to the
exhibit table.  Then suddenly all Hell breaks loose as TWO FULL-TORSO
APPARITIONS explode out of the specimen jar.

<b>JUDGE
</b>
He looks up in terror at the two huge apparitions looming above him and
recognizes them immediately.

<b>						JUDGE
</b>				 (in horror)
			Oh, my God!  The Scoleri Brothers!

<b>SCOLERI BROTHERS
</b>
Big in life, even bigger in death, the ghostly Scoleri brothers seem ten
feet tall.  They are strapped into electric chairs and on their heads are
metal electrocution caps with live, sparking electrical wires still
attached.  Twenty-five hundred volts of electricity shoot through their
bodies as they start to break free of the leather restraints, trying to
get at the Judge.

<b>JUDGE
</b>
Holding his gavel like a pitiful weapon, he crawls over to the defense
table where Venkman, Stantz and Spengler are now crouched, assessing the
spectral intruders.

<b>						JUDGE
</b>				 (terrified)
			You've got to do something!

<b>						VENKMAN
</b>			Who are they?

<b>						JUDGE
</b>			They're the Scoleri Brothers.  I tried them
			for murder.  They were electrocuted up at
			Ossining in '48.  Now they want to kill me.

<b>						VENKMAN
</b>			Maybe they just want to appeal.

<b>SCOLERI BROTHERS
</b>
They break loose from the electric chairs, then turn toward the defense
table and BLAST it with HIGH-VOLTAGE FINGER-LIGHTNING.

<b>PROSECUTOR
</b>
She sprints for the door, pursued by one of the Scoleri brothers.

<b>GHOSTBUSTERS
</b>
They jump to safety behind the rail of the jury box, pulling the Judge
with them.

<b>						VENKMAN
</b>			These boys aren't playing around.

<b>						JUDGE
</b>				 (desperately)
			You've got to stop them.  Please!

<b>						LOUIS
</b>				 (thinking like a lawyer)
			Violating a judicial restraining order could
			expose my clients to serious criminal
			penalties.  As their attorney I'd have to
			advise them against it.

<b>SCOLERI BROTHERS
</b>
They start punching through the jury box.

<b>JUDGE
</b>
He is just about hysterical with fear.

<b>						JUDGE
</b>			All right!  All right!  I'm recinding the
			order.  Case dismissed!!
				 (he pounds his gavel on
				 the floor)
			Now do something!

<b>						STANTZ
</b>			Let's go to work, boys.

With that, the Ghostbusters leap over the rail of the jury box and dash
across the courtroom to the exhibit table where their proton packs were
being displayed as evidence.  They strap them on hastily as the Brothers
continue tearing up the seats looing for the Judge.

<b>						VENKMAN
</b>				 (slinging the pack onto
				 his back)
			Geez, I forgot how heavy these things are.

<b>						STANTZ
</b>				 (grabbing other gear)
			Okay, let's heat 'em up!

They flip the power switches on their packs and draw their particle
throwers.

<b>						STANTZ
</b>			All right, throwers.  Set for full neutronas
			on stream.

They switch on their throwers and turn to face the raging phantasms.

<b>SCOLERI BROTHERS
</b>
They are just about to wipe out the Judge when a loud shout distracts
them.

<b>						VENKMAN
</b>			Hey!  Why don't you pick on someone your own
			size?

The towering ghosts turn in a fury and raise their arms, ready to shoot
lightning at their new adversaries.

<b>						STANTZ
</b>				 (to the others)
			On my signal, boys.  Open 'em up -- Now!

They all pull their triggers and the wands EXPLODE with incredible
powerful STREAMS OF ENERGY, doing even more damage to the courtroom.

<b>						VENKMAN
</b>			Spengs, take the door.  Ray, let's try and
			work them down and into the corner.

Working as a team, they gradually confine the Scoleri Brothers with the
streams, forcing them closer and closer to the traps Ray has set out on
the floor.

<b>						STANTZ
</b>			Watch it!  I'm coming under you, Pete.

They circle around the two ghosts, prodding them with the streams while
ducking the lightning bolts shooting from their fingers.  Finally, Ray
sees his chance and pops open the traps which emit inverted pyramids of
light energy.

<b>						STANTZ
</b>			Steady -- watch your streams -- easy now --
			Venky, bring him left -- Spengy, pull him
			down -- trapping -- trapping -- now!

He stomps on a control pedal and the Scoleri Brothers are drawn into the
traps which snap shut.

<b>INT.  COURTROOM - TRAPS - DAY
</b>
LEDs on the outer casing start flashing, indicating the presence of a
ghost inside each trap.

<b>						VENKMAN
</b>				 (checking the trap)
			Occupado.

<b>INT.  COURTROOM - JUDGE - DAY (AFTER GHOST BATTLE)
</b>
He sticks his head up slowly from behind the debris of his bench and
looks around in total amazement.

<b>LOUIS
</b>
He crawls out from under a chair.  Reporters and spectators get back on
their feet and start buzzing about the incredible manifestation.

<b>PROSECUTOR
</b>
She's lying on the floor, attended to by the Bailiff and the Court Clerk.

<b>						SPENGLER
</b>				 (to the Prosecutor)
			Brilliant summation.

<b>GHOSTBUSTERS
</b>
They break into big smiles as photographers start snapping pictures of
them standing in the wrecked courtroom.

<b>						VENKMAN
</b>			Case closed, boys.  We're back in business.

The spectators cheer and applaud.

<b>												 CUT TO:
</b>
<b>EXT.  FIREHOUSE - DAY
</b>
The old, dilapidated Ghostbusters logo comes crashing to the ground,
dropped by a pair of workmen on a ladder, and the new logo is hoisted
into place over the main entrance.  It's just like the original "No
Ghosts" logo, but in the new one the ghost in the red circle is holding
up two fingers.  Venkman enters the firehouse.

<b>INT.  BEDROOM SET (TV COMMERCIAL - FULL SCREEN VIDEO) - NIGHT
</b>
A man and his wife are lying in bed reading.  The man is played by Louis
Tully and JANINE MELNITZ, the Ghostbusters' once and future receptionist,
is playing his wife.  They are both terrible actors.  Suddenly, a ghost,
actually a very bad puppet on a wire, floats through the bedroom.  Janine
sees it and screams.

<b>						LOUIS
</b>			What is it, honey?

<b>						JANINE
</b>			It's that darn ghost again!  I don't know
			what to do anymore.  He just won't leave us
			alone.  I guess we'll just have to move.

<b>						LOUIS
</b>			Don't worry.  We're not moving.  He is.

He picks up the phone.

<b>						JANINE
</b>			Who are you going to call?

<b>						LOUIS
</b>				 (with a wink)
			Ghostbusters.

As he starts to dial, the CAMERA PULLS BACK to reveal the Ghostbusters
standing in the bedroom.  Their acting isn't much better than Louis and
Janine's.

<b>GHOSTBUSTERS
</b>
Stantz speaks directly TO the CAMERA.

<b>						STANTZ
</b>			I'm Ray --

<b>						VENKMAN
</b>			I'm Peter --

<b>						SPENGLER
</b>			I'm Egon --

<b>						STANTZ
</b>			And we're the ...

<b>						ALL
</b>				 (together)
			Ghostbusters.

<b>						STANTZ
</b>			That's right -- Ghostbusters.  We're back
			and we're better than ever with twice the
			know-how and twice the particle-power to
			deal with all your supernatural elimination
			needs.

During his speech, Winston can be seen in the b.g. pretending to trap the
fake ghost.

<b>						STANTZ
</b>			Careful, Winston.  He's a mean one.
<b>				 (TO CAMERA)
</b>			And to celebrate our grand reopening, we're
			giving you twice the value with our special
			half-price 'Welcome Back' service plan.

<b>						VENKMAN
</b>			Hold on, Ray!  Half-price!  Have you gone
			crazy?

<b>						STANTZ
</b>			I guess so, Pete, because that's not all.
			Tell them what else we've got, Egon.

Spengler actually mouths everyone else's dialogue along with them,
waiting for his cue.

<b>						SPENGLER
</b>			You mean the Ghostbusters hot beverage
			thermal mugs and free balloons for the kids?

He holds up a mug and a limp, uninflated balloon.

<b>						STANTZ
</b>			You bet.

As Stantz wraps it up, SUPERS APPEAR at the bottom of the SCREEN: FULLY
<b>BONDED - FULLY LICENSED - SE HABLA ESPANOL.
</b>
<b>						STANTZ
</b><b>				 (TO CAMERA)
</b>			So don't wait another minute.  Make your
			supernatural problem our supernatural problem.
			Call now, because we're still --

<b>						ALL
</b>				 (in unison, mechanically)
			-- Ready to believe you.

<b>												 CUT TO:
</b>
<b>INT.  JACK HARDEMEYER'S OFFICE - DAY
</b>
Hardemeyer is watching the Ghostbusters commercial on a TV in his office.
He bangs his fist on his desk and angrily switches OFF the TV.

<b>												 CUT TO:
</b>
<b>EXT.  FIREHOUSE - DAY (LATER)
</b>
The garage door opens and the new improved ECTOMOBILE comes ROARING out
onto the street, its ghostly SIREN MOANING and WAILING.  Louis comes
running out after it.

<b>												 CUT TO:
</b>
<b>INT.  FIREHOUSE - DAY
</b>
Louis comes back into the garage bay and stops as he smells a foul odor.
He sniffs around, following the smell.

<b>						LOUIS
</b>			Oh, geez, smells like somebody took a really
			big --

He freezes.

<b>INT. OFFICE AREA - LOUIS'S POV
</b>
Slimer, a spud-like green ghost, is hovering over Louis's desk, scarfing
down Louis's bag lunch.  Slimer looks up and sees Louis.

<b>SLIMER AND LOUIS
</b>
They both scream and run off in opposite directions.

<b>SLIMER
</b>
He passes right through a wall and disappears.

<b>LOUIS
</b>
He runs right into a wall, recovers and exits in a hurry.

<b>						LOUIS
</b>				 (screaming)
			Help!  There's a thing!

<b>												 CUT TO:
</b>
<b>EXT.  CENTRAL PARK RESERVOIR - DAY (LATER)
</b>
Runners of both sexes and all ages are huffing and puffing as they jog
along the track that circles the reservoir.  One of the runners looks
behind him at the sound of APPROACHING FOOTFALLS and screams.

<b>GHOSTLY JOGGER
</b>
A ghost jogger is loping along at a pretty fair pace.  Other runners
stumble and run screaming into the park as he passes them.  Seemingly
oblivious to the effect he's having, the ghost jogger puts two fingers to
his skeletal neck and checks his watch as if taking his pulse.

<b>EXT. CLEARING IN PARK - DAY (SAME TIME)
</b>
Venkman is sitting on a park bench near the jogging track reading the
newspaper, eating a donut and drinking coffee from a Styrofoam cup.

<b>STANTZ
</b>
He's sitting on a bench opposite Venkman's, casually watching the jogging
track.

<b>GHOST JOGGER
</b>
He approaches the benches where the Ghostbusters are waiting.  As the
ghost jogger passes the benches, Stantz and Venkman simultaneously hit
concealed control buttons.  A ghost trap buried in the track throws up a
glowing inverted pyramid and catches the ghost jogger in mid-stride.
Stantz and Venkman close the trap and capture the ghost jogger.

<b>						VENKMAN
</b>				 (checking his watch)
			You know he ran that last lap in under six
			minutes?

<b>						STANTZ
</b>			If he wasn't dead he'd be an Olympic
			prospect.

<b>												 CUT TO:
</b>
<b>EXT.  JEWELRY STORE - DAY
</b>
The Ghostbusters come out carrying smoking traps, wearing cheap
dime-store Santa Claus hats.

<b>						STANTZ
</b>				 (to the client)
			Merry Christmas!

<b>												 CUT TO:
</b>
<b>EXT.  FIFTH AVENUE - ORREFORS GLASS STORE - DAY
</b>
The Ectomobile is parked at the curb and a curious crowd looks on as the
Ghostbusters enter the store.

<b>INT.  ORREFORS GLASS STORE - CONTINUOUS ACTION
</b>
All the precious crystal is floating in the air, several feet above the
glass shelves and display tables.  Stantz and Venkman are talking to the
manager while Winston and Spengler set up an array of electronic devices
positioned in each corner of the store.

On a signal from Stantz, Spengler and Winston switch on the devices which
throw laser-type beams around the perimeter of the store.  The manager
watches in horror as all the GLASSWARE suddenly drops out of the air,
SMASHES through the GLASS SHELVES and SHATTERS on the display tables.
There is a long pregnant pause.

<b>						STANTZ
</b>				 (to the manager)
			So will that be cash or a check?

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM - RESTORATION STUDIO - DAY (LATE AFTERNOON)
</b>
Everyone else has gone home.  Dana is cleaning her brushes and putting
her supplies away.

<b>VIGO PAINTING - CONTINUOUS ACTION
</b>
Vigo turns his head and watches Dana as she walks past the painting.

<b>DANA
</b>
She stops, vaguely aware of the movement, and looks up curiously at the
painting.  As she starts to walk on, Vigo looks at her again, but Dana
turns suddenly and catches the movement.  Frightened now, she hastily
leaves the studio.

<b>INT.  FIREHOUSE - DAY
</b>
Louis is lurking behind a pillar, peeking out at the office area.  We PAN
DOWN TO the floor and see a foot pedal, then PAN ALONG the cord TO a
ghost trap sitting on Louis's desk.  Hanging from strings over the desk
are several pieces of Kentucky fried chicken.

<b>WALL
</b>
Slimer partially emerges and furtively sniffs the air, then spots the
chicken bait.  He licks his lips, materializes completely and flies to
the chicken.

<b>LOUIS
</b>
His eyes light up and he stomps the foot pedal.

<b>						LOUIS
</b>				 (shouts)
			Gotcha!

<b>DESK
</b>
The trap pops open and shoots out a powerful cone of energy.  Slimer
dodges it and escapes as a big section of the ceiling comes crashing down
on Louis's desk.

<b>						LOUIS
</b>				 (seeing the damage)
			Uh-oh.

He slinks off, defeated.

<b>												 CUT TO:
</b>
<b>INT.  MANHATTAN MUSEUM OF ART - SECURITY DESK - DAY
</b>
The Ghostbusters commercial is playing on a portable TV on the security
desk.  Rudy, the Security Guard, is reading a National Enquirer with a
giant front-page headline: GHOSTBUSTERS SAVE JUDGE.  Venkman enters.

<b>						VENKMAN
</b>			I'm looking for Dana Barrett.

<b>						SECURITY GUARD
</b>			Room 304 -- Restorations.
				 (recognizing him)
			Hey!  Dr. Venkman -- 'World of the Psychic.'
			I'm a big, big fan.  That used to be one of
			my two favorite shows.

<b>						VENKMAN
</b>				 (flattered)
			Thanks.  What's the other one?

<b>						SECURITY GUARD
</b>			'Bass Masters.'  It's a fishing show.  Ever
			see it?

<b>						VENKMAN
</b>			Yeah, really great.  Take it easy.

He exits.

<b>INT.  MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)
</b>
Dana is working on a valuable Flemish still-life by Ver Meer.  Janosz is
at the other end of the room, still working on the painting of Vigo.
Venkman enters and sneaks up behind Dana.

<b>						VENKMAN
</b>				 (looking at the Ver Meer)
			So this is what you do, huh?

<b>						DANA
</b>				 (glad to see him)
			Oh, hello, Peter.

<b>						VENKMAN
</b>			You're really good, you know.

<b>						DANA
</b>			I didn't paint it.  I'm just cleaning it.
			It's an original Ver Meer.  It's worth about
			ten million dollars.

<b>VIGO
</b>
He turns his head and watches Venkman and Dana.

<b>VENKMAN
</b>
Unaware that he's being watched, Venkman squints at the still life,
holding up his thumb like he's seen artists do.

<b>						VENKMAN
</b>			You know you can go to Art World and get
			these huge sofa-size paintings for about
			forty-five bucks.

He starts looking around at the other artwork in the studio.

<b>						DANA
</b>			I'm sure you didn't come here just to talk
			about art.

<b>						VENKMAN
</b>			As a matter of fact, I stopped by to tell
			you that I haven't forgotten your problem
			and that we're still on the case.

They are interrupted by the sudden appearance of Janosz.

<b>						JANOSZ
</b>				 (smiling at Venkman)
			Dana, aren't you going to introduce me to
			your friend?

<b>						DANA
</b>			Oh, I'm sorry.  This is Peter Venkman.
			Peter, Janosz Poha.

Venkman warily shakes his hand, trying to size him up.

<b>						JANOSZ
</b>				 (avoiding his gaze)
			Pleasure to meet you.  I've seen you on
			television.

<b>						VENKMAN
</b>			How are you?
				 (looking over at the Vigo
				 painting)
			What's that you're working on, Johnny?

Janosz winces at the nickname but lets it go.  Venkman and Dana cross to
the Vigo painting.  Janosz steps protectively in front of it.

<b>						JANOSZ
</b>			It's a painting I'm restoring for the new
			Byzantine exhibition.  It's a self-portrait
			of Prince Vigo, the Carpathian.  He ruled
			most of Carpathia and Moldavia in the 17th
			Century.

<b>						VENKMAN
</b>				 (staring at the painting)
			Too bad for the Moldavians.

<b>						JANOSZ
</b>				 (defensive)

			He was a very powerful magician.  A genius
			in many ways and quite a skilled painter.

<b>						DANA
</b>			He was also a lunatic and a genocidal madman.
			I hate this painting.  I've felt very
			uncomfortable since they brought it up from
			storage.

<b>						VENKMAN
</b>			Yeah, it's not the kind of thing you'd want
			to hang in the rec room.  You know what it
			needs?
				 (picking up a brush)
			A fluffy little white kitten in the corner.

Venkman reaches toward the painting, but Janosz grabs his hand.

<b>						JANOSZ
</b>				 (with forced good will)
			We don't go around altering valuable
			paintings, Dr. Venkman.

<b>						VENKMAN
</b>			Well, I'd make an exception in this case if
			I were you.

Dana looks disapprovingly at Venkman.

<b>						VENKMAN
</b>				 (to Janosz)
			I'll let you get back to it.  Nice meeting
			you.

<b>						JANOSZ
</b>			My pleasure.

Venkman and Dana cross back to her workspace.

<b>						VENKMAN
</b>				 (confidentially)
			I may be wrong, but I think you've got a
			little crush on this guy.

<b>						DANA
</b>			Good-bye, Peter.

<b>						VENKMAN
</b>				 (dragging his feet)
			I'd like to stay, but I really don't have
			time to hang around here.  I'll call you.
				 (calls out to Janosz)
			Later, Johnny!

He exits.

<b>VIGO
</b>
Vigo turns his head and follows Dana as she returns to her workbench.

<b>DANA
</b>
She stops, vaguely aware of the movement, and looks up curiously at the
painting.  As she starts to walk on, Vigo looks at her again, but Dana
turns suddenly and catches the movement.  Frightened now, she hastily
leaves the studio.

<b>												 CUT TO:
</b>
<b>INT.  FIREHOUSE - LIVING QUARTERS - CONTINUOUS ACTION - DAY
</b>
Venkman and Winston enter and find Stantz and Spengler at work in the lab
area.

<b>						STANTZ
</b>			Oh good, you're here.  Spengler and I have
			something really amazing to show you.

<b>						VENKMAN
</b>				 (to Spengler)
			It's not that thing you do with your
			nostrils, is it?

Stantz goes to the refrigerator, opens the freezer, rummages around among
the TV dinners and frozen pizza and pulls out a slime specimen in a
Tupperware container.

<b>						STANTZ
</b>				 (to Venkman)
			We've been studying the stuff that we took
			from the subway tunnel.

He pops the specimen jar in the microwave and lets it thaw for a minute.

<b>						VENKMAN
</b>			And now you're going to eat it?

<b>						STANTZ
</b>			No, I'm just restoring it to its normal state.

He takes the specimen out of the microwave and pours some of it into a
large Petri dish.

<b>						STANTZ
</b>			Now watch this.

He leans over the specimen and starts shouting at it.

<b>						STANTZ
</b>				 (simulating anger)
			You worthless piece of slime!!
				 (as the slime starts to
				 twitch and glow)
			You ignorant disgusting blob!!

<b>SPECIMEN
</b>
It bubbles and swells, changing color with each insult.

<b>						STANTZ
</b>			You foul, obnoxious muck!!

<b>STANTZ
</b>
He continues venting his rage on the slime.

<b>						STANTZ
</b>			I've seen some real crud in my time, but
			you're a chemical disgrace!!

The specimen doubles its size and starts spilling over the rim of the
Petri dish.

<b>STANTZ AND SPENGLER
</b>
They turn to Venkman for his reaction.  He's dumbfounded.

<b>						VENKMAN
</b>			This is what you do with your spare time?

<b>						STANTZ
</b>				 (very excited)
			This is an incredible breakthrough, Venkman.
			A psychoreactive substance!  Whatever this
			is, it clearly responds to human emotional
			states.

<b>						VENKMAN
</b>			'Mood slime.'  We ought to bottle this stuff
			and sell it.

<b>						SPENGLER
</b>			We've found it at every event site we've
			been to lately.

<b>						WINSTON
</b>				 (poking at the slime)
			You mean this stuff actually feeds on 'bad
			vibes'?

<b>						STANTZ
</b>			Like a goat on garbage.

<b>						STANTZ
</b>			We're running tests to see if we can get an
			equally strong positive reaction.

<b>						VENKMAN
</b>			What kind of tests?

<b>						STANTZ
</b>				 (a little embarrassed)
			Well, we sing to it, we talk to it, we say
			supportive, nurturing things --

<b>						VENKMAN
</b>			You're not sleeping with this stuff, are you?

Spengler reacts as if he might be.

<b>						STANTZ
</b>			It really responds to music.
				 (to Spengler)
			Let's calm it down.

Spengler picks up a guitar and he and Stantz start singing "Cumbaya" to
the slime specimen.

<b>SPECIMEN
</b>
It stops bubbling and starts to shrink.

<b>						WINSTON
</b>			Does it have any favorites?

<b>						STANTZ
</b>			It likes all the sappy stuff: 'Cumbaya,'
			'Everything is Beautiful,' 'It's a Small
			World' -- but it loves Jackie Wilson.

Venkman and Winston watch intently as Spengler spoons some of the
psych-reactive slime onto an old toaster.

<b>						STANTZ
</b>			Watch this.

Stantz turns on a CASSETTE PLAYER and Jackie Wilson's "HIGHER AND HIGHER"
BLASTS from the speakers.

<b>TOASTER
</b>
It shakes, spins and actually starts moving in time with the MUSIC.

<b>VENKMAN
</b>
He stares in disbelief at the dancing toaster as it shoots two pieces of
toast into the air and catches them without missing a beat.

<b>						VENKMAN
</b>			I don't care what you say.  This could be a
			major Christmas gift item.

<b>						WINSTON
</b>			Right, and the first time someone gets mad,
			their toaster will eat their hand.

<b>						VENKMAN
</b>			So we'll put a warning on the label.

Stantz turns OFF the MUSIC and the toaster stops moving.  Venkman looks
at the toaster and sticks his fingers in the slot.

<b>						VENKMAN
</b>				 (to the toaster)
			Go ahead.  I dare you.

Suddenly, he yelps as if the toaster has actually bitten into his hand
and won't let go.  The others jump in to help him, but Venkman laughs and
easily withdraws his hand.

<b>						VENKMAN
</b>			Just kidding.

<b>												 CUT TO:
</b>
<b>INT.  DANA'S APARTMENT - NIGHT
</b>
Dana brings Oscar into the bathroom and lays him on the bassinet.  She's
wearing a robe over her nightgown, preparing to bathe the baby.  She
turns the taps on the old claw-footed bathtub, checks the water
temperature, then turns away and starts to undress the baby.

<b>						DANA
</b>				 (talking sweetly to the
				 baby)
			Look at you.  I think we got more food on
			your shirt than we got in your mouth.

<b>BATHTUB
</b>
The water pouring from the faucet changes to slime and settles at the
bottom of the tub.  Dana reaches over and turns off the water without
looking into the tub.  When she turns away, both taps start to spin by
themselves and the tub flexes and bulges.

<b>DANA
</b>
Still unaware, she routinely reaches over and squirts some bubble bath
into the tub.

<b>BATHTUB
</b>
The rim of the tub puckers up and the sides convulse as if swallowing the
bubble bath.

<b>DANA
</b>She picks the baby up off the bassinet and turns to place him in the tub.
She is just about to lower him into the water when the tub starts to
close up around the baby like a hugh mouth.  Dana screams, snatches the
baby away and runs from the room clutching Oscar to her bosom as the
bathtub convulses and vomits up buckets of slime.

<b>												 CUT TO:
</b>
<b>INT.  VENKMAN'S LOFT - SAME NIGHT (LATER)
</b>
The big open loft space is a chaotic clutter of mismatched furniture, old
magazines, books, tapes, and sports equipment.  Venkman is asleep on the
floor, still wearing his coat, scarf, hat and gloves, having collapsed
just short of the bedroom.  The DOORBELL RINGS, he wakes up, lumbers to
his feet and answers it.  He opens the door and sees Dana standing there.
She is wearing only a nightgown under her coat and Oscar is naked,
wrapped in a baby blanket.

<b>						DANA
</b>				 (somewhat embarrassed to
				 be there)
			I'm sorry.  Were you on your way out?

<b>						VENKMAN
</b>				 (surprised to see her)
			No, I just got in -- a couple hours ago.
			Come on in.
				 (noting her apparel)
			Are we having a pajama party?

<b>						DANA
</b>				 (upset)
			Peter, the bathtub tried to eat Oscar.

Venkman looks at her for a long moment.

<b>						VENKMAN
</b>			You know, if anyone else told me that, I'd
			have serious doubts.  But coming from you,
			I can't honestly say I'm surprised.

<b>						DANA
</b>			I must be losing my mind.  At the museum
			today I could have sworn that terrible
			painting of Vigo looked right at me.

<b>						VENKMAN
</b>			Who could blame him?  Were you wearing this
			nightgown?

<b>						DANA
</b>				 (distraught)
			I don't know what to do anymore.

<b>						VENKMAN
</b>			I'll get Ray and Egon to check out the
			bathtub.  You better stay here.

He exits to the bathroom.  She looks around the loft, amazed at the
disorder.  Venkman comes back immediately with an old sweatshirt and
takes Oscar from her.

<b>						VENKMAN
</b>			Now this kid has a serious nudity problem.

He spreads the sweatshirt out on the sofa, lays the baby on it and starts
tying it around him like a diaper.

<b>						VENKMAN
</b>				 (to the baby)
			This is Joe Namath's old number, you know.
			You could get a lot of chicks with this.
			Just don't pee in it.

<b>						DANA
</b>			Peter, what about the bathtub?

<b>						VENKMAN
</b>				 (grabs the phone and dials)
			We'll take care of that.
				 (on the phone)
			Ray, Pete.  Listen, get over to Dana's right
			away ... Her bathtub pulled a fast one --
			tried to eat the kid.

<b>						DANA
</b>			It was full of this awful pink ooze.

<b>						VENKMAN
</b>				 (to Ray)
			Sounds like another slime job ... No,
			they're all right.  They're here now ...
			Right ... Let me know.

He hangs up.

<b>						VENKMAN
</b>			They're going over there right now.  You
			might as well make yourself at home.  Let
			me show you around.
				 (he crosses to the kitchen area)
			This is the cuisine de maison --

It's an incredible mess. The sink is piled high with dirty dishes and the
counters are littered with all sorts of food trash.  He grabs a big open
Hefty bag on the floor and starts throwing garbage into it.

<b>						VENKMAN
</b>				 (looking at the sink)
			We may have to wash some of these if you get
			hungry --
				 (he looks in the fridge)
			-- but there's no food anyway so forget
			about it.  I have all kinds of carry-out
			menus if you feel like ordering.

He opens a drawer full of pizza, barbecue and Chinese food menus, then
crosses to the bathroom.

<b>						VENKMAN
</b>			Bathroom's right here -- let me just tidy
			up a few things.

<b>						DANA
</b>			Peter, this is very nice, but you don't have
			to do any of this, you know.

He goes into the bathroom and we hear WATER RUNNING, the TOILET FLUSHING
and more items going into the Hefty bag.

<b>						VENKMAN (O.S.)
</b>			The shower works but it's a little tricky.
			They're both marked "Hot."  It takes a little
			practice, but at least this one won't try
			and eat you.

He comes out of the bathroom with the now-loaded Hefty bag over his
shoulder.

<b>						VENKMAN
</b>			Be careful on that sofa -- it's a butt-biter.
			But the bed's good and I just changed the
			sheets so if you get tired, feel free.  In
			fact, I think you should definitely plan on
			spending the night here.

<b>						DANA
</b>			Really?  And how would we handle the sleeping
			arrangements?

<b>						VENKMAN
</b>			For me it's best if I sleep on my side and
			you spoon up right behind me with your arms
			around me.  If we go the other way I'm
			afraid your hair will be getting in my face
			all night.

<b>						DANA
</b>			How about you on the sofa and me in bed with
			the baby.

<b>						VENKMAN
</b>			Or we could do that.

<b>						DANA
</b>			Thank you.
				 (she picks up Oscar)
			Poor baby.  I think I should put him down
			now.

<b>						VENKMAN
</b>			I'll put him down for you.
				 (taking the baby)
			You are way too short!  And your belly-button
			sticks out!  You're nothing but a burden to
			your poor mother!

Venkman carries the baby into the bedroom leaving Dana in the living
room, feeling more relaxed and a lot safer.

<b>												 CUT TO:
</b>
<b>EXT.  MUSEUM - DAY (NEXT MORNING)
</b>
Venkman is waiting in front of the building as ECTO-2 pulls up and
Stantz, Spengler and Winston get out and report on Dana's apartment.

<b>						VENKMAN
</b>			Did you find anything at Dana's?

<b>						STANTZ
</b>			Nothing.  Just some mood-slime residue in
			and around the bathtub.  But we did turn up
			some interesting stuff on this Vigo character
			you mentioned.  I found the name Vigo the
			Carpathian in Leon Zundinger's Magicians,
			Martyrs and Madmen.  Listen to this:

<b>						SPENGLER
</b>				 (reads from xerox of entry)
			"Vigo the Carpathian, born 1505, died 1610 --"

<b>						VENKMAN
</b>			A hundred and five years?  He really hung
			on, didn't he.

<b>						STANTZ
</b>			And he didn't die of old age either.  He was
			poisoned, stabbed, shot, hung, stretched,
			disemboweled, drawn and quartered.

<b>						WINSTON
</b>			I guess he wasn't too popular at the end
			there.

<b>						SPENGLER
</b>			No, not exactly a man of the people.
				 (reads)
			"Also known as Vigo the Cruel, Vigo the
			Torturer, Vigo the Despised, and Vigo the
			Unholy."

<b>						STANTZ
</b>			This guy was a bad monkey.  He dabbled in
			all the Black Arts, and listen to this
			prophecy.  Just before his head died, his
			last words were, "Death is but a door, time
			is but a window.  I'll be back."

<b>						VENKMAN
</b>			That's it?  "I'll be back?"

<b>						SPENGLER
</b>			It's a rough translation from the Moldavian.

They enter the museum carrying their monitoring equipment.

<b>INT.  MUSEUM - SECURITY DESK - DAY (CONTINUOUS ACTION)
</b>
Rudy the guard looks up in surprise as the Ghostbusters enter.

<b>						RUDY
</b>			Hey, Dr. Venkman.  What's going on?

<b>						VENKMAN
</b>			We're just going up to Restorations for a
			minute.

<b>						RUDY
</b>			Oh, I can't let you do that.  Mr. Poha told
			me not to let you up there anymore.

<b>						VENKMAN
</b>				 (with mock seriousness)
			Okay, we were trying to keep this quiet but
			I think you can be trusted.  Tell him, Ray.

<b>						STANTZ
</b>				 (very official)
			Mister, you have an Ecto-paritic,
			subfusionary flux in this building.

<b>						RUDY
</b>			We got a flux?

<b>						WINSTON
</b>			You got a flux and a half.

<b>						STANTZ
</b>			Now if you don't want to be the --
				 (he counts)
			-- fifth person ever to die in meta-shock
			from a planar rift, I suggest you get down
			behind that desk and don't move until we
			give you the signal "Stabilize -- All Clear."

Rudy gulps and starts to hunker down behind the desk as the Ghostbusters
head upstairs.

<b>INT.  MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)
</b>
Janosz is working on the Vigo painting when the Ghostbusters enter.  He
rushes over and stops them at the door.

<b>						JANOSZ
</b>			Dr. Venkman?  Dana is not here.

<b>						VENKMAN
</b>			I know.

<b>						JANOSZ
</b>			Then why have you come?

<b>						VENKMAN
</b>			We got a major creep alert and we're just
			going down the list.  Your name was first.

<b>						STANTZ
</b>				 (to Spengler and Winston)
			Let's sweep it, boys.

They deploy and start scanning the studio with their monitoring devices.

<b>						VENKMAN
</b>				 (to Janosz)
			You know, I never got to ask you.  Where you
			from, Johnny?

<b>						JANOSZ
</b>				 (nervous)
			The Upper West Side.

<b>						SPENGLER
</b>				 (consulting his PKE meter)
			This entire room is extremely hot, Peter.

<b>						JANOSZ
</b>			What exactly are you looking for, Dr. Venkman?

<b>						VENKMAN
</b>			We'll know when we find it.  You just sit
			tight.  This won't take long.

<b>STANTZ
</b>
Using the Giga-meter, he traces a strong psychomagnetheric reading to
the painting of Vigo in the alcove at the end of the studio.  Venkman
comes up behind him with Janosz right on his heels.

<b>						VENKMAN
</b>			This is the one that looked at Dana.

<b>						JANOSZ
</b>			It must be the chemical fumes in the studio.
			People start imagining things --

<b>						VENKMAN
</b>				 (interrupts)
			I'm going to rule out the glue-sniffing
			theory.  If she says it looked at her, it
			looked at her.
				 (to Vigo)
			Hey, you!  Vigie!  Look at me.  I'm talking
			to you.  Hey!  Look at me when I'm talking
			to you.

They watch the painting for any sign of movement.

<b>VIGO
</b>
His eyes stare lifelessly into the distance.

<b>STANTZ AND VENKMAN
</b>
Venkman starts shooting Polaroids of Vigo.

<b>						VENKMAN
</b>				 (to Vigo)
			Beautiful, beautiful.  Work with me, baby.
			Just have fun with it.
				 (to Stantz)
			Okay, he's playing it cool.  Let's finish
			up and get out of here.

<b>						STANTZ
</b>			I'll get one more reading.

Venkman walks off leaving Stantz alone with the painting.  Stantz scans
the painting with the Giga-meter until his eyes meet Vigo's.

<b>VIGO
</b>
His eyes seems to burn right through to the depths of Stantz's soul.

<b>STANTZ
</b>
He stands there transfixed, unable to look away, as a strange and subtle
transformation occurs within him.  Winston comes up behind him and breaks
the spell.

<b>						WINSTON
</b>				 (looking at the painting)
			Now that's one ugly dude.

<b>						STANTZ
</b>				 (coming back to his senses)
			Huh?  What?

<b>						WINSTON
</b>			You finished here?

<b>						STANTZ
</b>				 (distracted)
			What?  Yeah.

<b>						WINSTON
</b>			Are you all right?  You coming down with
			something?

<b>						STANTZ
</b>			No, I'm fine.  I just got light-headed for
			a second there.  Let's go.

They head for the door.

<b>JANOSZ
</b>
He escorts the Ghostbusters to the door.

<b>						JANOSZ
</b>			So you see, everything is in order, is it
			not?

<b>						VENKMAN
</b>			Not.  Don't leave town and report any change
			in your address to the proper authorities.
			We'll be back.

They exit.

<b>												 CUT TO:
</b>
<b>EXT.  MUSEUM - DAY (LATER)
</b>
The Ghostbusters cross to ECTO-2.

<b>						SPENGLER
</b>			There's definitely something going on in
			that studio.  The PKE levels were max-plus
			and the Giga-meter was showing all red.

<b>						WINSTON
</b>			I'd put my money on that Vigo character.

<b>						VENKMAN
</b>			Yeah, that's a safe bet.
				 (to Stantz)
			You and Spengman see what else you can dig
			up on Vigo and this little weasel Poha.
			Those two were made for each other.

<b>INT.  ECTO-2 - DAY (LATER)
</b>
The Ghostbusters are driving back to the firehouse.  Stantz is at the
wheel.  His eyes are vacant, he seems distracted and very tense.  Stantz
swerves suddenly and HONKS the horn angrily.

<b>						STANTZ
</b>				 (to another driver)
			Idiot!
				 (honking)
			Move it, you jerk!

Venkman and Winston exchange surprised looks.

<b>EXT.  STREET - DAY (CONTINUOUS ACTION)
</b>
Stantz drives extremely fast, HONKING vindictively, weaving dangerously
through traffic.

<b>INT.  ECTO-2 - DAY (CONTINUOUS ACTION)
</b>
Winston looks at Ray, concerned.

<b>						WINSTON
</b>			Going a little fast, aren't we, Ray?

Stantz turns on him.

<b>						STANTZ
</b>				 (viciously)
			Are you telling me how to drive?

<b>						WINSTON
</b>			No, I just thought --

<b>						STANTZ
</b>			Well don't think!

He HONKS again and tromps hard on the accelerator.

<b>EXT.  STREET - DAY (CONTINUOUS)
</b>
Ecto-2 is now barreling down the avenue.  Pedestrians leap to safety as
Stantz runs a red light.

<b>INT.  ECTO-2 - DAY (CONTINUOUS ACTION)
</b>
They hang on to the safety straps as Stantz continues his maniacal ride.

<b>						WINSTON
</b>				 (to Stantz, really worried
				 now)
			Are you crazy, man?  You're going to kill
			somebody!

Stantz looks at him and smile demonically.

<b>						STANTZ
</b>			No, I'm going to kill everybody!

He swerves off the road.

<b>EXT.  ECTO-2 - DAY (CONTINUOUS ACTION)
</b>
The car heads right for a big tree.

<b>INT.  ECTO-2 - DAY (CONTINUOUS ACTION)
</b>
At the last possible moment, Winston cold-cocks Stantz, grabs the wheel
and steps across to stomp on the brakes.

<b>EXT.  ECTO-2 - DAY (CONTINUOUS ACTION)
</b>
The car skids into the tree and stops.  The Ghostbusters stumble out
dazed and shaken, but unhurt.  Stantz rubs his eyes and looks at the
others, completely at a loss.

<b>						STANTZ
</b>				 (himself again)
			What happened?

<b>						VENKMAN
</b>			You just picked up three penalty points on
			your driver's license.

<b>						WINSTON
</b>			Are you all right?

<b>						STANTZ
</b>			Yeah, I guess so.  It was the strangest
			thing.  I knew what I was doing but I
			couldn't stop.  This really terrible feeling
			came over me and -- I don't know -- I just
			felt like driving into that tree and ending
			it all.  Whew!  Sorry, boys.

They inspect the damage to the car.

<b>						VENKMAN
</b>				 (confidentially, to
				 Spengler)
			Watch him, Egon.  Don't even let him shave.

<b>												 CUT TO:
</b>
<b>INT.  VENKMAN'S LOFT - DAY (LATER)
</b>
There's a KNOCK at the front door, a key turns in the lock, and Venkman
enters somewhat tentatively holding a bouquet of flowers and a small
suitcase of Dana's.

<b>						VENKMAN
</b>				 (calls out)
			I'm home!

He looks around the large open loft.

<b>						VENKMAN
</b>				 (to himself)
			I knew it.  She cleaned.

He hears the SHOWER RUNNING and crosses to the bathroom.  The door is
half-open and he can see Dana in the shower (tastefully blurred) through
the transparent vinyl curtain.  He closes the bathroom door and looks at
the baby asleep on the bed, surrounded by pillows to prevent him rolling
off.  Then he turns and bumps into Dana who's just coming out of the
bathroom wrapped in a towel.  She jumps back into the bathroom.

She comes out again, this time wearing a robe.

<b>						VENKMAN
</b>			Are you all squeaky clean now?

<b>						DANA
</b>				 (humoring him)
			Yes, I'm very clean.  Did they find anything
			at my apartment?

She squeezes past him into the bedroom and closes the door.

<b>						VENKMAN
</b>				 (through the door)
			Nothing.  They stayed there all night, went
			through your personal stuff, made a bunch of
			long-distance phone calls and cleaned out
			your refrigerator.  And didn't find anything.

Dana opens the bedroom door.

<b>						DANA
</b>			They didn't find anything?  In the bathtub
			... the pink ooze ... nothing?  So, what do
			I do now?

<b>						VENKMAN
</b>			Now you get dressed and we go out.  I got a
			babysitter and everything.  Trust me, you
			need it.

<b>						DANA
</b>			I'm not here to date.  I can't leave Oscar
			in a strange place with someone I don't know.

<b>						VENKMAN
</b>			It's Janine Melnitz, from my staff.  She's
			one of my most valuable employees.

<b>						DANA
</b>			Does she know anything about babies?

<b>						VENKMAN
</b>			Janine Melnitz, are you kidding?
				 (handing her the flowers)
			Do I have a vase?  I brought some of your
			clothes.  Wear something intriguing.  I
			brought along some interesting possibilities.

<b>						DANA
</b>			Okay, but it's not a date.  It's a dinner.

She smiles and closes the door again.  He opens the closet and starts
looking for his good suit.

<b>						VENKMAN
</b>			Did you happen to see some shirts on the
			floor in here?

<b>						DANA (O.S.)
</b>			I put them in your hamper.  I thought they
			were dirty.

<b>						VENKMAN
</b>				 (shaking his head)
			I have a hamper?  Next time ask me first,
			okay.  I have more than two grades of
			laundry.  There're lots of subtle levels
			between clean and dirty.

He pulls some clothes out of the hamper and inspects them.

<b>						VENKMAN
</b>			These aren't so bad yet.  You just hang them
			up for a while and they're fine.

<b>												 CUT TO:
</b><b>INT.  FIREHOUSE - RECEPTION AREA - EARLY EVENING
</b>
Janine covers her computer terminal and starts turning out the lights.
Then she notices that the lights are still on upstairs.  She starts
primping and freshening up her makeup.

<b>INT.  FIREHOUSE - LAB AREA - SAME TIME
</b>
Louis is strapping on a proton pack, preparing to deal with Slimer once
and for all.  He's wearing a bicyclist's rearview mirror on a headband.

<b>						LOUIS
</b>				 (to himself)
			Okay, Stinky, this is it.  Showdown time.
			You and me, pal.  You think you're smarter
			than I am?  We'll see about that.
				 (loud)
			Oh, hello, Pizza Man!  Oh, two larges!  I
			only ordered one.  Oh, pepperoni and
			pineapple.  My absolute favorite.  I guess
			I'll have to eat these both by myself.

<b>THE CEILING
</b>
Slimer pokes his head through the ceiling and scans the room hanging
upside down.

<b>LOUIS
</b>
He spots Slimer through the rearview mirror.

<b>						LOUIS
</b>				 (quietly)
			Okay, let's boogie!

He whirls around and fires a proton stream at Slimer, slicing a burning a
gash across the ceiling.

<b>THE STAIRS
</b>
Janine comes up and ducks as a bolt of energy streaks across the room and
strikes the wall behind her.  Slimer disappears.

<b>						LOUIS
</b>				 (embarrassed and apologetic)
			Oh migod!  I'm sorry.  I didn't mean to do
			that.  It was an accident.

<b>						JANINE
</b>			What are you doing up here?

<b>						LOUIS
</b>			I was trying to get that smelly green thing.
			The guys asked me to help out.  I'm like the
			fifth Ghostbuster.

<b>						JANINE
</b>			Why would you want to be a Ghostbuster if
			you're already an accountant?

<b>						LOUIS
</b>			Oh, no, it's just if one of the guys calls
			in sick or gets hurt.

Louis quickly slips off the proton pack and sets it down.

<b>						JANINE
</b>			Have you made any plans yet?  You know
			tomorrow is New Year's Eve.

<b>						LOUIS
</b>			No, I celebrate at the beginning of my
			corporate tax year which is March first.
			That way I beat the crowds.

<b>						JANINE
</b>			That's very practical.  I hate going out on
			New Year's Eve, too.

There is an awkward silence between them and Janine starts to leave.

<b>						JANINE
</b>			Well, good night, Louis.

<b>						LOUIS
</b>				 (on an impulse)
			Janine, do you feel like maybe getting
			something to eat on the way home?

<b>						JANINE
</b>			I'd like to, but I told Dr. Venkman I'd
			babysit.
				 (seductively)
			Do you want to babysit with me?

<b>						LOUIS
</b>			Oh, sure, that sounds great.

They exit.

<b>												 CUT TO:
</b>
<b>INT.  VENKMAN'S LOFT - NIGHT (LATER)
</b>
There is a KNOCK at the door and Venkman goes to answer it.  He's dressed
for the evening and looking very dapper.

<b>INT.  VENKMAN'S LOFT - ENTRANCE HALL - CONTINUOUS ACTION
</b>
Venkman opens the door and finds Stantz, Spengler and Winston standing
there wearing over-the-hip rubberized waders, firemen's slickers, and
miners' helmets, carrying tons of sensing devices, meters, collection
jars and photographic equipment.  They look like they're rigged out for a
major spelunking expedition.

<b>						VENKMAN
</b>				 (ushering them in)
			Don't tell me, let me guess.  All-you-can-eat
			barbecue rib night at the Sizzler?

<b>						STANTZ
</b>			We're going down into the sewer system to
			see if we can trace the source of the
			psycho-reactive slime flow.  We thought you
			might want to come along.

<b>						VENKMAN
</b>			Darn it!  I wish I'd known you were going.
			I'm stuck with these damn dinner reservations.

<b>						SPENGLER
</b>			You know, animals and lower life forms often
			anticipate major disasters.  Given the new
			magnetheric readings we could see a tremendous
			breeding surge in the cockroach population.

<b>						VENKMAN
</b>			Roach breeding?  Sounds better and better.
				 (calls out)
			Dana?  The boys are going down under the
			sewers tonight to look for slime.  Egon
			thinks there might even be some kind of big
			roach-breeding surge.  Should we forget about
			dinner and go with them instead?

Dana steps into the living room looking very beautiful.

<b>						STANTZ
</b>			Wow.

Dana looks curiously at their outfits.

<b>						DANA
</b>			Hi.

They nod and wave back.

<b>						VENKMAN
</b>				 (to Ray and Egon)
			I think we're going to have to pass on the
			sewer trip, boys.  Let me know what you find
			out.

<b>						STANTZ
</b>				 (on his exit)
			Okay, but you're missing all the fun.

<b>INT.  VAN HORNE STATION - NIGHT (LATER)
</b>
Stantz, Spengler and Winston come down the stairs into the station,
guided by a very old map of the underground city.

<b>						STANTZ
</b>			This is it.  Van Horne Station.  Right where
			the old transit map said it would be.

They cross to the edge of the platform and look into the river of slime.

<b>						STANTZ
</b>			Let's get a sounding on the depth of that
			flow.

Stantz has a long, coiled, graduated cord with a plumb bob on the end of
it attached to his utility belt.

<b>						STANTZ
</b>			Stand back.

He takes the cord in his hand, swings the plumb bob over his head and
casts it out into the middle of the flow.  The plumb bob sinks and
Spengler reads the depth.

<b>						SPENGLER
</b>			Six feet -- seven -- eight --

<b>						STANTZ
</b>			That's it.  It's on the bottom.

<b>						SPENGLER
</b>			Nine feet -- ten --

<b>						WINSTON
</b>			Is the line sinking?

<b>						SPENGLER
</b>			No, the slime is rising.

Stantz looks down and notices the slime rising over the edge of the
platform and around his boots.

<b>						STANTZ
</b>				 (alarmed)
			Let's get out of here, boys.

He starts to pull out the plumb line but it seems to be stuck.

Spengler tries to help, but whatever is pulling on the cord is stronger
than all three of them.  As their unseen adversary pulls them closer and
closer to the edge, Stantz works desperately to unhook the cord from his
belt but finally just unhooks the whole belt.  Spengler lets go in time
but Winston doesn't.  He is jerked off his feet and into the slime flow.
Stantz and Spengler look at each other, summon their courage and jump in
after him.

<b>												 CUT TO:
</b>
<b>INT.  ARMAND RESTAURANT - NIGHT (LATER)
</b>
Dana and Venkman are sitting at a table in an elegant restaurant nibbling
caviar and toasting with very expensive champagne.

<b>						VENKMAN
</b>				 (very intimate)
			Here's to -- us.

She sighs and drinks.

<b>						VENKMAN
</b>			So -- are you making any New Year's
			resolutions?

<b>						DANA
</b>			I want to stop getting involved with men who
			aren't good for me.

<b>						VENKMAN
</b>			Does that start exactly at midnight tomorrow,
			or could you hold off for a few days maybe?

<b>						DANA
</b>			For one night in your life, do you think
			it's possible for us to be completely real?

<b>						VENKMAN
</b>			All right, you want to be real?  So tell me
			why did you dump me?

<b>						DANA
</b>			Oh, Peter, I didn't dump you.  I just had
			to protect myself.  You really weren't very
			good for me, you know.

<b>						VENKMAN
</b>			I'm not even good for me.

<b>						DANA
</b>			Why do you say things like that?  You're so
			much better than you know.

<b>						VENKMAN
</b>			Thank you.  If I had that kind of support
			on a daily basis, I could definitely shape
			up by the turn of the century.

<b>						DANA
</b>				 (already feeling the
				 effects of the champagne)
			So why don't you give me a jingle in the
			year 2000?

<b>						VENKMAN
</b>			Let me jingle you right now.

He leans over to kiss her.

<b>						DANA
</b>			Maybe I should call Janine.

<b>						VENKMAN
</b>			Don't worry.  Janine has a very special way
			with children.

They kiss.

<b>												 CUT TO:
</b>
<b>INT.  APARTMENT - NIGHT (SAME TIME)
</b>
Janine is on the sofa doing her nails while Louis paces with the baby.

<b>						JANINE
</b>				 (looking around)
			I can't believe a person could actually live
			like this.

<b>						LOUIS
</b>				 (to the baby)
			So these dwarfs had a limited partnership in
			a small mining operation and then one day a
			beautiful princess came to live with them.

<b>						JANINE
</b>			It's really not a bad place.  It just needs
			a woman's touch.

<b>						LOUIS
</b>				 (continuing)
			So they bartered room and board in exchange
			for housekeeping services, which was a good
			deal for all of them because then they didn't
			have to withhold tax and social security,
			which I'm not saying is right but it's just
			a story, so I guess it's all right.  I can
			finish this later if you're tired.

Louis goes into the bedroom and puts the baby down.

<b>						JANINE
</b>			You're really good with children, Louis.  I
			can tell.
				 (as he returns)
			Why don't you come here and sit with me?

<b>						LOUIS
</b>			Okay.

He sits stiffly beside her on the sofa.

<b>						JANINE
</b>				 (getting close)
			Motherhood is a very natural instinct for
			me.  I'd like to have a baby myself.
			Wouldn't you?

<b>						LOUIS
</b>				 (gulps)
			Tonight?

<b>EXT.  STREET - MANHOLE COVER - NIGHT (SAME TIME)
</b>
A manhole cover is dislodged and pushed up from below.  It slides away,
and Winston crawls out of the manhole followed by Stantz and Spengler.
They are exhausted and covered with slime.

<b>						WINSTON
</b>				 (uncharacteristically
				 angry)
			Nice going, Ray!  What were you trying to
			do -- drown me?

<b>						STANTZ
</b>				 (unusually mean)
			Look, Zeddemore, it wasn't my fault you were
			too stupid to drop that line.

<b>						WINSTON
</b>				 (shoves him)
			You better watch your mouth, man, or I'll
			punch your lights out.

<b>						STANTZ
</b>			Oh yeah?  Anytime, anytime.  Just go ahead
			and try it.

Spengler steps between them with unprecedented aggression.

<b>						SPENGLER
</b>			If you two are looking for a fight, you got
			one.
				 (putting up his fists)
			Who wants it first?  Come on, Ray.  Try me,
			sucker.

<b>						STANTZ
</b>				 (squaring off)
			Butt out, you pencil-necked geek.  I've had
			it with you.

They grab each other and start to tussle.  Suddenly Spengler comes to his
senses and pulls them apart.

<b>						SPENGLER
</b>				 (forcefully)
			Strip!  Right now!  Get out of those clothes!

He starts yanking off his slicker and waders.  Bewildered, Stantz and
Winston start doing the same.  Spengler helps pull off their clothes and
throws them into the open manhole.  Now wearing only long underwear, they
seem to return to normal.

<b>						WINSTON
</b>			What are we doing?  Ray, I was ready to kill
			you.

<b>						STANTZ
</b>			Don't you see?  It's the slime.  That stuff
			is like pure, concentrated evil.

Stantz looks around and sees that they are standing right in front of the
museum.

<b>						SPENGLER
</b>			And it's all flowing right to this spot.

<b>												 CUT TO:
</b>
<b>INT.  ARMAND RESTAURANT ENTRANCE - NIGHT (CONTINUOUS ACTION)
</b>
The MAITRE D' looks up in surprise as Stantz, Spengler and Winston enter
the restaurant wearing only long underwear.

<b>						MAITRE D'
</b>				 (intercepting them)
			Can I help you?

Stantz looks around and spots Venkman.

<b>						STANTZ
</b>			That's all right, I see him.

They blow right by the Maitre d' who jumps back in horror as they pass.

<b>VENKMAN
</b>
He's just about to pour more champagne when he sees Ray, Egon and Winston
coming toward him through the restaurant.

<b>						STANTZ
</b>				 (very excited)
			You should've been there, Venkman.
			Absolutely incredible!

<b>						VENKMAN
</b>			Yeah, sorry I missed it.
				 (noting their attire)
			I guess you guys didn't know about the dress
			code here.  It's really kind of a coat and
			tie place.

<b>						STANTZ
</b>			It's all over the city, Pete -- well, under
			it actually.

<b>						WINSTON
</b>			Rivers of the stuff!

<b>						SPENGLER
</b>			And it's all flowing toward the museum.

He gestures excitedly and a big gob of slime flies across the room and
lands on a well-dressed diner.

<b>						STANTZ
</b>				 (calls out)
			Sorry!

<b>						DANA
</b>			Maybe we should discuss this somewhere else.

Venkman notes the look of alarm on Dana's face and pulls his colleagues
aside.

<b>						VENKMAN
</b>				 (confidentially)
			Boys, listen.  You're scaring the straights.
			Let's save this until tomorrow, okay?

<b>						SPENGLER
</b>				 (to Venkman)
			This won't wait until tomorrow, Venkman.
			It's hot and it's ready to pop.

<b>MAITRE D'
</b>
He hurries through the restaurant with two city COPS right behind him and
makes straight for Venkman's table.

<b>						MAITRE D'
</b>			Arrest these men.

<b>						COP
</b>				 (recognizing them)
			Hey!  It's the Ghostbusters.  You're out of
			uniform, gentlemen

Stantz suddenly realizes how ridiculous they look.

<b>						STANTZ
</b>				 (self-conscious)
			Uh -- well -- we had a little accident, but
			forget that.  We have to see the mayor as
			soon as possible.

<b>						COP
</b>			Look, Doc, why don't you just go home.
			You'll get a good night's sleep and then you
			can give the mayor a call in the morning.
			Come on.

He takes Stantz by the arm but Stantz resists.

<b>						STANTZ
</b>			We're not going anywhere with you.  I told
			you we have to see the mayor now.

<b>						COP
</b>				 (grabbing Stantz)
			I'm warning you.  You can come along
			peaceably or --

<b>						VENKMAN
</b>				 (grabs the Cop)
			Hey, don't be an idiot.  This is serious.

<b>						COP
</b>				 (angry)
			Look, pal, keep this up and you're going
			with them.

<b>						VENKMAN
</b>			Oh, yeah?

<b>						COP
</b>				 (has had enough)
			Yeah, let's go.  You're all under arrest.

The Cop catches Venkman in an armlock and starts walking him out of the
restaurant.

<b>						VENKMAN
</b>				 (to Dana)
			Finish your dessert -- it's already paid
			for.  I'll call you.

They all exit, causing a major commotion among the other diners.

<b>EXT.  ARMAND'S RESTAURANT - NIGHT (CONTINUOUS ACTION)
</b>
The police car is parked right behind Ecto-2.  Spengler stops at the
police car and confronts the cops.

<b>						SPENGLER
</b>			Look, we're not drunk and we're not crazy.
			This is a matter of vital importance.

Venkman steps in and looks at the policemen's nametags.

<b>						COP
</b>			What are you doing?

<b>						VENKMAN
</b>			I just want to get your names right for when
			the mayor asks us why we didn't let him know
			about this sooner.

The Cops look at each other, uncertain about what to do.

<b>						COP
</b>				 (relenting)
			Okay, Doc.  You want to see the mayor, you
			got it.  Follow us.

They head for their respective vehicles.

<b>												 CUT TO:
</b>
<b>INT.  VENKMAN'S LOFT - NIGHT (SAME TIME)
</b>
Louis and Janine are on the sofa making out when Dana enters.  They jump
up and start smoothing their clothes.

<b>						LOUIS
</b>				 (embarrassed)
			Oh, hello, Dana.  we were just -- we were --

<b>						DANA
</b>			I know what you were doing, Louis.  It's
			all right.

<b>						JANINE
</b>			How was your date?

<b>						DANA
</b>			Typical.  Peter was arrested.  Has he called?

<b>						LOUIS
</b>			No, nobody called.

Dana frowns.

<b>						DANA
</b>			Is everything all right with Oscar?

<b>						JANINE
</b>			Oh, he's fine.  He's such a good baby.  He
			was a little fussy at first, but we gave
			him a Freach bread pizza and he went right
			to sleep.

<b>						DANA
</b>				 (relieved)
			Oh, good.  I'll just check on him.

She crosses to the bedroom.

<b>INT.  VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)
</b>
Dana looks at Oscar sleeping peacefully on the bed.  She starts to change
clothes.

<b>INT.  VENKMAN'S LIVING ROOM - NIGHT (SAME TIME)
</b>
Louis and Janine aren't sure what to do.

<b>						LOUIS
</b>			Should we go?

<b>						JANINE
</b>			I don't think we should leave her alone.

<b>						LOUIS
</b>			You're right.  We should stay.

He grabs Janine and they start making out again.

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)
</b>
Janosz stands before the painting of Vigo.  Vigo comes to life and
repeats the litany of his power.

<b>						VIGO
</b>			I, Vigo, the scourge of Carpathia --

<b>						JANOSZ
</b>				 (heard all this before)
			Yes, the scourge --

<b>						VIGO
</b>			-- the sorrow of Moldavia --

<b>						JANOSZ
</b>			-- the sorrow --

<b>						VIGO
</b>			I command you.

<b>						JANOSZ
</b>				 (checking his watch)
			I await the word of Vigo.

<b>						VIGO
</b>			The season of evil begins with the birth of
			the new year.  Bring me the child that I
			might live again.

<b>						JANOSZ
</b>				 (abjectly humble)
			Lord Vigo, the mother, Dana, is fine and
			strong.  I was wondering -- well, would it
			be possible -- if I bring the baby, could I
			have the woman?

<b>						VIGO
</b>			So be it.  On this the day of darkness, she
			will be ours, wife to you and mother to me.

<b>												 CUT TO:
</b>
<b>EXT.  CARL SCHURZ PARK - NIGHT (LATER)
</b>
Preceded by a police car, Ecto-2 enters the small park on the East River
at 88th Street and disappears into an underground entrance.  The CAMERA
PANS UP to reveal Gracie Mansion, the residence of the Mayor of New York
City.

<b>INT.  GRACIE MANSION - MOMENTS LATER
</b>
The Ghostbusters, now wearing police raincoats over their longjohns are
ushered through the house by a butler to a set of double oak doors.  The
butler knocks lightly, then opens the door to reveal the MAYOR sitting in
front of the fireplace in his well-appointed private study, flanked by
Jack Hardemeyer, both in tuxedoes.  The Ghostbusters enter.

<b>INT.  STUDY - CONTINUOUS ACTION
</b>
The Mayor is impatient and a little angry at having been pulled out of
his formal reception.  He frowns at their bizarre attire.

<b>						MAYOR
</b>			All right -- the Ghostbusters.  I'll tell
			you right now; I've got two hundred of the
			heaviest campaign contributors in the city
			out there eating bad roast chicken waiting
			for me to give the speech of my life.
			You've got two minutes.  Make it good.

<b>						STANTZ
</b>			You get enough negative energy flowing in a
			dense environment like Manhattan, it starts
			to build up, and if we don't do something
			fast this whole place will blow like a frog
			on a hotplate.

<b>						WINSTON
</b>			Tell him about the toaster.

<b>						VENKMAN
</b>			I don't think he's ready for the toaster.

<b>						MAYOR
</b>				 (shaking his head)
			Being miserable and treating other people
			like dirt is every New Yorker's God-given
			right.  What am I supposed to do -- go on
			television and tell eight million people
			they have to be nice to each other?  I'm
			sorry, none of this makes any sense to me,
			and if anything does happen we've got plenty
			of paid professionals to deal with it.  Your
			two minutes are up.  Good night, gentlemen.

The mayor exits, leaving the Ghostbusters to Hardemeyer.

<b>						HARDEMEYER
</b>				 (smirking)
			That's quite a story.

<b>						VENKMAN
</b>			Yeah, I think the Times might be interested,
			don't you?  The Post might have a lot of fun
			with it, too.

Hardemeyer's eyes go cold and calculating.

<b>						HARDEMEYER
</b>			Before you go running to the newspapers with
			this, would you consider telling this slime
			thing to some people downtown?

<b>						VENKMAN
</b>			Now you're talking.

<b>												 CUT TO:
</b>
<b>INT.  PARKVIEW HOSPITAL - PSYCHIATRIC WARD - NIGHT (LATER)
</b>
An attendant opens a locked door with a wire mesh window and the
Ghostbusters, in straitjackets, are led into the psych ward as Hardemeyer
confers with the chief PSYCHIATRIST.

<b>						WINSTON
</b>				 (protesting)
			I'm telling you, we're not crazy.  He is!

<b>HARDEMEYER
</b>
He laughs off the remark.

<b>						HARDEMEYER
</b>				 (to the Psychiatrist)
			The mayor wants them kept under strict
			observation for a few days.  We think
			they're seriously disturbed and potentially
			dangerous.

<b>						PSYCHIATRIST
</b>			We'll do whatever's necessary.

Hardemeyer shakes his hand and exits as the door slams shut on the
Ghostbusters.

<b>INT.  VENKMAN'S LOFT - NIGHT (SAME TIME)
</b>
Louis and Janine are watching an old rerun on TV, eating popcorn, while
Dana is stretched out on the other sofa.

<b>						DANA
</b>				 (wishing they'd leave)
			You know you really don't have to stay.
			Peter should be back soon.

<b>						LOUIS
</b>			Oh no, we don't mind.

She hears a little CRY from the nursery and sits up.

<b>						DANA
</b>			Excuse me.  I think Oscar is up.

She crosses to the bedroom.

<b>INT.  VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)
</b>
Dana enters and immediately notices that the crib is empty and the window
is open.

<b>						DANA
</b>				 (screams)
			Louis!

Frantic now, Dana rushes to the window and looks out, as Louis and Janine
come running in.

<b>EXT.  WINDOW LEDGE - DANA'S POV - NIGHT (ECLIPSE)
</b>
The baby is standing out on the ledge at the corner of the building,
fifty feet above the street, staring off into the distance as if he's
waiting for something.

<b>EXT.  WINDOW LEDGE - NIGHT (ECLIPSE) (CONTINUOUS ACTION)
</b>
Dana climbs out onto the ledge and starts inching slowly toward the baby.
Then she stops as a miraculous apparition materializes.

<b>LOUIS AND JANINE
</b>
They lean out the window, gaping at the apparition.

<b>EXT.  VENKMAN'S LEDGE - APPARITION
</b>
A sweet, kindly-looking English nanny appears, pushing a pram, strolling
on thin air parallel to the ledge high above the ground.  Her face looks
remarkably like Janosz Poha's.  The nanny extends her hand to the BABY
who GURGLES sweetly as he reaches out to take it.

<b>DANA
</b>
She watches in helpless horror.

<b>						DANA
</b>				 (screams)
			No!!

<b>GHOST NANNY
</b>
She picks up the baby and lays it gently in the pram, then turns and
smiles at Dana.  The smile turns to a hideous grin, then the nanny
shrieks at Dana and takes off like a shot with the baby.

<b>DANA
</b>
She watches the creature fly off with Oscar, then climbs back through
the window assisted by Louis and Janine.

<b>						DANA
</b>				 (resolutely)
			Louis, you have to find Peter and tell him
			what happened.

<b>						LOUIS
</b>				 (confused and worried)
			Where're you going?

<b>						DANA
</b>			To get my baby back.

<b>												 CUT TO:
</b>
<b>EXT.  MUSEUM - NIGHT (A LITTLE LATER)
</b>
A taxi pulls up, Dana jumps out and rushes into the museum.  The moment
the door closes behind her, there is a loud THUNDERCLAP, the ground
trembles and a massive amount of slime erupts from around the base of
the museum and starts covering the walls, sealing her inside the
building.

<b>												 CUT TO:
</b>
<b>INT.  PARKVIEW PSYCHIATRIC - PADDED ROOM - NIGHT (SAME TIME)
</b>
Venkman, Stantz, Spengler and Winston are in a padded cell.  They are
handcuffed and the cuffs are chained to thick leather belts around their
waists.  Venkman stands there banging his head into the padded wall
while the others try to explain the situation to a skeptical
Psychiatrist.

<b>						STANTZ
</b>			We think the spirit of Vigo the Carpathian
			is alive in a painting at the Manhattan
			Museum.

<b>						PSYCHIATRIST
</b>			I see. And are there any other paintings in
			the museum with bad spirits in them?

<b>						SPENGLER
</b>				 (impatient)
			You're wasting valuable time!  We have reason
			to believe that Vigo is drawing strength from
			a psychomagnetheric slime flow that's been
			collecting under the city.

<b>						PSYCHIATRIST
</b>			Yes, tell me about the slime.

<b>						WINSTON
</b>			It's potent stuff.  We made a toaster dance
			with it, then a bathtub tried to eat his
			friend's baby.

The psychiatrist looks at Venkman.

<b>						VENKMAN
</b>			Don't look at me.  I think they're nuts.

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)
</b>
Moonlight streams through the skylight above, bathing the studio in
eerie white light.  Oscar is lying safely on a table in front of the
painting of Vigo.  Dana enters cautiously and sees the baby.  Seeing no
one else about, she quickly sneaks down to the table and picks up the
baby, hugging hin tight, greatly relieved to find him unharmed and
intact.

<b>						JANOSZ (O.S.)
</b>			I knew you would come.

Startled, Dana turns at the sound of his voice as Janosz steps out from
behind the Vigo painting.

<b>						DANA
</b>				 (defiantly)
			What do you want with my baby?

<b>						JANOSZ
</b>			No harm will come to the child.  You might
			even say it's a privilege.  He will be the
			vessel for the spirit of Vigo.  And you --
			well, you will be the mother of the ruler
			of the world.  Doesn't that sound nice?

<b>						DANA
</b>			If this is what the world will be like, I
			don't want to live in it.

<b>						JANOSZ
</b>				 (confidentially, indicating
				 Vigo)
			I don't believe we have the luxury of choice.

<b>						DANA
</b>			Everybody has a choice.

<b>						JANOSZ
</b>			Not in this case, my dear.  Take a look.
			That's not Gainsborough's Blue Boy up there.
			He's Vigo!

<b>						DANA
</b>			I don't care who he is.  He's not taking my
			baby.

Dana walks quickly to the door but suddenly Oscar flies out of her arms,
floats across the room and lands lightly back in the cradle.

<b>DANA
</b>
She turns and looks at Vigo, for the first time feeling his power.

<b>						JANOSZ
</b>			You will see.  It's all for the best.

<b>												 CUT TO:
</b>
<b>EXT.  PARKVIEW HOSPITAL - DAY (NEXT MORNING)
</b>
It's the last day of the year and the sun is shining brightly.

<b>												 CUT TO:
</b>
<b>INT.  PARKVIEW PSYCHIATRIC WARD - DAY (SAME TIME)
</b>
The Ghostbusters are sitting in the dayroom, a dingy lounge for patients
in the locked ward.  There is a television set, a Ping-Pong table and a
few tables and chairs.  Stantz is looking at the sky through the heavy
wire mesh covering the windows.

<b>						STANTZ
</b>			This is it. boys.  It's starting.  Shit-storm
<b>			2000.
</b>
Venkman is doing occupational therapy, weaving on a little hand-loom.

<b>						VENKMAN
</b>			It better not start yet.  I'm trying to
			finish my potholder before lunch.

<b>						WINSTON
</b>			You think all those predictions about the
			world coming to an end in the 1990s are true?

A PATIENT at the next table joins the discussion.

<b>						PATIENT
</b>				 (with certainty)
			1997.  My dog told me.

<b>						VENKMAN
</b>			What kind of dog?

<b>						PATIENT
</b>			Labrador.

<b>						VENKMAN
</b>				 (shakes his head)
			Habitual liars.  They can't help it.  It's
			in the breed.

<b>												 CUT TO:
</b>
<b>INT.  PARKVIEW HOSPITAL - EXAMINING ROOM - DAY (SAME TIME)
</b>
Louis is pleading with his cousin, SHERMAN TULLY, a doctor on the staff
at Parkview.  He looks and sounds just like Louis.

<b>						LOUIS
</b>			Come on, Sherm.  You're my cousin.  Do this
			for me.  I'm begging you.

<b>						SHERMAN
</b>			I can't do it, Louis.  It isn't ethical.  I
			could lose my license.

<b>						LOUIS
</b>			Why can't you just have them released?
			You're a doctor.

<b>						SHERMAN
</b>			I'm a dermatologist.  I can't write orders
			on the psych ward.

<b>						LOUIS
</b>			Sherman, I've done lots of favors for you.

<b>						SHERMAN
</b>			Like what?

<b>						LOUIS
</b>			I got you out of those bad tax shelters.

<b>						SHERMAN
</b>			You were the one who got me in.

<b>						LOUIS
</b>			I fixed you up with Diane Troxler and she
			put out, didn't she?

<b>						SHERMAN
</b>			Yeah, I had to give her free dermabrasion
			for a year.  Forget it, Louis.  I could get
			in a lot of trouble.

<b>						LOUIS
</b>			I'm telling you, we're all going to be in
			big trouble if we don't do something fast.
			That ghost guy came and took my friend's
			baby and we got to get it back.  It's just
			a scared little baby, Sherm.

<b>						SHERMAN
</b>			Then you should go to the police.  I don't
			believe in any of that stuff.

Sherman looks out the window.

<b>EXT.  SKY - SHERMAN'S POV
</b>
The sky begins to go dark as the sun is magically eclipsed.

<b>INT.  EXAMINING ROOM - CONTINUOUS ACTION - DAY
</b>
The room goes dark.  Louis switches on a lamp which casts an eerie light
on his face.

<b>						LOUIS
</b>				 (spooky)
			Do you believe it now, Sherm?

<b>												 CUT TO:
</b>
<b>EXT.  HUDSON RIVER PIER - NIGHT (ECLIPSE)
</b>
A drainpipe starts dripping slime into the river near the Cunard Line
docks.

<b>												 CUT TO:
</b>
<b>EXT.  PUBLIC FOUNTAIN (59TH AND FIFTH) - NIGHT (ECLIPSE)
</b>
With the Plaza Hotel in the background, the fountain starts to spout
psycho-reactive slime.

<b>HOTEL ENTRANCE
</b>
A well-heeled MAN and WOMAN step out of a limousine and walk up the steps
toward the revolving door.  She looks up at the sky and frowns.

<b>						WOMAN
</b>				 (shrewish)
			I told you we should have stayed in Palm
			Beach.  The weather here gets stranger every
			year.

<b>						MAN
</b>			Yes, dear.

She doesn't notice it, but a small amount of slime falls on the back of
her luxurious, full-length, white mink coat.  The doorman nods
courteously and extends a hand to help her up the stairs.

<b>WOMAN
</b>
She yelps in pain.

<b>						WOMAN
</b>				 (to the doorman)
			Something just bit me!

The doorman looks curiously at her, then recoils in shock as her coat
comes alive.  MINK HEADS pop out of the thick fur, SNARLING, BARKING and
YAPPING, their sharp, little teeth biting the air.  Reacting quickly, the
doorman yanks the coat off the woman's back, throws it to the ground and
starts stomping on it as the Woman and her husband look on in horror.
The coat scuttles down the steps and runs off down the street.

<b>												 CUT TO:
</b>
<b>INT.  MIDTOWN CENTRAL POLICE PRECINCT - NIGHT (ECLIPSE)
</b>
The squad room is busy as DETECTIVES try to answer the flood of calls
regarding the wave of supernatural events sweeping the city.

<b>						DETECTIVE ONE
</b>				 (on the phone)
			Look, lady, of course there are dead people
			there.  It's a cemetery ...
				 (his face falls)
			They were asking you for directions?

<b>						DETECTIVE TWO
</b>				 (on another phone)
			Was this a big dinosaur or a little dinosaur?
			... Oh, just the skeleton, huh?  Well, where
			is it now?

<b>						DETECTIVE THREE
</b>				 (on the phone)
			Wait a second -- the park bench was chasing
			you?  You mean, someone was chasing you in
			the park ... No, the bench itself was chasing
			you.  I see --

A weary SERGEANT answers a RINGING PHONE.

<b>						SERGEANT
</b>			Manhattan Central, Flaherty speaking ...
			Yeah ... yeah? ... What?  Who is this? ...
			Wait a second.

He puts the caller on "Hold" and turns the LIEUTENANT.

<b>						SERGEANT
</b>			Lieutenant, I think you better talk to this
			guy.

<b>						LIEUTENANT
</b>				 (on another call)
			What is it?  I'm talkin' here!

<b>						SERGEANT
</b>			It's some dock supervisor down at Pier 34
			on the Hudson.  The guy's going nuts.

<b>						LIEUTENANT
</b>			What's the problem?

<b>						SERGEANT
</b>				 (takes a deep breath)
			He says the Titanic just arrived.

<b>INT.  PORT AUTHORITY OFFICE - NIGHT (ECLIPSE)
</b>
The dock supervisor stands there with the phone in his hand, an assistant
beside him, both staring out the window at the ocean liner tied up at the
pier.

<b>EXT.  PIER 34 - THEIR POV - NIGHT (ECLIPSE)
</b>
The name "R.M.S. Titanic" is clearly visible on the side of the huge
ship.  The gangplank is down and dozens of drowned passengers, sopping
wet and festooned with seaweed, are disembarking while drowned porters
off-load their waterlogged baggage.

<b>												 CUT TO:
</b>
<b>EXT.  PARKVIEW HOSPITAL - NIGHT (MOMENTS LATER)(ECLIPSE)
</b>
Ecto-2 is parked outside as Louis and Sherman come out of the hospital
with the Ghostbusters, now wearing their standard uniforms.

<b>						STANTZ
</b>			Good work, Louis.  How did you get us out?

<b>						LOUIS
</b>			Oh, I pulled a few strings.  I wouldn't want
			to say any more than that.

Louis winks conspiratorially at Sherman.

<b>						LOUIS
</b>			This is my cousin Sherman.  Sherm, say hello
			to the Ghostbusters.
				 (sotto voce to Stantz)
			I promised him a ride in the car if he got
			you out.

<b>						SHERMAN
</b>				 (to the Ghostbusters)
			Hi, it's really great to meet you guys.  I
			know this sounds weird but once I had a
			dream that my grandfather was standing at
			the foot of my bed, but I knew it was
			impossible because he died and he started
			to tell me that --

While he's talking, the Ghostbusters jump in the Ectomobile and drive
off, leaving him and Louis standing at the curb.

<b>						LOUIS
</b>			Hey!  Wait!  Okay, I'll meet you there.

<b>						SHERMAN
</b>			I thought you were like the fifth Ghostbuster.

<b>						LOUIS
</b>			I let them handle all the little stuff.  I
			just come in on the big ones.

<b>												 CUT TO:
</b>
<b>-----------------------------------------------------------------------
</b>(original version of the above scene - 11/27/88)
(TRANSCRIBER'S NOTES: These two versions of this scene were put in my
copy of the script, so I have included both of them here)

<b>						LOUIS
</b>			Actually, they still think you're crazy, but
			I convinced them you're not dangerous.

<b>						VENKMAN
</b>				 (determined)
			Yeah, well guess again.

<b>EXT.  BELLEVUE HOSPITAL - NIGHT (ECLIPSE)(MOMENTS LATER)
</b>
Ecto-2 is parked outside and the Ghostbusters are hastily donning their
standard uniforms.

<b>						LOUIS
</b>			I brought everything you asked for and I
			gassed up the car with Super Unleaded.  It
			cost twenty cents more than Regular Unleaded
			but you get much better performance and in
			an old car like this that'll end up saving
			you money in the long run.  I put it on my
			credit card, so you can either reimburse me
			or I can take it out of petty cash --

While he's talking, the Ghostbusters jump in the Ecto-2 and drive
off without him.

<b>						LOUIS
</b>			Hey!  Wait!  Okay, I'll meet you there.

<b>												 CUT TO:
</b>
<b>-----------------------------------------------------------------------
</b>
<b>EXT.  MUSEUM - NIGHT (ECLIPSE)(LATER)
</b>
ECTO-2 pulls to the curb across the street from the museum.  Hundreds of
spectators are already there gawking at the building as the Ghostbusters
jump out and gape at the sight that greets them.

<b>EXT.  MUSEUM THEIR POV - BUILDING
</b>
The building is now totally covered in a shell of psycho-reactive slime.
CITY WORKMEN and FIREMEN are trying to cut their way in with blowtorches,
jackhammers, power tools and the "jaws of life," but they can't even make
a dent.

<b>GHOSTBUSTERS
</b>
They size up the situation as they don their proton packs.

<b>						STANTZ
</b>			It looks like a giant Jello mold.

<b>						VENKMAN
</b>			I hate Jello.

They stride manfully across the street and approach the main entrance to
the museum.

<b>						STANTZ
</b>				 (to the Fire Captain)
			Okay, give it a rest, Captain.  We'll take
			it from here.

<b>						FIRE CAPTAIN
</b>				 (skeptical)
			Be my guest.  We been cutting here for three
			hours.  What the hell's going on?  You know
			the Titanic arrived this morning?

<b>						VENKMAN
</b>			Well, better late than never.

The workmen and firemen put down their tools and fall back as the
Ghostbusters draw their particle throwers.

<b>						SPENGLER
</b>				 (monitoring valences)
			Full neutronas, maser assist.

They adjust their settings and prepare to fire.

<b>						STANTZ
</b>			Throw 'em!

They trigger their throwers and spray the front doors of the building
with bolts of proton energy, but it has no effect on the hardened slime.

<b>						VENKMAN
</b>				 (to the firemen)
			Okay, who knows "Cumbaya?"

A few of the firemen and workmen tentatively raise their hands.  Venkman
grabs them and lines them up at the entrance of the museum.

<b>						VENKMAN
</b>			All right.  Nice and sweet --
				 (starts singing)
			Cumbaya, milord, cumbaya --

Stantz, Spengler, Winston and the firemen sing along, reluctantly holding
hands and swaying to the music.

<b>						ALL
</b>				 (singing)
			Cumbaya, milord, cumbaya, Cumbaya, milord,
			cumbaya, Oh, Lord, cumbaya.

Stantz inspects the wall of slime with his infra-goggles and finds that
they have only managed to open a hole the size of a dime.

<b>						STANTZ
</b>			Forget it.  The Vienna Boys Choir couldn't
			get through this stuff.

<b>						VENKMAN
</b>			Good effort.  Now what?  Should we say
			supportive, nurturing things to it, Ray?

<b>						SPENGLER
</b>			It won't work.  There's no way we could
			generate enough positive energy to crack
			that shell.

<b>						STANTZ
</b>			I can't believe things have gotten so bad
			in this city that there's no way back.
			Sure, it's crowded, it's dirty, it's noisy.
			And there are too many people who'd just as
			soon step on your face as look at you.  But
			there've got to be a few sparks of sweet
			humanity left in this burned-out burg.  We
			just have to mobilize it.

<b>						SPENGLER
</b>			We need something that everyone can get
			behind, a symbol --

His eyes fall on ECTO-2's New York State license plate which features a
line drawing of the Statue of Liberty.

<b>						STANTZ
</b>				 (he sees it, too)
			Something that appeals to the best in each
			and every one of us --

<b>						SPENGLER
</b>			Something good --

<b>						VENKMAN
</b>			And pure --

<b>						WINSTON
</b>			And decent.

<b>EXT.  THE STREET - NIGHT (SAME TIME)
</b>
There is a commotion among the crowd as the Mayor's limousine arrives
with a police escort.  Jack Hardemeyer steps out followed by the Mayor
himself and they cross to the museum entrance.

Hardemeyer, his ASSISTANT and several police BODYGUARDS confront the
Ghostbusters.

<b>						HARDEMEYER
</b>			Look, I've had it with you.  Get your stuff
			together, get back in that clown car and get
			out of here.  This is a city matter and
			everything's under control.

<b>						VENKMAN
</b>			Oh, you think so?  Well, I've got news for
			you.  You've got Dracula's brother-in-law
			in there and he's got my girlfriend and her
			kid.  Around about midnight tonight, when
			you're partying uptown, this guy's going to
			come to life and start doing amateur head
			transplants.  And that's just round one.

<b>						MAYOR
</b>			Are you telling me there're people trapped
			in there?

<b>						HARDEMEYER
</b>				 (to his assistant)
			This is dynamite.  Call A.P., U.P.I., and
			C.N.N. and get them down here right away.
			When the police bring this kid out I want
			them to hand it right to the mayor and I
			want it all on camera.

<b>						STANTZ
</b>			Mr. Mayor, if we don't do something by
			midnight, you're going to go down in history
			as the man who let New York get sucked down
			into the tenth level of hell.

The Mayor stops to consider the situation.

<b>						MAYOR
</b>				 (to the Fire Captain)
			Can you get into that museum?

<b>						FIRE CAPTAIN
</b>			If I had a nuclear warhead, maybe.

The Mayor turns to Venkman.

<b>						MAYOR
</b>			You know why all these things are happening?

<b>						VENKMAN
</b>			We tried to tell you last night, but Mr.
			Hard-On over here packed us off to the loony
			bin.

Hardemeyer flips out.

<b>						HARDEMEYER
</b>			This is preposterous!  You can't seriously
			believe all this mumbo-jumbo!  It's the
			Twentieth Century, for crying out loud!
				 (viciously, to Venkman)
			Look, mister, I don't know what this stuff
			is or how you got it all over the museum,
			but you better get it off and I mean right
			now!

He pounds the wall of slime with his fist, and they all watch in
amazement as his fist goes through the wall and he is sucked bodily
through the slime curtain.  Only his shoes can be seen, embedded in the
slime.

<b>						MAYOR
</b>				 (to Venkman)
			Okay, just tell me what you need.

<b>												 CUT TO:
</b>
<b>EXT.  LIBERTY ISLAND (NEW YORK HARBOR) - NIGHT
</b>
With the city skyline in the b.g., the Ghostbusters prepare their
equipment.  Each of them dons a makeshift backpack consisting of tanks,
hoses, nozzles and an abundance of gauges, valves and regulators.
Venkman looks up at the Statue of Liberty looming above them.

<b>						VENKMAN
</b>			Kind of makes you wonder, doesn't it?

<b>						WINSTON
</b>			Wonder what?

<b>						VENKMAN
</b>			If she's naked under that toga.  She's
			French, you know.

<b>						SPENGLER
</b>			There's nothing under that toga but 300 tons
			of iron and steel.

Stantz is looking worried.

<b>						STANTZ
</b>			I hope we have enough stuff to do the job.

<b>						VENKMAN
</b>			Only one way to find out.
				 (to Stantz)
			Ready, Teddy?

They enter the statue.

<b>												 CUT TO:
</b>
<b>INT.  STATUE OF LIBERTY - MOMENTS LATER
</b>
The Ghostbusters are working from the iron staircase that spirals
straight up 100 feet inside the hollow super-structure of the statue.
Spengler and Winston are busy assembling hundreds of wires connected to
various relays on the interior surface of the statue.  Venkman and Stantz
are mounting large auditorium loudspeakers near the top of the staircase.
They finish the installation, then Stantz dons one of the new backpacks
and gives the order.

<b>						STANTZ
</b>			Okay, boys.  Let's frost it.

They begin hosing the inside of the statue with the psycho-reactive
slime.

<b>												 CUT TO:
</b>
<b>INT.  FIREHOUSE - NIGHT (SAME TIME)
</b>
Janine watches as Louis, wearing a Ghostbuster uniform, slings a heavy
proton pack onto his back.

<b>						JANINE
</b>			I'm not sure this is such a good idea?  Do
			they know you're doing this?

<b>						LOUIS
</b>			Oh, yeah, sure -- no.  But there's really
			not much to do here and they might need
			some back-up at the museum.

<b>						JANINE
</b>			You're very brave, Louis.  Good luck.

She kisses Louis and he gets extremely self-conscious.

<b>						LOUIS
</b>			Uh -- oh -- well, I better hurry.

He rushes out.

<b>EXT  STREET OUTSIDE FIREHOUSE - NIGHT (LITTLE LATER)
</b>
Louis stands on the street corner waiting for a bus.  Finally, a bus
pulls up, Louis climbs aboard and finds Slimer behind the wheel.

<b>												 CUT TO:
</b>
<b>INT.  STATUE OF LIBERTY - OBSERVATION DECK - MOMENTS LATER
</b>
Venkman, Stantz, Spengler and Winston are standing in the observation
windows in the crown of the statue.  It looks like they're on the bridge
of an ocean liner, then the CAMERA PULLS BACK to reveal the head of the
statue.

<b>STANTZ
</b>
He plugs the main cable lead into a transformer.

<b>						STANTZ
</b>			It's all yours, Pete.
				 (checks his watch)
			There's not much time left.

Venkman plugs the speaker cable into a Walkman and gives a downbeat.

<b>						VENKMAN
</b>				 (giving the downbeat)
			Okay, one, two, three, four --

He hits "Play" on the Walkman and "HIGHER AND HIGHER" BOOMS from the huge
SPEAKERS, amplified by the statue's vast hollow interior.

<b>INT.  OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
</b>
The head of the statue lurches suddenly, but the Ghostbusters cling to
the rail and manage to keep their feet.

<b>						STANTZ
</b>			She's moving!

<b>						WINSTON
</b>			I've lived in New York all my life and I
			never visited the Statue of Liberty.  Now I
			finally get here and we're taking her out
			for a walk.

<b>						SPENGLER
</b>				 (reading the Giga-meter)
			We've got full power.

Stantz picks up a Nintendo control paddle from a home video game and
starts pushing the buttons.

<b>						VENKMAN
</b>				 (into a microphone)
			Okay, Libby.  Let's get it in gear.

They feel a strong vibration and the statue starts to move.

<b>												 CUT TO:
</b>
<b>EXT.  SOUTH STREET SEAPORT - NIGHT
</b>
New Years Eve celebrants line the riverfront, pointing and gawking at an
incredible sight.

<b>EXT.  EAST RIVER - THEIR POV - NIGHT (CONTINUOUS ACTION)
</b>
The statue is moving up the river almost completely submerged, only her
head from the nose up is visible above the surface.

<b>INT.  OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
</b>
Winston looks out apprehensively.

<b>						WINSTON
</b>			How deep does it get?  That water's cold and
			I can't swim.

<b>						VENKMAN
</b>			It's okay.  I have my Senior Lifesaving card.

<b>						SPENGLER
</b>			With a water temperature of forty degrees
			we'd survive approximately fifteen minutes.

Stantz studies a maritime navigational chart.

<b>						STANTZ
</b>			I'll keep to the middle of the channel.
			We're okay to 59th Street, then we'll go
			ashore and take First Avenue to 79th.

<b>						VENKMAN
</b>			Are you kidding?  We'll hit all that bridge
			traffic at 59th.  I'm going to take 72nd
			straight up to Fifth.  Trust me, I used to
			drive a cab.

<b>												 CUT TO:
</b>
<b>EXT.  RIVERFRONT - NIGHT (SAME TIME)
</b>
Spectators cheer wildly, inspired by the sight of the Statue.

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)
</b>
Janosz is sitting next to Dana, still wheedling her with promises and
self-serving logic.

<b>						JANOSZ
</b>			Time is running out, Dana.  Soon it will be
			midnight and the city will be mine -- and
			Vigo's.  Well, mainly Vigo's.  But we have
			a spectacular opportunity to make the best
			of our relationship.

<b>						DANA
</b>			We don't have a relationship.

<b>						JANOSZ
</b>			I know.  Marry me, Dana, and together we
			will raise Vigo as our son.  There are many
			perks that come with being the mother of a
			living god.  I'm sure he will supply for us
			a magnificent apartment.  And perhaps a car
			and free parking.

<b>						DANA
</b>			I hate and despise you and everything you
			stand for with all my heart and soul.  I
			could never forgive what you've done to me
			and my child.

<b>						JANOSZ
</b>			Many marriages begin with a certain amount
			of distance, but after a while I believe we
			could learn to love each other.  Think about
			it.

<b>						DANA
</b>			I'd rather not.

<b>												 CUT TO:
</b>
<b>EXT.  TIMES SQUARE - NIGHT (SAME TIME)
</b>
People are jammed together shoulder to shoulder filling Times Square,
watching the big Seiko clock count down the last ten minutes to midnight.
Suddenly, they look down Broadway and see a magnificent sight.

<b>EXT.  BROADWAY - NIGHT (CONTINUOUS ACTION)
</b>
The Statue of Liberty is walking up Broadway approaching 42nd Street,
with "Higher and Higher" BOOMING from the SPEAKERS inside.  A great cheer
goes up, and the crowd goes wild with joy, dancing and singing along with
the MUSIC.

<b>INT.  STATUE OF LIBERTY OBSERVATION DECK - NIGHT (CONTINUOUS)
</b>
Spengler reads the Giga-meter.

<b>						SPENGLER
</b>			It's working.  The positive GeV's are
			climbing.

<b>						VENKMAN
</b>				 (patting the Statue)
			They love you, Lib.  Keep it up.

<b>												 CUT TO:
</b>
<b>EXT.  FIFTH AVENUE - NIGHT (LATER)
</b>
The avenue has been closed to traffic and barricades placed, blocking all
the side streets.  A squadron of police motorcycles comes speeding around
the corner at 72nd Street and proceeds up Fifth Avenue in the direction
of the museum.  Then MUSIC is heard BOOMING in the distance, the ground
shakes and the Statue of Liberty comes walking around the corner onto
Fifth Avenue followed by a wildly cheering throng.

<b>												 CUT TO:
</b>
<b>INT.  OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
</b>
The Ghostbusters can see the museum ahead.

<b>						VENKMAN
</b>			So far so good.

<b>						SPENGLER
</b>				 (worried)
			I'm worried.  The vibrations could shake her
			to pieces.  We should have padded her feet.

<b>						STANTZ
</b>			I don't think they make Nikes in her size.

<b>						VENKMAN
</b>			We're almost there, Lib.
				 (to Stantz)
			Step on it.

<b>EXT.  STREET - NIGHT (CONTINUOUS ACTION)
</b>
The Statue's huge foot comes down and squashes a car.

<b>INT.  OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
</b>
The Ghostbusters look down at the flattened car.

<b>						STANTZ
</b>				 (shouts out the window)
			My Fault!

<b>						VENKMAN
</b>				 (shouts)
			She's new in town.

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM - RESTORATION STUDIO - SAME TIME
</b>
Janosz is painting the last of the mystical symbols on the baby's chest.

<b>												 CUT TO:
</b>
<b>EXT.  TIMES SQUARE - NIGHT (SAME TIME)
</b>
The people still in the square start counting off the last ten seconds to
midnight and the New Year.

<b>						CROWD
</b>				 (chanting)
			Ten .. nine ... eight ... seven ...

<b>												 CUT TO:
</b>
<b>INT.  MUSEUM - PAINTING - NIGHT
</b>
A strange light spreads over the painting.  As the light moves onto his
face, Vigo spreads his arms wide and his upper body starts to emerge from
the canvas.

<b>						VIGO
</b>			Soon my life begins.  Then woe to the weak,
			all power to me, the world is mine.

<b>INT.  MUSEUM - JANOSZ - NIGHT
</b>
The baby's body begins to glow as Vigo reaches out for it.  Then suddenly
a dark shadow falls across the skylight.  Janosz looks up.

<b>INT.  MUSEUM - JANOSZ'S POV - SKYLIGHT - NIGHT
</b>
The Statue of Liberty is looming over the skylight looking down on Janosz
with an expression of righteous anger on it's face.

<b>EXT.  MUSEUM - NIGHT (CONTINUOUS ACTION)
</b>
Kneeling beside the museum, the statue draws back it's mighty right arm
and smashes the skylight with its torch.

<b>INT.  RESTORATION STUDIO - NIGHT (CONTINUOUS ACTION)
</b>
Janosz retreats from the shower of broken glass as the Ghostbusters come
sliding down ropes into the studio and confront Janosz with their new
weapons.  Quick as a flash, Dana seizes the moment, dashes across the
studio and snatches the baby from Vigo's outstretched arms.

<b>						VENKMAN
</b>				 (to Janosz)
			Happy New Year.

<b>INT.  MUSEUM - VIGO PAINTING - NIGHT (CONTINUOUS ACTION)
</b>
Vigo bellows in rage.

<b>INT.  MUSEUM - STUDIO - NIGHT (CONTINUOUS ACTION)
</b>
Janosz steps in front of the painting.

<b>						SPENGLER
</b>			Hi there.  Feel free to try something stupid.

Janosz sneers, trusting the invincibility of Vigo.

<b>						JANOSZ
</b>			You pitiful, miserable creatures!  You dare
			to challenge the power of darkness?  Don't
			you realize what you are dealing with?  He's
			Vigo!  You are like the buzzing of flies to
			him.

<b>						VENKMAN
</b>				 (sighs)
			Oh, Johnny.  Did you back the wrong horse.

With that, the Ghostbusters fire their slime-blowers and hose Janosz from
head to toe, blowing him into the corner.  Then they turn to Vigo.

<b>VIGO
</b>
He is now almost completely out of the painting, but still held from the
knees down.  He spits and rages at the Ghostbusters, trying to unleash
his magic powers.

<b>THE GHOSTBUSTERS
</b>
They stand fast, secure in the knowledge that Vigo's power has been
neutralized by the good will of the people.

<b>						STANTZ
</b>			Vigi, Vigi, Vigi -- you have been a bad
			little monkey.

<b>						VENKMAN
</b>			The whole city's together on this one.  We
			took a vote.  Everybody's down on you, you
			know.

<b>						WINSTON
</b>				 (arming his slime-blower)
			Say goodnight now.

Suddenly Vigo grabs Stantz by the neck and holds him up as a shield.

<b>						SPENGLER
</b>			Don't shoot!  You'll hit Ray!

<b>						STANTZ
</b>				 (strangling)
			Do it!  Just do it!

Winston fires and hoses both Vigo and Ray.

<b>VIGO
</b>
He bellows and drops Ray, then falls back into the painting.

<b>INT.  MUSEUM - PAINTING - NIGHT
</b>
The paint turns liquid, melts off the canvas and runs onto the floor
revealing another painting underneath it.

<b>INT.  MUSEUM - GHOSTBUSTERS - NIGHT (AFTER BATTLE)
</b>
Venkman, Spengler and Winston rush over to Ray and kneel beside him.  He
is completely covered with slime and motionless.

<b>						SPENGLER
</b>				 (examining him)
			He's breathing.

Winston wipes the slime off Ray's face and Ray opens his eyes.

<b>						WINSTON
</b>			Ray -- Ray -- How do you feel, man?

<b>						STANTZ
</b>				 (smiles lovingly)
			Groovy.  I've never felt better in my life.

<b>						VENKMAN
</b>			Oh, no.  We've got to live with this?

They pull him to his feet.

<b>						STANTZ
</b>			I love you guys.  You're the best friends
			I've ever had.

He hugs them each in turn, leaving them slimed as well.  Venkman recoils
in disgust.

<b>						VENKMAN
</b>			Hey, I just had this suit cleaned.
				 (indicating Janosz)
			Take care of the wiggler, will you.

Venkman crosses to Dana who is snuggling the baby.  She hugs Venkman.

<b>						VENKMAN
</b>			What is this -- a love in?
				 (notes the symbols painted
				 on the baby's body)
			Hey, sailor.  I think the tattoos are a
			little much, don't you?

He picks up the baby.

<b>						DANA
</b>				 (to Venkman)
			I think he likes you.  I think I do too.

<b>						VENKMAN
</b>			Finally came to your senses, huh?

They hug and kiss.

<b>SPENGLER, WINSTON AND STANTZ
</b>
They help Janosz to his feet.  He's dazed but unhurt.

<b>						JANOSZ
</b>				 (restored to normalcy)
			What happened?

<b>						STANTZ
</b>				 (calmly)
			Sir, you had a violent, prolonged,
			transformative psychic episode.  But it's
			over now.  Want a coffee?

<b>						JANOSZ
</b>				 (extremely nice)
			That's very kind of you.

<b>						SPENGLER
</b>				 (to Stantz)
			He's fine, Ray.  Physically intact,
			psychomagnetherically neutral.

<b>						JANOSZ
</b>			Is that good?

<b>						WINSTON
</b>			It's where you want to be.

As they exit they stop to examine the painting that was concealed by
Vigo's self-portrait.

<b>						SPENGLER
</b>			Late Renaissance, I think.  Caravaggio or
			Brunelleschi.

<b>						WINSTON
</b>				 (staring at it)
			There's something very familiar about this
			painting.

<b>INT.  MUSEUM - NEW PAINTING - NIGHT
</b>
It's a beautiful painting in the high-Renaissance style depicting four
archangels hovering protectively over a cherubic baby.  One holds a harp,
one, an olive branch, the third, a book, and the last, a sword.  Most
remarkably, their faces bear an uncanny resemblance to Venkman, Stantz,
Spengler and Winston.

<b>												 CUT TO:
</b>
<b>EXT.  STREET - NIGHT (SAME TIME)
</b>
A city bus pulls up near the museum and Louis steps off.  He waves his
thanks to Slimer who is behind the wheel.

<b>						LOUIS
</b>				 (to Slimer)
			Okay, so Monday night we'll get something
			to eat and maybe go bowling?  Can you bowl
			with those little arms?

SLIMER GRUNTS and SLOBBERS a reply, flexing his scrawny biceps.

<b>						LOUIS
</b>			Okay, I have to go save Dana.  I'll see you
			later.

<b>												 CUT TO:
</b>
<b>EXT. MUSEUM - NIGHT (LITTLE LATER)
</b>
The Ghostbusters are greeted by wild cheering and applause as they come
out the main entrance with Dana and the baby.  Everybody starts singing
"Auld Lang Syne."  Louis picks his way through the celebrating crowd and
finds the Ghostbusters.

<b>						LOUIS
</b>			Am I too late?

<b>						STANTZ
</b>			No, you're right on time.

Stantz pops the cork on a bottle of champagne and hands it to him.

<b>EXT.  MUSEUM ENTRANCE - NIGHT (SAME TIME)
</b>
Hardemeyer staggers out of the museum covered in slime.  He looks at the
celebrating crowd and his eyes fill with tears.

<b>						HARDEMEYER
</b>				 (weepy)
			Happy New Year, everybody!

He joins in on "Auld Lang Syne."

<b>												 CUT TO:
</b>
<b>EXT.  CENTRAL PARK - NIGHT (LATER)
</b>
The Statue of Liberty is sprawled inert on her back in the park behind
the museum, her toga up over her knees.  The Mayor looks nearly suicidal.
The Ghostbusters stand beside him commiserating.

<b>						VENKMAN
</b>			She's all right.  She's just sleeping it off.

<b>						MAYOR
</b>				 (stricken)
			We just had it restored.

<b>						VENKMAN
</b>			This probably isn't a good time to bring
			this up, but the last time we did a job for
			the city you stiffed us.

<b>						STANTZ
</b>				 (handing the Mayor an
				 invoice)
			This is a bill for tonight's job.

The Mayor looks at it and gasps at the amount.

<b>						MAYOR
</b>			What!  This is way too much.
				 (hands the bill back to
				 Venkman)
			We won't pay.

Venkman looks at the Statue.

<b>						VENKMAN
</b>				 (to Stantz)
			I think she looks pretty good here, don't
			you?

<b>						STANTZ
</b>			Yeah, and a lot easier to get to than that island.

Realizing he has no alternative, the Mayor sighs and takes the bill back.

<b>				MAYOR
</b>		All right, all right.  If you can wait until
		Monday I'll issue you a check.

<b>				SPENGLER
</b>		Sorry.  No checks.  Company policy.

<b>								CUT TO:
</b>
<b>EXT. LIBERTY ISLAND - DAY (WEEKS LATER)
</b>
The sun is shining brightly and Liberty is back on her pedestal where she
belongs.  The Mayor and a host of officials are commemorating her return.
The Ghostbusters, Dana, Janine and Louis are there as honored guests.

<b>				VENKMAN
</b>			(looking up at the statue)
		Pretty impressive, huh?

<b>				SPENGLER
</b>			(musing)
		It's probably the first thing my
		grandparents saw when they came to this
		country.

<b>				VENKMAN
</b>		From where -- Neptune?

<b>				SPENGLER
</b>		They came from Ostrov in Eastern Poland.

<b>				VENKMAN
</b>		Ostrov?  I've been there.  Good party town.

<b>				STANTZ
</b>			(in a similarly reflective
			mood)
		My great-grandparents were Swiss.  I still
		have the pictures they took of the statue
		from the boat when they arrived.

<b>				VENKMAN
</b>		Oh, right, you told me that.  They came to
		America seeking other kinds of cheese, as I
		recall.  How about you, Winston?

<b>						WINSTON
</b>			My people weren't taking any pictures from
			those slave ships, man.  And there wasn't
			any Statue in Charleston Harbor to welcome
			them, either.  What are you, Dana?

<b>						VENKMAN
</b>			Miss Blue Blood?  Her family's been here
			since the year 12.

<b>						DANA
</b>			That's not true.  It was 1620.

<b>						VENKMAN
</b>			Same difference.

<b>						STANTZ
</b>			What's your story, Pete?

<b>						VENKMAN
</b>			Me?  I'm a little of everything.  Some Irish,
			some German, some French, Dutch -- the women
			in my family slept around.  And that's what
			made this country great.

<b>						DANA
</b>			That's a terrible thing to say.

<b>						VENKMAN
</b>			So what?  It's a free country.
				 (looking up at the Statue)
			Thanks, Lib.

They all look up at the Statue.

<b>EXT.  STATUE OF LIBERTY - HEAD OF STATUE - DAY
</b>
Slimer flies out one of the observation windows, THEME MUSIC KICKS IN and
the CAMERA PULLS UP and AWAY FROM the island TO a HIGH SHOT of the
Statue, lower Manhattan and the shining sea beyond.

<b>											FADE OUT.
</b>
<b>						THE END
</b>
</pre><br>
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	<td><h1>Ghostbusters 2</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Dan Aykroyd" title="Scripts by Dan Aykroyd">Dan Aykroyd</a>&nbsp;&nbsp;<a href="/writer.php?w=Harold Ramis" title="Scripts by Harold Ramis">Harold Ramis</a><br>
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Why were the Ghostbusters sued? 
Why were the Ghostbusters sued ?
For property damages. 
For property damages .
For property damage
For property damage