CUT TO:
INT. DANA'S APARTMENT - DAY (LATER)
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
RINGS.
CUT TO:
Dana enters from the bedroom and crosses to the front door. She opens
it and admits Ray and Egon.
DANA
(hugging Ray)
Hi, Ray. It's good to see you. Thanks for
coming.
STANTZ
No problem. Always glad to help -- and hug.
DANA
(to Spengler)
Hi, Egon.
She shakes his hand and is about to close the door when Venkman appears
in the doorway.
VENKMAN
Hi, Dana.
Dana is caught completely off guard by Venkman's surprise appearance.
VENKMAN
I knew you'd come crawling back to me.
She regards him coolly, as always amused and amazed at his
presumptuousness.
DANA
Hello, Peter.
VENKMAN
(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?
DANA
I have. That's why I didn't call you first.
VENKMAN
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.
VENKMAN AND DANA
Venkman starts nosing around the apartment. Dana follows him.
VENKMAN
So what happened to Mr. Right? I hear he
ditched you and the kid and moved to Europe.
DANA
He didn't "ditch" me. We had some problems,
he got a good offer from an orchestra in
England and he took it.
VENKMAN
He ditched you. You should've married me,
you know.
DANA
You never asked me, and every time I brought
it up you'd get drowsy and fall asleep.
VENKMAN
Men are very sensitive, you know. We need to
feel loved and desired, too.
DANA
Well, when you started introducing me as "the
old ball and chain," that's when I left.
VENKMAN
I may have a few personal problems but one thing
I am is a total professional.
He leaves her and crosses to Spengler.
SPENGLER
He's taking a complete set of body and head measurements of the baby
with a tape measure and calipers.
VENKMAN
What are you going to do, Egon? Knit him a
snowsuit?
Spengler ignores the remark and hands Venkman a specimen jar.
SPENGLER
I'd like to have a stool specimen
VENKMAN
Yeah, you would. Is that for personal or
professional reasons?
VENKMAN
(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.
VENKMAN
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.
DANA
What do you think?
VENKMAN
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?
DANA
His name is Oscar.
VENKMAN
Oscar! You poor kid!
DANA
(losing patience)
Peter, this is serious. I need to know if you
think there's anything unusual about him.
VENKMAN
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.
DANA
(taking the specimen jar)
I'll do it.
VENKMAN
I'll supervise.
INT. DANA'S APARTMENT - NURSERY - DAY (CONTINUOUS ACTION)
Venkman enters and finds Stantz monitoring the room.
VENKMAN
(to Stantz)
Well, Holmes, what do you think?
STANTZ
It's an interesting one, Pete. If anything
was going on it's totally subdued now.
Spengler enters.
VENKMAN
(to Spengler)
What now, Brainiac?
SPENGLER
I think we should see if we can find
anything abnormal on the street.
VENKMAN
Finding something abnormal on the street
shouldn't be too hard.
CUT TO:
EXT. EAST 77TH STREET - DAY (LATER)
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.
VENKMAN
(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?
DANA
We definitely had a moment or two.
Dana stops at the intersection and points to the middle of the street.
DANA
That's where the buggy stopped.
VENKMAN
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.
STANTZ
(reading the PKE meter)
Is this the spot?
DANA
A little to the left. Right there! That's
where it stopped.
Stantz reads the PKE meter.
STANTZ
Nothing. Not a trace.
SPENGLER
Why don't we try the Giga-meter?
VENKMAN
What's that?
STANTZ
Egon and I have been working on a gauge to
measure psychomagnetheric energy in GEVs -
giga electron volts.
SPENGLER
That's a thousand million electron volts.
VENKMAN
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
WILDLY.
STANTZ
I think we hit the honeypot, boys. There's
something brewing under the street.
DANA
(worried, to Venkman)
Peter, do you think maybe I have some genetic
problem or something that makes me vulnerable
to these supernatural things.
VENKMAN
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.
CUT TO:
INT. MANHATTAN MUSEUM OF ART - LATE AFTERNOON
The museum has just closed for the day and the last of the visitors and
employees are leaving.
INT. RESTORATION STUDIO - SAME TIME
Janosz is working late on the painting of Vigo.
VIGO PAINTING
Unnoticed by Janosz, the eyes of Vigo start to glow.
JANOSZ
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.
PAINTING
The figure of Vigo comes to life, turns toward Janosz and gestures
dramatically at him. Then he speaks to Janosz in a commanding voice.
VIGO
I, Vigo, the scourge of Carpathia, the
sorrow of Moldavia, command you.
JANOSZ
(in agony)
Command me, lord.
VIGO
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.
CUT TO:
EXT. COFFEE SHOP - EAST 77TH STREET - NIGHT
Venkman and Stantz come out with small boxes containing coffee,
sandwiches and Danish and start walking up the street.
VENKMAN
I love this. We're onto something really
big. I can smell it, Ray. We're going to
make some headlines with this one.
STANTZ
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.
VENKMAN
Relax. We're going to keep this whole thing
nice and quiet, low key, no profile.
EXT. EAST 77TH STREET - NIGHT (CONTINUOUS ACTION)
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.
POLICE CAR
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.
FIRST COP
How ya doing?
SPENGLER
(reeking with guilt)
Fine! It's cutting fine now.
FIRST COP
(curious)
Why are you cutting?
SPENGLER
(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.
FIRST COP
What are you doing here?
VENKMAN
(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)
SPENGLER
(with a "right on" fist)
Yo.
The cops seem satisfied by the explanation.
FIRST COP
Okay, boys, take it easy.
They drive off. Spengler breathes a great sigh of relief and starts
rubbing his sore shoulders.
SPENGLER
You were supposed to help me with this.
VENKMAN
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.
STANTZ
(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.
STANTZ
(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.
SPENGLER
Very intense. We need a deeper reading.
Somebody has to go down there.
Venkman and Spengler both look at Ray.
STANTZ
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.
STANTZ (O.S.)
(his voice echoing in the
airshaft)
Keep going -- more -- more --
INT. HOLE - NIGHT (CONTINUOUS ACTION)
Stantz rappels off the sides of the airshaft as he continues his descent
in total darkness.
STANTZ
(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.
STANTZ
(shouts)
Hold it! Steady!
He pulls a powerful flashlight from his utility belt and shines it into
the tunnel below.
INT. VAN HORNE STATION - STANTZ'S POV - NIGHT
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
STATION.
STANTZ
He pans the walls with his flashlight, admiring the excellent tilework,
and speaks quietly to Venkman and Spengler over his walkie-talkie.
STANTZ
(reverently)
This is it, boys, the end of the line. Van
Horne Station. The old New York Pneumatic.
It's still here.
EXT. EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)
Venkman has no idea what he's talking about.
SPENGLER
(explaining)
The New York Pneumatic Railway. It was an
experimental subway system. Fan-forced
air-trains, built around 1870.
STANTZ
(over the walkie-talkie)
This is about as deep as you can go under
Manhattan without digging your own hole.
SPENGLER
(to Stantz)
What's the reading?
INT. VAN HORNE STATION - NIGHT (CONTINUOUS ACTION)
Stantz shines his flashlight on the meter and whistles at the extremely
high reading.
STANTZ
(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.
STANTZ
(shouts)
Hold it!! Stop!! Whoa!!
INT. VAN HORNE STATION - STANTZ'S POV - FLOOR - NIGHT
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.
INT. VAN HORNE STATION - STANTZ - NIGHT
STANTZ
(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!!
STANTZ
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.
SLIME
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.
STANTZ
(on the radio)
Haul me up, Venkman! Now!
EXT. EAST 77TH STREET - HOLE - NIGHT (CONTINUOUS ACTION)
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.
SUPERVISOR
(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.
VENKMAN
What, I got time for this? We got three
thousand phones out in the Village and about
eight million miles of cable to check.
SUPERVISOR
(not buying it)
The phone lines are over there.
(points to the curb)
Venkman pops Spengler on the head.
VENKMAN
I told ya!
Stantz can be heard ranting over Venkman's walkie-talkie.
STANTZ (O.S.)
(filtered)
Help! Help! Pull me up! It's alive! It's
eating my boots.
Venkman switches off the walkie-talkie.
FIRST COP
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.
VENKMAN
Gas leak?
INT. VAN HORNE STATION - SAME TIME
Stantz is hanging there, looking down into the shaft at the slime which
is now bubbling up the shaft after him.
STANTZ
(shouting)
Get me out of here!!
Desperate now, he kicks wildly and knocks loose a section of an old,
rusting conduit.
INT. VAN HORNE STATION - BOTTOM OF THE SHAFT
The conduit falls on a heavy electrical transmission line, ripping
through the cable with a SHOWER OF SPARKS.
EXT. EAST 77TH STREET - HOLE - CONTINUOUS ACTION
Venkman, Spengler, the cops and the supervisor all react to a bright
FLASH deep down in the hole and a SHOUT from Stantz.
EXT. EAST 77TH STREET - STREET - NIGHT
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.
STANTZ (O.S.)
Sorry.
INT. DANA BARRETT'S APARTMENT - NIGHT (SAME TIME)
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.
DANA
(surprised)
Janosz?
JANOSZ
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.
DANA
(mechanically and cautiously)
We're fine, Janosz.
He tires to look around her into the apartment.
JANOSZ
Do you need anything? You want me to come
in?
DANA
No, everything's fine. Honestly. Thanks
anyway.
JANOSZ
Okay, just thought I'd check. Good night,
Dana. Sleep well. Don't let the bedbugs
bite you.
DANA
Good night, Janosz.
She closes the door behind him and double locks it, then stands there
staring into the candlelight, alone and afraid.
INT. HALLWAY OF DANA'S BUILDING - NIGHT (CONTINUOUS ACTION)
Janosz stands there in semi-darkness, then his eyes light up like
headlights and he walks off down the hall.
CUT TO:
INT. COURTROOM - WITNESS STAND - NEXT DAY
The JUDGE, a rather sour-looking jurist of the old school, calls the
court to order.
JUDGE
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?
DEFENSE TABLE
Stantz leans over and whispers to Spengler.
STANTZ
Seems like a pretty open-minded guy, huh?
SPENGLER
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.
LOUIS
(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.
STANTZ
That's all right. We got arrested at night.
SPECTATORS' GALLERY
Venkman is talking to Dana at the wooden rail in front of the gallery.
DANA
I wish I could stay. I feel personally
responsible for you being here.
VENKMAN
You are personally responsible. If I can
get conjugal rights, will you visit me at
Sing Sing?
DANA
Please don't say that. You won't go to prison.
VENKMAN
Don't worry about me. I'm like a cat.
DANA
You mean you cough up hairballs all over
the rug?
VENKMAN
I'm El Gato. I always land on my feet.
DANA
(sincerely)
Good luck.
VENKMAN
Thanks.
She gives him a quick, unexpected kiss and exits. Venkman savors it for
a moment then goes back to the defense table.
PROSECUTION TABLE
Jack Hardemeyer, the mayor's principal aide, is goading the PROSECUTOR,
a very sober, humorless woman in her late thirties.
HARDEMEYER
How are you doing, hon? Just put these guys
away fast and make sure they go away for a
long, long time.
PROSECUTOR
It shouldn't be hard with this list of charges.
HARDEMEYER
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.
DEFENSE TABLE
The Ghostbusters look up as Hardemeyer approaches.
HARDEMEYER
(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.
LOUIS
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.
INT. COURTROOM - WITNESS STAND - DAY (LATER)
The Con Ed Supervisor is testifying.
PROSECUTOR
Mr. Fianella, please look at Exhibits A
through F on the table over there. Do you
recognize that equipment?
EXHIBIT TABLE
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.
CON ED
(o.c.)
That's the stuff the cops found in their
truck.
WITNESS STAND
She continues.
PROSECUTOR
Do you know what this equipment is used for?
CON ED
(shrugs)
I don't know. Catching ghosts, I guess.
PROSECUTOR
(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.
JUDGE
So noted.
PROSECUTOR
Now, Mr. Fianella, can you identify the
substance in the jar on the table marked
Exhibit F?
PROSECUTOR
She goes to the exhibit table and picks up a specimen jar containing the
slime sample Stantz removed from the tunnel.
CON ED
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.
DEFENSE TABLE
Venkman and Spengler look at Stantz.
STANTZ
(defensively)
Hey, I didn't imagine it. There must have
been ten thousand gallons of it down there.
SPENGLER
It may be ebbing and flowing from some tidal
source.
LOUIS
(nervously)
Should I say that?
SPENGLER
I doubt that they'd believe us.
Louis moans and goes back to his notes.
WIPE TO:
INT. COURTROOM - WITNESS STAND - LATER
Venkman himself is on the stand and Louis is questioning him.
LOUIS
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?
PROSECUTOR
Objection, your Honor. He's leading the
witness.
JUDGE
The witness is leading him. Sustained.
LOUIS
Okay, let me rephrase that question.
(to venkman)
Didn't you once coach a basketball team for
underprivileged children?
VENKMAN
Yes, I did. We were city champs.
PROSECUTOR
Objection. Irrelevant and immaterial.
JUDGE
Sustained. Mr. Tully, do you have anything
to ask this witness that may have some
bearing on this case?
LOUIS
(to Venkman)
Do I?
VENKMAN
No, I think you've helped them enough already.
LOUIS
(to the Judge)
No, I guess not.
(to the Prosecutor)
Your witness.
The Prosecutor rises and approaches the witness stand with relish.
PROSECUTOR
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.
VENKMAN
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.
JUDGE
Keep that up, mister, and I'll find you in
contempt.
VENKMAN
Sorry, your Honor, but when somebody sets
me up like that I can't resist.
PROSECUTOR
I'll ask you again, Dr. Venkman. Why were
you digging the hole? And please remember
that you're under oath.
VENKMAN
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.
PROSECUTOR
So what are you saying? That the world of
the supernatural is your special province?
VENKMAN
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.
WIPE TO:
INT. COURTROOM - LATER
The trial is nearing its end. The Judge calls on Louis to make his
summation.
JUDGE
Does the counsel for the defense wish to
make any final arguements?
Louis rises.
LOUIS
Your honor, may I approach the bench?
JUDGE
(impatient)
Yes.
Louis crosses to the judge's bench.
LOUIS
(to the judge)
Can I have some of your water?
JUDGE
Get on with it, counselor!
LOUIS
(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.
SPENGLER
(to Louis)
Way to go. Concise and to the point.
JUDGE
He stares at Louis, astonished at his summation.
JUDGE
That's it? That's all you have to say?
LOUIS
Did I forget something?
He searches through a disorderly pile of notes.
JUDGE
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.
STANTZ
He sees the activity in the jar
STANTZ
Uh-oh, she's twitchin'.
THE BENCH
The Judge continues
JUDGE
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.
SPECIMEN JAR
The slime starts to pulse and swell, pushing up the lid on the jar.
DEFENSE TABLE
Stantz anticipates big trouble.
STANTZ
Under the table, boys!
The Ghostbusters duck under the defense table.
LOUIS
He stands up and looks around fearfully.
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