CUT TO:
EXT. CARL SCHURZ PARK - NIGHT (LATER)
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.
INT. GRACIE MANSION - MOMENTS LATER
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.
INT. STUDY - CONTINUOUS ACTION
The Mayor is impatient and a little angry at having been pulled out of
his formal reception. He frowns at their bizarre attire.
MAYOR
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.
STANTZ
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.
WINSTON
Tell him about the toaster.
VENKMAN
I don't think he's ready for the toaster.
MAYOR
(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.
HARDEMEYER
(smirking)
That's quite a story.
VENKMAN
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.
HARDEMEYER
Before you go running to the newspapers with
this, would you consider telling this slime
thing to some people downtown?
VENKMAN
Now you're talking.
CUT TO:
INT. PARKVIEW HOSPITAL - PSYCHIATRIC WARD - NIGHT (LATER)
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.
WINSTON
(protesting)
I'm telling you, we're not crazy. He is!
HARDEMEYER
He laughs off the remark.
HARDEMEYER
(to the Psychiatrist)
The mayor wants them kept under strict
observation for a few days. We think
they're seriously disturbed and potentially
dangerous.
PSYCHIATRIST
We'll do whatever's necessary.
Hardemeyer shakes his hand and exits as the door slams shut on the
Ghostbusters.
INT. VENKMAN'S LOFT - NIGHT (SAME TIME)
Louis and Janine are watching an old rerun on TV, eating popcorn, while
Dana is stretched out on the other sofa.
DANA
(wishing they'd leave)
You know you really don't have to stay.
Peter should be back soon.
LOUIS
Oh no, we don't mind.
She hears a little CRY from the nursery and sits up.
DANA
Excuse me. I think Oscar is up.
She crosses to the bedroom.
INT. VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)
Dana enters and immediately notices that the crib is empty and the window
is open.
DANA
(screams)
Louis!
Frantic now, Dana rushes to the window and looks out, as Louis and Janine
come running in.
EXT. WINDOW LEDGE - DANA'S POV - NIGHT (ECLIPSE)
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.
EXT. WINDOW LEDGE - NIGHT (ECLIPSE) (CONTINUOUS ACTION)
Dana climbs out onto the ledge and starts inching slowly toward the baby.
Then she stops as a miraculous apparition materializes.
LOUIS AND JANINE
They lean out the window, gaping at the apparition.
EXT. VENKMAN'S LEDGE - APPARITION
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.
DANA
She watches in helpless horror.
DANA
(screams)
No!!
GHOST NANNY
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.
DANA
She watches the creature fly off with Oscar, then climbs back through
the window assisted by Louis and Janine.
DANA
(resolutely)
Louis, you have to find Peter and tell him
what happened.
LOUIS
(confused and worried)
Where're you going?
DANA
To get my baby back.
CUT TO:
EXT. MUSEUM - NIGHT (A LITTLE LATER)
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.
CUT TO:
INT. PARKVIEW PSYCHIATRIC - PADDED ROOM - NIGHT (SAME TIME)
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.
STANTZ
We think the spirit of Vigo the Carpathian
is alive in a painting at the Manhattan
Museum.
PSYCHIATRIST
I see. And are there any other paintings in
the museum with bad spirits in them?
SPENGLER
(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.
PSYCHIATRIST
Yes, tell me about the slime.
WINSTON
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.
VENKMAN
Don't look at me. I think they're nuts.
CUT TO:
INT. MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)
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.
JANOSZ (O.S.)
I knew you would come.
Startled, Dana turns at the sound of his voice as Janosz steps out from
behind the Vigo painting.
DANA
(defiantly)
What do you want with my baby?
JANOSZ
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?
DANA
If this is what the world will be like, I
don't want to live in it.
JANOSZ
(confidentially, indicating
Vigo)
I don't believe we have the luxury of choice.
DANA
Everybody has a choice.
JANOSZ
Not in this case, my dear. Take a look.
That's not Gainsborough's Blue Boy up there.
He's Vigo!
DANA
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.
DANA
She turns and looks at Vigo, for the first time feeling his power.
JANOSZ
You will see. It's all for the best.
CUT TO:
EXT. PARKVIEW HOSPITAL - DAY (NEXT MORNING)
It's the last day of the year and the sun is shining brightly.
CUT TO:
INT. PARKVIEW PSYCHIATRIC WARD - DAY (SAME TIME)
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.
STANTZ
This is it. boys. It's starting. Shit-storm
2000.
Venkman is doing occupational therapy, weaving on a little hand-loom.
VENKMAN
It better not start yet. I'm trying to
finish my potholder before lunch.
WINSTON
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.
PATIENT
(with certainty)
1997. My dog told me.
VENKMAN
What kind of dog?
PATIENT
Labrador.
VENKMAN
(shakes his head)
Habitual liars. They can't help it. It's
in the breed.
CUT TO:
INT. PARKVIEW HOSPITAL - EXAMINING ROOM - DAY (SAME TIME)
Louis is pleading with his cousin, SHERMAN TULLY, a doctor on the staff
at Parkview. He looks and sounds just like Louis.
LOUIS
Come on, Sherm. You're my cousin. Do this
for me. I'm begging you.
SHERMAN
I can't do it, Louis. It isn't ethical. I
could lose my license.
LOUIS
Why can't you just have them released?
You're a doctor.
SHERMAN
I'm a dermatologist. I can't write orders
on the psych ward.
LOUIS
Sherman, I've done lots of favors for you.
SHERMAN
Like what?
LOUIS
I got you out of those bad tax shelters.
SHERMAN
You were the one who got me in.
LOUIS
I fixed you up with Diane Troxler and she
put out, didn't she?
SHERMAN
Yeah, I had to give her free dermabrasion
for a year. Forget it, Louis. I could get
in a lot of trouble.
LOUIS
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.
SHERMAN
Then you should go to the police. I don't
believe in any of that stuff.
Sherman looks out the window.
EXT. SKY - SHERMAN'S POV
The sky begins to go dark as the sun is magically eclipsed.
INT. EXAMINING ROOM - CONTINUOUS ACTION - DAY
The room goes dark. Louis switches on a lamp which casts an eerie light
on his face.
LOUIS
(spooky)
Do you believe it now, Sherm?
CUT TO:
EXT. HUDSON RIVER PIER - NIGHT (ECLIPSE)
A drainpipe starts dripping slime into the river near the Cunard Line
docks.
CUT TO:
EXT. PUBLIC FOUNTAIN (59TH AND FIFTH) - NIGHT (ECLIPSE)
With the Plaza Hotel in the background, the fountain starts to spout
psycho-reactive slime.
HOTEL ENTRANCE
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.
WOMAN
(shrewish)
I told you we should have stayed in Palm
Beach. The weather here gets stranger every
year.
MAN
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.
WOMAN
She yelps in pain.
WOMAN
(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.
CUT TO:
INT. MIDTOWN CENTRAL POLICE PRECINCT - NIGHT (ECLIPSE)
The squad room is busy as DETECTIVES try to answer the flood of calls
regarding the wave of supernatural events sweeping the city.
DETECTIVE ONE
(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?
DETECTIVE TWO
(on another phone)
Was this a big dinosaur or a little dinosaur?
... Oh, just the skeleton, huh? Well, where
is it now?
DETECTIVE THREE
(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.
SERGEANT
Manhattan Central, Flaherty speaking ...
Yeah ... yeah? ... What? Who is this? ...
Wait a second.
He puts the caller on "Hold" and turns the LIEUTENANT.
SERGEANT
Lieutenant, I think you better talk to this
guy.
LIEUTENANT
(on another call)
What is it? I'm talkin' here!
SERGEANT
It's some dock supervisor down at Pier 34
on the Hudson. The guy's going nuts.
LIEUTENANT
What's the problem?
SERGEANT
(takes a deep breath)
He says the Titanic just arrived.
INT. PORT AUTHORITY OFFICE - NIGHT (ECLIPSE)
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.
EXT. PIER 34 - THEIR POV - NIGHT (ECLIPSE)
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.
CUT TO:
EXT. PARKVIEW HOSPITAL - NIGHT (MOMENTS LATER)(ECLIPSE)
Ecto-2 is parked outside as Louis and Sherman come out of the hospital
with the Ghostbusters, now wearing their standard uniforms.
STANTZ
Good work, Louis. How did you get us out?
LOUIS
Oh, I pulled a few strings. I wouldn't want
to say any more than that.
Louis winks conspiratorially at Sherman.
LOUIS
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.
SHERMAN
(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.
LOUIS
Hey! Wait! Okay, I'll meet you there.
SHERMAN
I thought you were like the fifth Ghostbuster.
LOUIS
I let them handle all the little stuff. I
just come in on the big ones.
CUT TO:
-----------------------------------------------------------------------
(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)
LOUIS
Actually, they still think you're crazy, but
I convinced them you're not dangerous.
VENKMAN
(determined)
Yeah, well guess again.
EXT. BELLEVUE HOSPITAL - NIGHT (ECLIPSE)(MOMENTS LATER)
Ecto-2 is parked outside and the Ghostbusters are hastily donning their
standard uniforms.
LOUIS
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.
LOUIS
Hey! Wait! Okay, I'll meet you there.
CUT TO:
-----------------------------------------------------------------------
EXT. MUSEUM - NIGHT (ECLIPSE)(LATER)
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.
EXT. MUSEUM THEIR POV - BUILDING
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.
GHOSTBUSTERS
They size up the situation as they don their proton packs.
STANTZ
It looks like a giant Jello mold.
VENKMAN
I hate Jello.
They stride manfully across the street and approach the main entrance to
the museum.
STANTZ
(to the Fire Captain)
Okay, give it a rest, Captain. We'll take
it from here.
FIRE CAPTAIN
(skeptical)
Be my guest. We been cutting here for three
hours. What the hell's going on? You know
the Titanic arrived this morning?
VENKMAN
Well, better late than never.
The workmen and firemen put down their tools and fall back as the
Ghostbusters draw their particle throwers.
SPENGLER
(monitoring valences)
Full neutronas, maser assist.
They adjust their settings and prepare to fire.
STANTZ
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.
VENKMAN
(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.
VENKMAN
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.
ALL
(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.
STANTZ
Forget it. The Vienna Boys Choir couldn't
get through this stuff.
VENKMAN
Good effort. Now what? Should we say
supportive, nurturing things to it, Ray?
SPENGLER
It won't work. There's no way we could
generate enough positive energy to crack
that shell.
STANTZ
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.
SPENGLER
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.
STANTZ
(he sees it, too)
Something that appeals to the best in each
and every one of us --
SPENGLER
Something good --
VENKMAN
And pure --
WINSTON
And decent.
EXT. THE STREET - NIGHT (SAME TIME)
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.
HARDEMEYER
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.
VENKMAN
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.
MAYOR
Are you telling me there're people trapped
in there?
HARDEMEYER
(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.
STANTZ
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.
MAYOR
(to the Fire Captain)
Can you get into that museum?
FIRE CAPTAIN
If I had a nuclear warhead, maybe.
The Mayor turns to Venkman.
MAYOR
You know why all these things are happening?
VENKMAN
We tried to tell you last night, but Mr.
Hard-On over here packed us off to the loony
bin.
Hardemeyer flips out.
HARDEMEYER
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.
MAYOR
(to Venkman)
Okay, just tell me what you need.
CUT TO:
EXT. LIBERTY ISLAND (NEW YORK HARBOR) - NIGHT
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.
VENKMAN
Kind of makes you wonder, doesn't it?
WINSTON
Wonder what?
VENKMAN
If she's naked under that toga. She's
French, you know.
SPENGLER
There's nothing under that toga but 300 tons
of iron and steel.
Stantz is looking worried.
STANTZ
I hope we have enough stuff to do the job.
VENKMAN
Only one way to find out.
(to Stantz)
Ready, Teddy?
They enter the statue.
CUT TO:
INT. STATUE OF LIBERTY - MOMENTS LATER
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.
STANTZ
Okay, boys. Let's frost it.
They begin hosing the inside of the statue with the psycho-reactive
slime.
CUT TO:
INT. FIREHOUSE - NIGHT (SAME TIME)
Janine watches as Louis, wearing a Ghostbuster uniform, slings a heavy
proton pack onto his back.
JANINE
I'm not sure this is such a good idea? Do
they know you're doing this?
LOUIS
Oh, yeah, sure -- no. But there's really
not much to do here and they might need
some back-up at the museum.
JANINE
You're very brave, Louis. Good luck.
She kisses Louis and he gets extremely self-conscious.
LOUIS
Uh -- oh -- well, I better hurry.
He rushes out.
EXT STREET OUTSIDE FIREHOUSE - NIGHT (LITTLE LATER)
Louis stands on the street corner waiting for a bus. Finally, a bus
pulls up, Louis climbs aboard and finds Slimer behind the wheel.
CUT TO:
INT. STATUE OF LIBERTY - OBSERVATION DECK - MOMENTS LATER
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.
STANTZ
He plugs the main cable lead into a transformer.
STANTZ
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.
VENKMAN
(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.
INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
The head of the statue lurches suddenly, but the Ghostbusters cling to
the rail and manage to keep their feet.
STANTZ
She's moving!
WINSTON
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.
SPENGLER
(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.
VENKMAN
(into a microphone)
Okay, Libby. Let's get it in gear.
They feel a strong vibration and the statue starts to move.
CUT TO:
EXT. SOUTH STREET SEAPORT - NIGHT
New Years Eve celebrants line the riverfront, pointing and gawking at an
incredible sight.
EXT. EAST RIVER - THEIR POV - NIGHT (CONTINUOUS ACTION)
The statue is moving up the river almost completely submerged, only her
head from the nose up is visible above the surface.
INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
Winston looks out apprehensively.
WINSTON
How deep does it get? That water's cold and
I can't swim.
VENKMAN
It's okay. I have my Senior Lifesaving card.
SPENGLER
With a water temperature of forty degrees
we'd survive approximately fifteen minutes.
Stantz studies a maritime navigational chart.
STANTZ
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.
VENKMAN
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.
CUT TO:
EXT. RIVERFRONT - NIGHT (SAME TIME)
Spectators cheer wildly, inspired by the sight of the Statue.
CUT TO:
INT. MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)
Janosz is sitting next to Dana, still wheedling her with promises and
self-serving logic.
JANOSZ
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.
DANA
We don't have a relationship.
JANOSZ
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.
DANA
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.
JANOSZ
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.
DANA
I'd rather not.
CUT TO:
EXT. TIMES SQUARE - NIGHT (SAME TIME)
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.
EXT. BROADWAY - NIGHT (CONTINUOUS ACTION)
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.
INT. STATUE OF LIBERTY OBSERVATION DECK - NIGHT (CONTINUOUS)
Spengler reads the Giga-meter.
SPENGLER
It's working. The positive GeV's are
climbing.
VENKMAN
(patting the Statue)
They love you, Lib. Keep it up.
CUT TO:
EXT. FIFTH AVENUE - NIGHT (LATER)
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.
CUT TO:
INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
The Ghostbusters can see the museum ahead.
VENKMAN
So far so good.
SPENGLER
(worried)
I'm worried. The vibrations could shake her
to pieces. We should have padded her feet.
STANTZ
I don't think they make Nikes in her size.
VENKMAN
We're almost there, Lib.
(to Stantz)
Step on it.
EXT. STREET - NIGHT (CONTINUOUS ACTION)
The Statue's huge foot comes down and squashes a car.
INT. OBSERVATION DECK - NIGHT (CONTINUOUS ACTION)
The Ghostbusters look down at the flattened car.
STANTZ
(shouts out the window)
My Fault!
VENKMAN
(shouts)
She's new in town.
CUT TO:
INT. MUSEUM - RESTORATION STUDIO - SAME TIME
Janosz is painting the last of the mystical symbols on the baby's chest.
CUT TO:
EXT. TIMES SQUARE - NIGHT (SAME TIME)
The people still in the square start counting off the last ten seconds to
midnight and the New Year.
CROWD
(chanting)
Ten .. nine ... eight ... seven ...
CUT TO:
INT. MUSEUM - PAINTING - NIGHT
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.
VIGO
Soon my life begins. Then woe to the weak,
all power to me, the world is mine.
INT. MUSEUM - JANOSZ - NIGHT
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.
INT. MUSEUM - JANOSZ'S POV - SKYLIGHT - NIGHT
The Statue of Liberty is looming over the skylight looking down on Janosz
with an expression of righteous anger on it's face.
EXT. MUSEUM - NIGHT (CONTINUOUS ACTION)
Kneeling beside the museum, the statue draws back it's mighty right arm
and smashes the skylight with its torch.
INT. RESTORATION STUDIO - NIGHT (CONTINUOUS ACTION)
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.
VENKMAN
(to Janosz)
Happy New Year.
INT. MUSEUM - VIGO PAINTING - NIGHT (CONTINUOUS ACTION)
Vigo bellows in rage.
INT. MUSEUM - STUDIO - NIGHT (CONTINUOUS ACTION)
Janosz steps in front of the painting.
SPENGLER
Hi there. Feel free to try something stupid.
Janosz sneers, trusting the invincibility of Vigo.
JANOSZ
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.
VENKMAN
(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.
VIGO
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.
THE GHOSTBUSTERS
They stand fast, secure in the knowledge that Vigo's power has been
neutralized by the good will of the people.
STANTZ
Vigi, Vigi, Vigi -- you have been a bad
little monkey.
VENKMAN
The whole city's together on this one. We
took a vote. Everybody's down on you, you
know.
WINSTON
(arming his slime-blower)
Say goodnight now.
Suddenly Vigo grabs Stantz by the neck and holds him up as a shield.
SPENGLER
Don't shoot! You'll hit Ray!
STANTZ
(strangling)
Do it! Just do it!
Winston fires and hoses both Vigo and Ray.
VIGO
He bellows and drops Ray, then falls back into the painting.
INT. MUSEUM - PAINTING - NIGHT
The paint turns liquid, melts off the canvas and runs onto the floor
revealing another painting underneath it.
INT. MUSEUM - GHOSTBUSTERS - NIGHT (AFTER BATTLE)
Venkman, Spengler and Winston rush over to Ray and kneel beside him. He
is completely covered with slime and motionless.
SPENGLER
(examining him)
He's breathing.
Winston wipes the slime off Ray's face and Ray opens his eyes.
WINSTON
Ray -- Ray -- How do you feel, man?
STANTZ
(smiles lovingly)
Groovy. I've never felt better in my life.
VENKMAN
Oh, no. We've got to live with this?
They pull him to his feet.
STANTZ
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.
VENKMAN
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.
VENKMAN
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.
DANA
(to Venkman)
I think he likes you. I think I do too.
VENKMAN
Finally came to your senses, huh?
They hug and kiss.
SPENGLER, WINSTON AND STANTZ
They help Janosz to his feet. He's dazed but unhurt.
JANOSZ
(restored to normalcy)
What happened?
STANTZ
(calmly)
Sir, you had a violent, prolonged,
transformative psychic episode. But it's
over now. Want a coffee?
JANOSZ
(extremely nice)
That's very kind of you.
SPENGLER
(to Stantz)
He's fine, Ray. Physically intact,
psychomagnetherically neutral.
JANOSZ
Is that good?
WINSTON
It's where you want to be.
As they exit they stop to examine the painting that was concealed by
Vigo's self-portrait.
SPENGLER
Late Renaissance, I think. Caravaggio or
Brunelleschi.
WINSTON
(staring at it)
There's something very familiar about this
painting.
INT. MUSEUM - NEW PAINTING - NIGHT
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.
CUT TO:
EXT. STREET - NIGHT (SAME TIME)
A city bus pulls up near the museum and Louis steps off. He waves his
thanks to Slimer who is behind the wheel.
LOUIS
(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.
LOUIS
Okay, I have to go save Dana. I'll see you
later.
CUT TO:
EXT. MUSEUM - NIGHT (LITTLE LATER)
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.
LOUIS
Am I too late?
STANTZ
No, you're right on time.
Stantz pops the cork on a bottle of champagne and hands it to him.
EXT. MUSEUM ENTRANCE - NIGHT (SAME TIME)
Hardemeyer staggers out of the museum covered in slime. He looks at the
celebrating crowd and his eyes fill with tears.
HARDEMEYER
(weepy)
Happy New Year, everybody!
He joins in on "Auld Lang Syne."
CUT TO:
EXT. CENTRAL PARK - NIGHT (LATER)
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.
VENKMAN
She's all right. She's just sleeping it off.
MAYOR
(stricken)
We just had it restored.
VENKMAN
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.
STANTZ
(handing the Mayor an
invoice)
This is a bill for tonight's job.
The Mayor looks at it and gasps at the amount.
MAYOR
What! This is way too much.
(hands the bill back to
Venkman)
We won't pay.
Venkman looks at the Statue.
VENKMAN
(to Stantz)
I think she looks pretty good here, don't
you?
STANTZ
Yeah, and a lot easier to get to than that island.
Realizing he has no alternative, the Mayor sighs and takes the bill back.
MAYOR
All right, all right. If you can wait until
Monday I'll issue you a check.
SPENGLER
Sorry. No checks. Company policy.
CUT TO:
EXT. LIBERTY ISLAND - DAY (WEEKS LATER)
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.
VENKMAN
(looking up at the statue)
Pretty impressive, huh?
SPENGLER
(musing)
It's probably the first thing my
grandparents saw when they came to this
country.
VENKMAN
From where -- Neptune?
SPENGLER
They came from Ostrov in Eastern Poland.
VENKMAN
Ostrov? I've been there. Good party town.
STANTZ
(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.
VENKMAN
Oh, right, you told me that. They came to
America seeking other kinds of cheese, as I
recall. How about you, Winston?
WINSTON
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?
VENKMAN
Miss Blue Blood? Her family's been here
since the year 12.
DANA
That's not true. It was 1620.
VENKMAN
Same difference.
STANTZ
What's your story, Pete?
VENKMAN
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.
DANA
That's a terrible thing to say.
VENKMAN
So what? It's a free country.
(looking up at the Statue)
Thanks, Lib.
They all look up at the Statue.
EXT. STATUE OF LIBERTY - HEAD OF STATUE - DAY
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.
FADE OUT.
THE END |
