EXT. LINCOLN CENTER -- DAY
Larry King continues voice-over as members of the New York Philharmonic
come out the stage door of Avery Fisher Hall.
LARRY KING (V.O.)
Should they be allowed to carry around
unlicensed proton mass drivers? And what's
wrong with ghosts anyway? Call us ... All
our lines are open. Hello, Larry King.
Dana is walking with another man, a VIOLINIST, when she sees Venkman
sitting on the edge of the fountain in the center of the plaza. She asks
the Violinist to wait and crosses to Venkman.
FEMALE CALLER (V.O.)
Hello, Larry? I think what Dr. Spengler
said in his interview with you last night
was true. The world is in for a "psychic
shock" 'cause like my aunt reads coffee
grounds and she ...
(fade out)
VENKMAN AND DANA
She is surprised and a little bit pleased to see him.
VENKMAN
Great rehearsal.
DANA
You heard it?
VENKMAN
You're the best one in your row.
DANA
(skeptical)
Most people can't hear me with the whole
orchestra playing. You're good.
VENKMAN
I don't have to take abuse from you. I have
other people dying to give it to me.
DANA
I know. You're quite a celebrity these
days. Are you here because you have info
... about my case?
VENKMAN
(looks at the Violinist
who appears to be getting
impatient)
Who's the stiff?
DANA
The "stiff?" He happens to be one of the
finest musicians in the world and a wonderful
man.
VENKMAN
Is he dying or something?
They glance at the Violinist.
THE VIOLINIST
He takes a hit of nasal spray in each nostril.
DANA AND VENKMAN
She looks at him trying to decide whether she likes him or not.
DANA
He is a very close friend. Do you have some
explanation of what happened in my apartment?
VENKMAN
Yes, but I have to tell you in private at a
fine restaurant.
DANA
Can't you tell me now?
VENKMAN
I'll cancel the reservation, I found the
name "Zuul" in ...
(reading)
The Roylance Guide to Secret Societies and
Sects. I don't suppose you've read it.
DANA
You must have gotten the last copy.
VENKMAN
Well, the name Zuul refers to a demi-god
worshipped around 6000 B.C. by the ...
What's that say?
DANA
Hittites, the Mesopotamians and the
Sumerians. "Zuul was the Minion of Gozer."
VENKMAN
"Gozer" -- he was very big in the Sumerian
religion. One of their gods.
DANA
What's he doing in my refrigerator.
VENKMAN
I'm checking on that. I think we should
meet Thursday night at nine to talk about
it.
DANA
I don't think so. I'm busy Thursday night.
VENKMAN
(persists)
You think I enjoy giving up my evenings to
spend time with clients? I'm making an
exception because I respect you as an artist
and as a dresser.
DANA
(laughs)
All right. Since you put it that way.
VENKMAN
I'll pick you up at your place. I'll bring
along the Roylance Guide -- we can read
after we eat.
DANA
I've got to go now.
She walks toward the Violinist. Venkman shouts after her.
VENKMAN
Remember. I'm the only one standing between
you and a heavy Hittite.
She starts walking away.
VENKMAN (CONT'D)
(calls after her)
I'll pick you up at your place.
DANA
She waves goodbye and rejoins the Violinist,
VIOLINIST AND DANA
VIOLINIST
(jealous)
Who was that?
DANA
Oh, he's an old professor of mine.
VIOLINIST
(doubtful)
Really?
DANA
Yes. He's smarter than he looks.
They walk off.
INT. RECEPTION AREA -- DAY
Janine is handling a steady barrage of phone calls, switching from one
line to the other. WINSTON ZEDDEMORE, a large, impressive-looking black
man sits across from her filling out a job application.
JANINE
(answering a call)
GHOSTBUSTERS -- please hold.
(switches)
Good afternoon, GHOSTBUSTERS -- please hold.
(switches back)
Yes, can I help you?
(pause)
Yes ... yes, Is it just a mist or does it
have arms and legs ...? Uh-huh ... Well,
the soonest we could possibly get to you
would be a week from Friday ... I'm sorry,
but we're completely booked until then ...
Uh-huh ... Well, all I can suggest is that
you stay out of your house until we can get
to you. Thank you.
She hangs up.
WINSTON
Let me ask you something. The ad in the
paper just said "Help Wanted." What's the
job?
JANINE
I really don't know, Mr. Zeddemore. They
just told me to take applications and ask
you these questions.
(she reads from a
questionnaire as if for
the hundredth time)
Do you believe in U.F.O.'s, astral
projection, mental telepathy, ESP,
clairvoyance, spirit photography,
full-trance mediums, telekinetic movement,
black and/or white magic, pyramidology, the
theory of Atlantis, the Loch Ness Monster,
or in general in spooks, spectres, wraiths,
geists and ghosts?
WINSTON
Not really. However, if there's a
semi-regular paycheck in it I'll believe
anything you say.
EXT. FIREHALL -- SAME TIME
A gaggle of autograph hounds is waiting on the street as Ecto One pulls
in. The front of the building now bears a big neon sign with the
Ghostbusters logo on it.
INT. GARAGE BAY -- DAY
Venkman and Stantz disembark. They carry a couple of traps apiece. Their
jumpsuits are covered with smoldering ecto-slime. The Ectomobile looks
like it's been through a war.
STANTZ
(exhausted)
Boy, that was a rough one.
VENKMAN
I can't take much more of this. The pace
is killing me.
RECEPTION AREA - DAY
Venkman enters with Stantz, crosses to Janine and drops a paid invoice on
her desk.
VENKMAN
Here's the paper on the Brooklyn job. She
paid with a Visa card.
JANINE
(hands a sheaf of work
orders to Stantz)
Here are tonight's calls.
STANTZ
(shuffles through them)
Oh, no. Two more free-roaming repeaters.
JANINE
And this is Winston Zeddemore. He came
about the job.
STANTZ
Hi. Ray Stantz. Pete Venkman.
They shake hands.
JANINE
(to Venkman)
And someone from the EPA is here to see you.
VENKMAN
The EPA? What's he want?
JANINE
I didn't ask him. All I know is that I
haven't had a break in two weeks and you
promised you'd hire more help.
VENKMAN
(surly)
Janine, I'm sure a woman with your
qualifications would have no trouble finding
a top flight job in the housekeeping or food
service industry.
JANINE
Oh, really? Well, I've quit better jobs
than this one, believe me.
He exits.
STANTZ
He scans Winston's resume, ignoring the flare-up between Janine and
Venkman. They start downstairs to the storage facility.
STANTZ
Very impressive resume. Electronic
countermeasures, Strategic Air Command ...
Black belt in Karate ... Small arms expert
... Mr. Zeddemore, as you may have heard,
we locate ghosts and spirits, trap them with
streams of concentrated quantum energy and
remove them from people's homes, offices and
places of worship.
WINSTON
Yeah, I heard that. Now tell me what you
really do.
INT. THE OFFICE -- SAME TIME
The walls are plastered with newspaper and magazine stories on
Ghostbusters. WALTER PECK, junior E.P.A. administrator, is reading one of
the articles when Venkman walks in.
VENKMAN
Can I help you?
PECK
(turns all business)
I'm Walter Peck. I represent the
Environmental Protection Agency, Third
District.
VENKMAN
(not impressed)
Great! How's it going?
PECK
Are you Peter Venkman?
VENKMAN
Yes, I'm Doctor Venkman.
Peck looks at Venkman's soiled jumpsuit.
PECK
Exactly what are you a doctor of, Mr.
Venkman?
VENKMAN
I have Ph.D's in psychology and
parapsychology.
PECK
I see. And now you catch ghosts?
VENKMAN
You could say that.
PECK
And how many ghosts have you caught, Mr.
Venkman?
VENKMAN
I'm not at liberty to say.
PECK
And where do you put these ghosts once you
catch them?
VENKMAN
In a storage facility.
PECK
And would this storage facility be located
on these premises?
VENKMAN
Yes, it would.
PECK
And may I see this storage facility?
VENKMAN
No, you may not.
PECK
And why not, Mr. Venkman?
VENKMAN
Because you didn't say the magic word.
PECK
(sighs)
And what is the magic word, Mr. Venkman?
VENKMAN
The magic word is "please."
Peck laughs nervously.
PECK
May I please see the storage facility?
VENKMAN
Why do you want to see it?
PECK
Well, because I'm curious. I want to know
more about what you do here. Frankly, there
have been a lot of wild stories in the media
and we want to assess any possible
environmental impact from your operation.
For instance, the storage of noxious,
possibly hazardous waste materials in your
basement. Now either you show me what's down
there or I come back with a court order.
VENKMAN
(he's had it)
Go ahead! Get a court order. Then I'm
gonna sue your ass off for wrongful
prosecution.
PECK
(exiting)
Have it your way, Mr. Venkman.
VENKMAN
(shouts after him)
Hey! Make yourself useful! Go save a tree!
INT. FIREHALL BASEMENT -- SAME TIME
Spengler is at the work bench repairing a damaged proton pack. The place
is a mess with equipment, work orders, parts, catalogs and old lunches
piled everywhere. Half the room has been sealed off from floor to ceiling
with concrete blocks to form a storage facility for captured spirits.
Winston is standing at a viewing slit staring into the storage facility.
STANTZ
He inserts a trap into a metal-lined slot in the wall of the storage
facility. Spengler crosses to a control console to assist him.
STANTZ
(pushing buttons)
Set entry grid.
SPENGLER
Neutronize. System shut.
He pushes more buttons and the slot lights up. Several grating electronic
snaps are heard, like the sound of bugs being fried on an outdoor insect
light. Then Stantz withdraws the trap and tosses it into a bin marked:
FOR RECHARGE.
SPENGLER (CONT'D)
I've got to sleep.
STANTZ
I need two new purge valves. How's the grid
around the storage facility holding up?
SPENGLER
I'm worried, Ray. It's getting crowded in
there. And all my recent data points to
something big on the bottom.
WINSTON
(concerned)
What do you mean "big?"
Spengler picks up a Hostess Twinkie from the workbench.
SPENGLER
Well, let's say this Twinkie represents the
normal amount of psychokinetic energy in the
New York area. According to this morning's
PKE sample, the current level in the city
would be a Twinkie 35 feet long weighing
approximately six hundred pounds.
WINSTON
That's a big Twinkie.
STANTZ
We could be on the verge of a fourfold
crossover ... or worse. If what we're
seeing indicates a massive PKE surge, we
could experience an actual rip.
Spengler nods gravely. Venkman enters looking very concerned.
VENKMAN
Egon, how's the grid around the storage
facility holding up?
STANTZ
It's not good, Pete.
WINSTON
Tell him about the Twinkie.
Venkman lets that remark go and crosses to a TV monitor linked to a camera
inside the storage facility.
VENKMAN
(peering)
I can't look anymore. It's too depressing.
THE MONITOR.
We zoom in on the monitor and get our first real look inside the storage
facility. It is a bleak repository for souls of many species. Strange
lights, mists and spectral shapes waft about aimlessly. Human-like
figures lean against the walls in despairing convict poses. Others flit
and hang on the ceiling. It is a sad and frightening limbo and a most
unholy makeshift asylum.
EXT. MANHATTAN SKYLINE -- NIGHT
A mysterious cloud takes shape and hovers over Dana's apartment building.
Then a strange glow starts to radiate from the temple-like structure on
the roof.
EXT. THE TEMPLE -- NIGHT
The moon shines through the odd cloud configuration, illuminating the
ornate temple door with its two stone Terror Dogs posed rampant on either
side of the portal.
TERROR DOG
Its hideous stone features are bathed in moonlight. The camera PANS down
its grotesque body to one of its claws. Suddenly there is a hiss and an
audible crack of disintegrating mortar as one of its stone talons comes to
life.
ITS HEAD
The stone figure opens its eyes, revealing glowing red pupils beneath the
scaly lids.
INT. HALLWAY -- NIGHT
Dana gets off the elevator and immediately hears loud music blasting from
Louis' apartment as his party hits full swing. She tiptoes past his door
but despite the loudness of the music, Louis somehow senses her presence
and comes rushing out into the hall.
LOUIS
Oh, Dana, it's you.
DANA
Hi, Louis.
LOUIS
Hey, it's crazy in here. You're missing a
classic party.
DANA
Well, actually Louis I have a friend coming
by.
LOUIS
Great! Bring her, too. But you better
hurry. I made nachos with non-fat cheese
and they're almost gone. I'll make some
more though.
DANA
(entering her apartment)
Fine, Louis. We'll stop in for a drink.
LOUIS
I got the Twister game for later ...
Dana closes the door leaving Louis alone in the hall, once again locked
out of his own apartment.
LOUIS (CONT'D)
(knocking on his door)
Hey. Lemme in ...
INT. DANA'S APARTMENT -- NIGHT
She enters and takes off her coat. She's wearing dance clothes and
appears to be really tired. She sits down in an overstuffed chair and
takes off her leg warmers. Then leans back and closes her eyes. It is
very quiet. Something dreadful is about to happen. Then it happens. The
phone rings so loudly it makes Dana jump. She picks it up.
DANA
Hello ... Oh, hi Mom. Yes ... yes.
Everything's fine. No ... nothing. Just
that one time ... I am ... I will ... I
won't ... Mother! I'm all right. I told
you. Everything's fine ...! All right.
I'll talk to you tomorrow ... I promise.
'Bye.
She hangs up the phone, leans her head back and closes her eyes again. We
hold on her for a long beat.
INT. THE KITCHEN DOOR NIGHT
An eerie light is seen coming through the cracks around the door.
DANA
She sits up in surprise and looks at the kitchen door.
DANA
Oh, shit!
She starts to get up but suddenly a pair of scaly, inhuman hands rip out
of the chair cushion on either side of her and clutch her around the
waist. She screams and tries to break their grip, but another pair of
claws tears through the upholstery and grabs her around the chest and
neck, pinning her to the chair.
THE CHAIR
As if drawn by a powerful force, the chair with Dana in it slides across
the living room floor toward the kitchen door.
THE KITCHEN DOOR
The whole door is now pulsing.
DANA
She is horrified.
THE KITCHEN DOOR
It swings open, revealing a fiery chamber where the kitchen used to be.
One of the Terror Dog creatures seen earlier in the fridge is standing
there waiting for Dana with outstretched claws.
DANA
She screams as the chair propels her into the kitchen. Then the door
swings shut behind her.
EXT. DANA'S ROOFTOP -- NIGHT
A bright flash shoots out from the center of the pyramid, lighting up the
roof of Dana's building.
ROOF TEMPLE
All is as before except that both stone Terror Dogs are ominously missing
from the structure.
INT. LOUIS' APARTMENT -- SAME TIME
Louis is playing the perfect host to his clients, a general cross-section
of nerds and nerdettes, The music is much too loud and the guests are
scattered about the living room in small groups making dull conversation.
LOUIS
He is emptying ashtrays and cleaning them with Windex. A TALL WOMAN
approaches him.
TALL WOMAN
Louis, do you have any Excedrin or Extra
Strength Tylenol?
LOUIS
I have acetacylasilic acid but generic from
Walgreens cause I can get 600 tables for 35%
less than the cost of 300 name brand. Is it
a headache?
The woman moves away.
THE BUFFET TABLE
Two stiff men are helping themselves. One is about to bite into some lox
when Louis joins them.
LOUIS
That's Nova Scotia salmon. The real thing.
It costs $24.95 a pound but really $12.48 a
pound net after tax. I'm writing this whole
party off as a promotional expense. That's
why I invited clients instead of friends.
Try that Brie, it's dynamite at room
temperature. Maybe I should turn the heat
up a bit ...
A SECOND WOMAN moves up to Louis.
WOMAN #2
C'mon Louis, maybe if we dance other people
will start.
They start to dance.
The doorbell rings. Louis bolts for the door hoping if's Dana. It's
another couple. Louis escorts them in and take, their coats.
LOUIS
Everybody, this is Ted and Annette Fleming.
Ted has a small carpet cleaning business in
receivership, but Annette is drawing a
salary from a deferred bonus from two years
ago and the house has $15,000 left at eight
percent.
He goes to the bedroom door with their coats and opens it.
INT. BEDROOM -- NIGHT
On the bed, standing up on all four legs, is a bristling, panting, live
Terror Dog. Too preoccupied to notice it, Louis reflexively tosses the
coats onto the bed. They both land on the Terror Dog's head.
INT. LIVING ROOM -- NIGHT
Louis comes out of the bedroom and closes the door. Then from within
there issues forth a tremendous roar that freezes the quest.
LOUIS
Okay. Who brought the dog?
BEDROOM DOOR
An instant later, the Terror Dog bursts right through the door. Wood
chips and splinters shower the guests.
THE GUESTS
They drop their drinks and canapes as the Terror Dog lands in the center
of the room, snarling hellishly.
It quickly scans the room, looking for Louis.
LOUIS
He yelps and runs for the door.
TERROR DOG
He lunges after Louis, but Louis gets out just in time and slams the door
behind him.
INT. HALLWAY -- NIGHT
Louis tears off down the hall, bellowing. The Terror Dog bursts through
the door, lands in the hall and runs after him.
Louis ducks into the elevator.
EXT, DANA'S BUILDING NIGHT
A DOORMAN stands at his post near the revolving door, Two elegantly
dressed visitors wait as he phones to announce them to one of the building
residents. Suddenly Louis comes running out of the door.
LOUIS
Help! Help! There's a bear loose in my
apartment.
He runs across the street and disappears in the park.
THE DOORMAN
DOORMAN
(mutters)
How he's got animals up there.
The Doorman turns just in time to see the Terror Dog before it runs right
over him and bounds across the street.
EXT. CENTRAL PARK
TWO BUMS stroll casually along discussing current events.
FIRST BUM
I think you're right about Central America
but I completely disagree about the other
thing. A good heavyweight boxer could take
a Karate guy every time.
Louis runs by them, almost knocking them over.
LOUIS
(screaming)
Run! Run!
They turn to watch him go.
SECOND BUM
(shaking his head)
Rush, rush, rush.
They turn back just as the Terror Dog streaks past them in hot pursuit.
They recoil in fear and watch as the creature sprints after Louis.
SECOND BUM (CONT'D)
That is one speedy mutt.
FIRST BUM
He's a big one. You don't want to mess with
that particular breed.
SECOND BUM
Definitely some sort of fighting Spaniel, I
think.
EXT. CENTRAL PARK - NIGHT
Louis runs for his life, afraid to look back. He races through a tunnel
then sees the twinkling lights of the Tavern on the Green restaurant and
heads straight for it.
EXT. TAVERN ON THE GREEN -- NIGHT
Louis comes tearing into the courtyard of the restaurant. Through the
large picture windows he can see well-dressed people sitting in the
elegant dining room. He goes for a door into the dining room but finds it
locked. Then he tries another door but it, too, is locked. Suddenly, he
hears a low rumbling growl from the bushes. Desperate now, he starts
pounding on the glass.
INT. TAVERN ON THE GREEN -- SAME TIME
The wealthy patrons look up and see Louis pounding on the glass, screaming
unintelligibly.
LOUIS
(muffled)
Help! Help!
They ignore his pleas and return to their salmon croute.
EXT. COURTYARD -- NIGHT
Louis' heart is pounding, his breath coming in compulsive gasps as he
turns to face the relentless Terror Dog.
THE TERROR DOG
It stands there silhouetted in the dark. Then it starts advancing toward
Louis, casting giant shadows on the walls.
LOUIS
He is paralyzed with fear.
LOUIS
(trembling)
Nice doggie. Nice.
THE TERROR DOG
It pounces with a tremendous roar.
INT. TAVERN ON THE GREEN -- NIGHT
The roar echoes through the restaurant. There is the sound of a violent
struggle, then all is quiet. Nobody notices.
COLUMBUS CIRCLE LATER
Louis walks out of the park, walking stiffly with a glazed look in his
eyes. He sees a horse and carriage parked at the curb. He goes right up
to the horse and speaks to it, obviously possessed by the Terror Dog.
LOUIS
(to the horse)
I am Vinz Clortho. Keymaster of Gozer,
Volguus Zildrohar, Lord of the Sebouillia.
Are you the Gatekeeper?
The COACHMAN sees Louis talking to his horse.
COACHMAN
Hey! He pulls the wagon. I make the deals.
You wanna ride?
LOUIS
(to Coachman)
Are you the Gatekeeper?
COACHMAN
No, I'm the Governor of New Jersey. Now get
outta here.
Louis glares at the Coachman. His eyes begin to glow, magically.
LOUIS
(to Coachman)
You will perish in flames, subcreature!
Gozer will destroy you and your kind!
(he whispers to the horse)
Wait for the sign. Then all prisoners will
be released.
Louis lopes off across the street. The cars come screeching to a halt to
avoid hitting him.
THE STREET
TWO MOUNTED POLICEMEN notice his strange behavior and follow him down the
street.
EXT. DANA'S APARTMENT BUILDING -- NIGHT
Venkman enters dressed neatly in a suit, holding a bouquet of flowers for
Dana. He sees two COPS talking to dishevelled party guests. He sidles up
to one of the cops.
VENKMAN
What's going on?
THE COP
Some moron brought a cougar to a party and
it went berserk,
VENKMAN
Oh.
He goes to the elevators.
INT. HALLWAY -- NIGHT
Venkman walks past Louis' apartment and curiously notes the splintered
door. Then he rings Dana's bell, waits, rings again and knocks.
VENKMAN
(calls out)
Dana?
The door opens and Dana is standing there, but she has changed radically
from the woman we met earlier. Her hair is down, flowing loosely over
her naked shoulders, her eyes are wide open, filled with a kind of
love-slave longing, her lips are parted and wet and her clothes are
seductively tattered. She stares at Venkman.
VENKMAN (CONT'D)
Hi.
(he notes the change in
her)
What happened to you? The cop downstairs
said an animal got loose up here. What's
the story? Are you all right?
She stares at him as if she hasn't heard a word he said.
DANA
Are you the Keymaster?
Venkman realizes that something bizarre has happened.
VENKMAN
Not that I know of.
She starts to close the door but Venkman slides past her into the
apartment.
VENKMAN (CONT'D)
(worried now)
Hey, Dana. What is it? What happened?
DANA
I am Zuul. I am the Gatekeeper.
He looks around the apartment and notices the holes ripped in the chair.
Then he sees the kitchen doorframe charred and blackened with soot.
VENKMAN
I think we better get out of here.
DANA
She crosses to the window and gazes at the sky as if waiting for
something.
DANA
We must prepare for the coming of Gozer.
VENKMAN
(humoring her)
Okay, I'll help you. Should we make some
dip or something?
DANA
He is the Destructor.
VENKMAN
Really? Can't wait to meet him.
(he has an idea)
As long as we're waiting for him, I'd really
like to try something with you -- in the
bedroom.
He takes her hand and she yields. They enter the bedroom.
INT. DANA'S BEDROOM -- NIGHT
They enter and Venkman steers her onto the bed.
DANA
(wantonly)
Do you want this body?
VENKMAN
(taking her pulse)
Well, I'll just use it for a while and get
it right back to you.
DANA
Take me now.
He checks her pupil dilation with a penlight.
VENKMAN
Well, I make it a rule never to sleep with
possessed people.
She pulls him down on top of her and kisses him with supernatural lust.
VENKMAN
(coming up for air)
Actually, it's more of a policy than a rule.
DANA
(stroking him)
I want you inside me.
VENKMAN
(reluctant)
I don't know. You've got two people in
there already. It could get a little
crowded.
(he gently pushes her back
down on the bed)
I want you to close your eyes and relax.
(she complies)
Now I'm going to speak to Dana and I want
Dana to answer.
DANA
I am Zuul. I am ...
VENKMAN
Right ... You're the Gatekeeper. But I want
Dana. Dana, speak to me ...
DANA
(in a low, horrible
unearthly voice)
There is no Dana. I am Zuul.
VENKMAN
(recoils)
Whoa!! Nice voice.
She starts to sit up, but he restrains her with a light touch on the
shoulder.
VENKMAN (CONT'D)
(trying another approach)
All right -- Zuul. Listen carefully. I
don't know where you came from or why, but
I want you to get out of here and leave Dana
alone. I'm going to count to ten and when
I'm finished, you better be gone. Okay?
Here goes. One ... Two ... Three ...
A shudder runs through Dana's body, then she slowly starts to levitate,
rising a full three feet off the bed.
VENKMAN (CONT'D)
(aghast)
Wow!
He stands up and circles around the bed looking for some sort of
explanation. He passes his hands over her, then under her, looking for
wires or a force field. Then he makes a few theatrical moves like a cheap
magician.
EXT. HUDSON PARKWAY -- SAME NIGHT
Ecto One speeds northward, strobes lit.
INT. ECTOMOBILE -- NIGHT
Winston is at the wheel. Stantz pops open a beer and lights a smoke. They
both look completely wasted. Stantz is looking over some blueprints.
WINSTON
Hey man. What is it you're so involved with
there?
STANTZ
Uh ... Oh these are blueprints of the
structural ironwork in Dana Barrett's
apartment building ... And they're most
unusual.
WINSTON
(changing the subject)
Are you a Christian, Ray?
STANTZ
(examining documents)
Mmmhmmm.
WINSTON
Me, too.
STANTZ
(reacting to something in
the blueprint)
Boy! Solid cores of shielded Selenium .325.
WINSTON
Do you believe in God?
STANTZ
No. But I liked Jesus' style.
WINSTON
Me, too. Parts of the Bible are great.
STANTZ
(hardly listening)
The whole roof cap was fabricated with a
magnesium-tungsten alloy.
WINSTON
Ray, do you remember something in the Bible
about a day when the dead would rise up from
their graves?
STANTZ
(still absorbed by the
blueprint)
And the seas would boil ...
WINSTON
Right. And the sky would fall ...
STANTZ
Judgement Day ...
WINSTON
Yeah, Judgement Day.
STANTZ
Every ancient religion had its own myth
about the end of the world.
WINSTON
Well, has it ever occurred to you that the
reason you've been so busy lately is because
the dead have been rising from their graves?
They exchange a look of puzzlement and concern.
EXT.. FORT DETMERRING -- NIGHT -- SAME TIME
Ecto One pulls up to a pair of massive parapets and a hewn timber gate set
in a thick redoubt on an escarpment high above the river. Two figures
approach them from the shadows. As they draw closer, Stantz and Winston
see their Stetson hats and uniforms.
PARK RANGER
Evening. We've had a problem here for quite
some time. I called your outfit a couple of
weeks ago.
WINSTON
Busy time of year.
PARK RANGER
Nobody likes to talk about this sort of thing.
STANTZ
You don't have to worry about that with us,
sir.
WINSTON
Right. We'll believe anything.
INT. FORT -- GUNNER'S CORRIDOR -- NIGHT
Stantz and Winston walk past a long line of cannon. Their visors are
down. They wear the usual equipment.
STANTZ
You check the armory. I'll go down to the
officers' barracks.
They split up. Winston takes a long, low passageway. Stantz descends a set
of stone stairs. They both leave frame. The sound of their separate
footsteps fades O.S.
EXT. FIREHALL -- NIGHT -- SAME TIME
A police van pulls up, the garage door opens and Spengler comes out of the
building. He meets a POLICE SERGEANT. They walk around to the back door
of the van.
SERGEANT
We picked up this guy and now we don't know
what to do with him, Bellevue doesn't want
him and I'm afraid to put him in the
lock-up. I'm telling you, there's something
weird about him. And I know you guys are
into this stuff so we figured we'd check
with you.
The Sergeant unlocks the door and pulls it open.
INT. THE POLICE VAN -- NIGHT
Louis is on the floor wearing a strait jacket. He is tied to the bench
with leather restraint straps and ankle cuffs.
LOUIS
(forlorn)
Are you the Gatekeeper?
Spengler notes the strange glow in Louis' eyes,
SPENGLER
Bring him inside, Officer.
INT. BASEMENT -- LATER
Louis is hooked up to a variety of strange contraptions including
something on his head that looks like an aluminum mixing bowl wired with
hundreds of electrodes. Spengler monitors Louis' reactions as he
questions him. Janine watches.
LOUIS
I am Vinz Clortho - Keymaster of Gozer.
SPENGLER
(reacts to the name Gozer)
I am Egon Spengler, Creature of Earth,
Doctor of Physics, Graduate of M.I.T.
JANINE
(looking through Louis'
wallet)
According to this his name is Louis Tully.
LOUIS
Oh, no. Tully is the fleshbag I'm using.
I must wait inside for the sign.
JANINE
Do you want some coffee while you're waiting?
LOUIS
(to Spengler)
Do I?
SPENGLER
Yes, have some.
(Janine goes to the table
and puts some water up to
boil)
Vinz, what sign are you waiting for?
LOUIS
Gozer the Traveller will come in one of the
pre-chosen forms. During the rectification
of the Vuldronaii the Traveller came as a
very large and moving Torb. Then of course
in the third reconciliation of the last of
the Meketrex supplicants they chose a new
form for him, that of a Sloar. Many Shubs
and Zuuls knew what it was to be roasted in
the depths of the Sloar that day I can tell
you.
Spengler stares at Louis for a moment then looks over at Janine.
JANINE
She rolls her eyes at Spengler and mimes the traditional sign for lunacy
by pointing to her temple and tracing a circle with her index finger.
Then the phone rings and Spengler answers it.
SPENGLER
Hello?
INT. DANA'S BEDROOM -- SAME TIME
Venkman is lying on the bed with the phone. Dana is asleep next to him,
still floating three feet in the air with a blanket over her.
VENKMAN
It's Peter, Egon. I've got a problem.
INTERCUT SPENGLER AND VENKMAN
SPENGLER
What is it?
VENKMAN
I'm with Dana Barrett and she's floating
three feet off the bed.
SPENGLER
Does she want to be?
VENKMAN
I don't think so. It's more of that Gozer
thing. She says she's the Gatekeeper. Does
that make any sense to you?
SPENGLER
Some. I just met the Keymaster. He's here
with me now.
(there's a long silence
on the other end)
Venkman? Are you there?
VENKMAN
Yeah, yeah. I was just thinking. It
probably wouldn't be a good idea for them
to get together at this point.
SPENGLER
I agree.
VENKMAN
You have to keep him there. Do whatever you
have to, but don't let him leave, He could
be very dangerous.
SPENGLER
He looks nervously at Louis.
LOUIS
He pours some instant coffee crystals into his mouth and chews them up,
then he drinks a beaker of boiling water that's been heating over a Bunsen
Burner.
SPENGLER
(into the phone)
All right. I'll try.
VENKMAN
I'll spend the night here and get back first
thing in the morning.
SPENGLER
All right, Peter. Good night.
They hang up.
JANINE
She crosses to Spengler.
JANINE
(worried)
Egon, there's something very strange about
that man.
(she indicates Louis)
I'm very psychic usually and right now I
have this terrible feeling that something
awful is going to happen to you. I'm afraid
you're going to die.
SPENGLER
Die in what sense?
JANINE
In the physical sense.
SPENGLER
I don't care. I see us as tiny parts of a
vast organism, like two bacteria living on
a rotting speck of dust floating in an
infinite void.
JANINE
That's so romantic.
She hugs him, Spengler responds awkwardly, not sure where to put his
hands.
SPENGLER
(nervous)
You have nice clavicles.
(he gulps)
I wonder where Stantz is. I think we're
going to need him.
INT. FORT DETMERRING -- SINGLE OFFICERS' QUARTERS -- NIGHT
Stantz is in a painstakingly restored period room with a four poster bed,
writing table and wardrobe hung with uniforms. His own jumpsuit and
backpack lie in a heap beside the bed. He fingers an officer's uniform
then tries it on. He steps to a full-length mirror and models it, striking
a few heroic poses. He shrugs, sits on the bed, bouncing the mattress and
squeezing it. He then lies down full length and tests it, hands behind
his head.
STANTZ
He yawns. His eyes droop, blink and finally close. His head lolls
sideways, his mouth drops open slightly and he drops off to sleep,
exhausted.
INT. WARDROBE -- NIGHT
A uniform sleeve moves slightly. A sabre in its sheath begins to tap
lightly against the open doorsash. A phosphorescent light streaks out in
between gaps in the clothing, casting patterns over the room.
STANTZ' PACK AND WANDS
A panel light winks on. The needle on his PKE meter jumps into the red.
STANTZ
He rolls over. From inside the wardrobe a shimmering pink mist rises up
and begins to take form on the ceiling.
MIST
The vaguest remnants of a human form take shape. It hovers and shifts as
if appraising Stantz,
STANTZ
He tosses and rolls onto his back, still deeply asleep.
BED CANOPY
The mist slithers in through the curtains and takes a position above him.
It begins to descend slowly.
STANTZ
The mist widens and elongates and sprawls in suspension over his body. He
wakes. The apparition is inches above his face. He gasps but can't move,
totally transfixed with fear.
STANTZ' POV
He is face-to-face with a lost soul. It is a beautiful feminine face. It
presses in closer. He sucks in his breath. Is he being smothered? The
gaunt figure then slides slowly away from his face and down to a spot
below his waist.
STANTZ
He props himself up on his elbows and looks down. Suddenly the apparition
vanishes. Then his belt comes undone as if pulled by an invisible hand
and his zipper slowly opens.
CLOSE-UP -- STANTZ' FACE
His look changes from fear to confusion to pleasure. He closes his eyes
and submits.
INT. BARRACKS CORRIDOR -- NIGHT
Winston is smoking a cigarette, ambling down the barracks corridor. He
hears voices and walks to the door of the barracks.
WINSTON
Stantz? You okay in there?
STANTZ
(from inside)
LATER, MAN!!
Winston shrugs and slinks out.
EXT. FIREHALL -- MORNING
Two cars pull up out front, a New York City Police car and a lime green
K-car with U.S. Government plates. They are followed by a Con Edison
utilities van and a County Sheriff's car. Peck gets out of the government
car. Two COPS step out and flank him. A POLICE CAPTAIN joins them and
they all enter the firehall.
INT. FIREHALL -- RECEPTION AREA
Janine is at her desk when the law enters and walks right past her.
PECK
(heading for the basement)
This way, Captain.
JANINE
(rushes over to block
their way)
I beg your pardon! Just where do you think
you're going?
PECK
Step aside, Miss, or I'll have you arrested
for interfering with a police officer.
JANINE
(not moving)
Who do you think you're talking to, Mister?
Do I look like a child? You can't come in
here without some kind of warrant or writ or
something.
Peck hands her the court orders.
PECK
(naming them)
Cease and desist all commerce order, seizure
of premises and chattels, ban on the use of
public utilities for non-licensed waste
handlers and a Federal Entry and Inspection
Order.
JANINE
(steps aside)
This is just like Poland.
Peck brushes past her and leads his cohorts toward the basement.
INT. BASEMENT -- LATER
Spengler is arguing with Peck. Louis is sitting quietly in the corner,
watching the argument with interest.
PECK
(high-handed)
I want to see what's in there. Now either
you shut off those "beams" or we'll shut
them off for you.
SPENGLER
(calmly)
You can see what's inside through the
monitor if you wish.
He switches it on.
PECK
(ignores it)
I'm not interested in TV right now.
EXT. FIREHALL
Venkman arrives in a taxi, sees the police cars parked outside and dashes
in.
INT. BASEMENT
The argument is still going on when Venkman enters and asserts himself.
VENKMAN
(to Policemen)
At ease, Officers. I'm Peter Venkman. I
think there's been some kind of
misunderstanding here and I want to cooperate
in every way I can.
PECK
(turns on him immediately)
Forget it, Venkman. You had your chance to
cooperate but you thought it was more fun to
insult me. Now it's my turn, smart-ass.
SPENGLER
(excited)
He wants to shut down the storage grid.
VENKMAN
If you turn that thing off we won't be
responsible for the consequences.
PECK
On the contrary! You will be held
completely responsible.
(to the Con-Ed Man)
Turn it off.
The CON-ED MAN steps to the control panel and looks at the switches,
meters and chasing lights.
VENKMAN
(to the Con-Ed Man)
Don't do it! I'm warning you.
THE CON-ED MAN
He looks nervously at the Police Captain.
CON-ED MAN
I've never seen anything like this before.
I don't know ...
PECK
(enraged)
Just do it, fella. Nobody asked for your
opinion.
The Con-Ed Man reaches for a switch but Venkman grabs him from behind.
VENKMAN
(to the Con-Ed Man)
Don't be a jerk!
The Cops grab Venkman and drag him off the Con-Ed Man.
PECK
If he tries that again, shoot him.
The Captain looks at Peck with contempt.
CAPTAIN
(to Peck)
You do your job, pencil-neck. Don't tell
us how to do ours.
VENKMAN
Thank you, Officer.
PECK
(to Con-Ed Man)
Now turn it off.
The Cops slacken their hold on Venkman. He looks at Spengler, worried.
SPENGLER
He mimes an explosion with his hands.
VENKMAN
He nods and backs towards the door. Spengler gets the same thought.
LOUIS
He sees Spengler backing away and starts to do the same.
CONTROL PANEL
The Con-Ed Man turns all the switches to the OFF position. The panel
lights go out.
POWER METER
The needle indicator drops to zero.
PECK
He feels the floor start to shake.
VENKMAN, SPENGLER AND LOUIS
They run like crazy for the stairs. Spengler grabs Janine on the way out.
THE STORAGE FACILITY
A strange light starts to leak through the cracks between the concrete
blocks. Suddenly one of the blocks is blown across the room.
EXT. THE FIREHALL
Everyone comes running out as the storage facility explodes. A powerful
geyser of irridescent energy shoots out the top of the building like a
phenomenal Roman Candle reaching a hundred feet in the air.
INT. DANA'S BEDROOM -- THAT INSTANT
As the explosion rumbles in the distance, Dana's eyes pop open as if cued
by the blast.
EXT. FIREHALL -- SAME TIME
Venkman, Spengler and the others are dodging and ducking a shower of
debris.
LOUIS
He stands there oblivious to the danger, looking up at the glowing geyser
of energy. Janine is beside him.
LOUIS
It is time. This is the sign.
JANINE
It's a sign, all right ... "Going Out Of
Business."
Louis walks off down the street as if in the grip of some powerful psychic
compulsion. The others are too busy to notice his departure.
EXT. LOWER MANHATTAN
A wide shot of the island shows the glistening geyser spurting high into
the air. The irridescent cloud, generated by the geyser starts moving
across Manhattan toward Dana's building. Sirens are screaming all over
town as police cars, fire trucks and emergency vehicles race to the scene.
EXT. FIREHALL -- LATER
Firetrucks, police cars, Con-Ed trucks and a general mob are assembled,
watching the roof of the building which is spurting a translucent blue
substance. It looks like a massive natural gas flame. Bits of ecto
material rain down on the on-lookers.
SPENGLER
Flanked by police, he tries to answer questions from fire department
officials and a hazardous chemical EXPERT in a bulky decontamination suit.
GUY IN SUIT
... does it contain TCE, PCB or tailings
from styrene esters or any polyfluoric
groups...?
FIRE CAPTAIN
What are the pink particles? What will
happen if we use water?
Spengler just shakes his head.
SPENGLER
No ... no water. There's nothing you can do.
FIRE CAPTAIN
Did you have any kind of solvents or any
concentrated sulphurs of any kind?
Ecto One pulls up. Winston and Stantz jump out. Stantz finds Venkman and
Spengler.
STANTZ
What happened??!!!?
SPENGLER
The storage facility blew. This one ...
(indicates Peck)
... shut off the protection grid.
VENKMAN
Suddenly remembers another problem.
VENKMAN
(to Spengler)
Where's the Keymaster?
SPENGLER
(looks for Louis)
Oh, shit!
STANTZ
(at a loss)
Who's the Keymaster?
Spengler looks at Venkman. They both tear off to find Louis but Peck
intervenes.
PECK
(to a Cop)
Stop them! I want them arrested, Captain.
These men have been acting in criminal
violation of the Environmental Protection
Act and this explosion was a direct result.
The Police Captain restrains Venkman from leaving.
VENKMAN
(shouts at Peck)
You turned off the power!
(to Captain)
Look, there was another man here ... You
have to find him and bring him back. A
short determined-looking guy with the eyes
of a happy zombie.
PECK
(to the Cop)
See! They are using drugs.
Spengler turns on Peck with uncharacteristic fury.
SPENGLER
If you don't shut up I'm going to rip out
your septum.
Peck backs off.
POLICE CAPTAIN
(exasperated)
I don't know what's going on here but I'm
going to have to arrest you all. You can
discuss it with the judge. I'm going to
read you your rights now, so please listen
carefully ...
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