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Films > Ghostbusters II > Scripts
                              Ghostbusters II

                                     by
                                Harold Ramis
                                    and
                                Dan Aykroyd

                             February 27, 1989
                        transcribed by Paul Rudoff


EXT.  MANHATTAN ISLAND - DAY

A high AERIAL SHOT of the island features the Statue of Liberty
prominently in the foreground then TRAVELS ACROSS the harbor, OVER the
Battery and Lower Manhattan to Greenwich Village.

EXT.  EAST 77TH STREET - DAY

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

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

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

                                FRANK
                I'm not a doorman, Miss Barrett.  I'm a
                building superintendent.

                                DANA
                You're also a human being, Frank.

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

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

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

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

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

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

                                FRANK
                Didn't I do it?

BABY BUGGY

It starts to vibrate as if shaken by an unseen hand.

EXT.  EAST 77TH STREET - BABY - DAY

He GURGLES with delight at the movement.

EXT.  EAST 77TH STREET - DANA AND FRANK - DAY

Neither of them notice the movement of the carriage.

                                DANA
                No, you didn't, Frank.

                                FRANK
                Okay, that's no problem.

                                DANA
                That's exactly what you said last week.

BUGGY WHEELS

The brakes unlock themselves.

DANA

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

SIDEWALK

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

INTERSECTION

Cars, trucks, and buses speed by in both directions as the buggy races
toward the corner.

DANA

She puts her head down and sprints after the buggy like an Olympian.

EXT.  EAST 77TH STREET - INTERSECTION - DAY

A city bus is on a collision course with the speeding baby buggy.

BUGGY

It careens toward the corner.

EXT.  EAST 77TH STREET - BABY - DAY

Its eyes are wide open with excitement.

EXT.  EAST 77TH STREET - INTERSECTION - DAY

Bus and buggy are closing fast as the buggy bounces over the curb and
into the crosswalk.

BUS

The bus driver reacts in helpless horror as he sees the buggy enter the
intersection at high speed.

BUGGY

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

INTERSECTION

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

                                                                CUT TO:

EXT.  UPPER WEST SIDE - NEW YORK CITY STREET - GHOSTBUSTERS LOGO - DAY

THEME MUSIC kicks in strongly as we see the familiar "No Ghosts" symbol
and PULL BACK to reveal that it's painted on the side of Ecto-1, the
Ghostbusters' emergency vehicle, which is speeding up Broadway on the
Upper West Side.  RAY STANTZ is driving and WINSTON ZEDDEMORE is riding
shotgun.

EXT.  WEST 77TH STREET - DAY  (MOMENTS LATER)

The Ectomobile pulls up in front of a carefully-restored brownstone.
Stantz and Winston, wearing their official Ghostbuster uniforms, jump
out of the old ambulance, shoulder their proton packs and enter the
house.

INT.  BROWNSTONE - DAY  (CONTINUOUS ACTION)

A WOMAN greets them and leads them through the expensively-furnished
house.

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

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

                                WINSTON
                How big are they?

She holds her hand out indicating about four feet.

                                WINSTON
                        (resolute)
                We'll do our best, ma'am.

                                WOMAN
                They're right out here.

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

                                STANTZ
                Ready?

                                WINSTON
                I'm ready.

                                STANTZ
                Then let's do it.

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

INT.  BROWNSTONE - DAY  (CONTINUOUS ACTION)

They are immediately attacked by fourteen or fifteen screaming KIDS
between the ages of seven and ten.

                                KIDS
                        (disappointed)
                Ghostbusters!!  Boooo!!

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

                                WINSTON
                        (trying his best)
                How you doin', kids?

                                LITTLE BOY
                        (nasty)
                I though we were having He-Man.

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

                                BOY
                My dad says you're full of crap.

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

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

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

                                STANTZ
                        (low and menacing)
                I'm watching you.
                        (to Winston)
                Song.

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

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

                                KIDS
                        (all together)
                He-Man!!

                                                                CUT TO:

EXT. WEST 77TH STREET - DAY (LATER)

Stantz and Winston wearily load their equipment into the Ectomobile.

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

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

They get in the car

INT.  ECTO-1 - DAY (CONTINUOUS ACTION)

Stantz tries to start the car, but the engine won't turn over.

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

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

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

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

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

                                                                CUT TO:

INT.  WKRR-TV STUDIO RECEPTION AREA - DAY (LATER)

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

VENKMAN

He turns TO CAMERA and talks to his viewers in a suavely engaging tone,
understated and intimate.

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

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

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

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

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

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

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

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

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

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

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

                                VENKMAN
                Your alien had a room in the Holiday Inn?

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

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

                                                                CUT TO:

INT. TV STUDIO - CORRIDOR - DAY (LATER)

Venkman comes out of the studio squabbling with his producer, NORMAN, a
well-meaning young incompetent.

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

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

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

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

                                VENKMAN
                        (to Norman)
                What's all this?

                                NORMAN
                They just interviewed the mayor on 'Cityline.'

                                VENKMAN
                The Mayor!  He's a friend of mine.

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

                                VENKMAN
                        (calling to the Mayor)
                Lenny!

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

                                VENKMAN
                        (starts to follow him)
                Lenny!  It's Pete Venkman!

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

                                HARDEMEYER
                        (snide)
                Can I help you?

                                VENKMAN
                        (dangerous)
                Yeah, you can get your hand off my chest.

Hardemeyer smiles and drops his hand.

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

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

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

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

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

Hardemeyer walks off with the two cops.

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

                                                                CUT TO:

EXT. MANHATTAN MUSEUM OF ART - DAY

The broad front steps of the museum are crowded with tourists and
visitors.  Dana arrives carrying a portfolio and artist's tackle box and
enters the museum.

INT. MUSEUM - RESTORATION STUDIO - DAY (LATER)

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

DANA

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

                                JANOSZ
                        (with an East European accent)
                Still working on the Turner?

Dana jumps, startled by the intrusion.

                                DANA
                Oh, yes, I got in a little late this morning,
                Janosz.

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

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

VIGO PAINTING

At the mention of Dana's baby, the figure of Vigo miraculously turns his
head and looks at Dana.

JANOSZ AND DANA

Neither of them notice the movement in the painting.

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

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

She starts gathering up her things.

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

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

                                JANOSZ
                Okay, I'll take a raincheck on that.

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

                                JANOSZ
                        (to himself)
                I think she likes me.

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

                                                                CUT TO:

EXT. UNIVERSITY - DAY

Dana Barrett crosses the quad and enters a modern building.  A sign
identifies it as "The Institute for Advanced Theoretical Research."

INT. UNIVERSITY - DAY (A LITTLE LATER)

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

                                DANA
                ... and then the buggy just suddenly stopped
                dead in the middle of the street

                                SPENGLER

                Did anyone else see this happen?

                                DANA
                Hundreds of people.  Believe me, I didn't
                imagine this.

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

An ASSISTANT interrupts.

                                ASSISTANT
                We're ready, Dr. Spengler

                                SPENGLER
                        (to the Assistant)
                We'll start with the negative calibration.

He picks up the device and prepares to test it.

                                DANA
                        (curious)
                What are you working on, Egon?

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

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

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

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

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

                                DANA
                Okay, whatever you think -- but not Venkman.

                                SPENGLER
                Oh no.

                                DANA
                        (affectedly casual)
                Do you ever see him?

                                SPENGLER
                Occasionally

                                DANA
                How is he these days?

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

                                DANA
                Does he ever mention me?

                                SPENGLER
                No.  Not that I can recall.

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

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

The Assistant interrupts again.

                                ASSISTANT
                We're ready for the affection test.

                                SPENGLER
                        (to the assistant)
                Good.  Send in the puppy.

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

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

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

                                SPENGLER
                Certainly.

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

                                SPENGLER
                I won't.

                                DANA
                Thank you.

She shakes his hand and exits.

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

                                                                CUT TO:

EXT. RAY'S OCCULT BOOK STORE - DAY (LATER)

It's a small basement shop located on a quaint commercial block in
Greenwich Village.  The window is crowded with occult artifacts and old
books full of arcane metaphysical lore.  The TELEPHONE RINGS.

                                STANTZ
                        (v.o., answering the phone)
                Ray's Occult.

INT. RAY'S OCCULT BOOKS - CONTINUOUS

The shelves are jammed floor to ceiling with books on the paranormal.
Ray sits on a barstool behind the counter wearing an old cardigan
sweater over a T-shirt.  He has on a pair of reading glasses and chews
on a battered, reeking pipe.  As he talks on the phone he prepares a cup
of herb tea for Spengler who is thumbing through an arcane text.

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

He hangs up.

                                SPENGLER
                Who was that?

                                STANTZ
                Some crank.  Looking for goat hooves.  Come
                up with anything?

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

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

                                SPENGLER
                        (going to the stacks)
                Good idea.

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

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

                                STANTZ
                Oh, hiya, Pete.

                                VENKMAN
                So, no goat hooves, huh?

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

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

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

Spengler steps out of the stacks.

                                VENKMAN
                Egon!

                                SPENGLER
                Hello, Venkman.

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

                                SPENGLER
                I think they're more interested in my
                epididymis.

                                VENKMAN
                I don't even want to know where that is.

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

                                STANTZ
                Oh, your book came in, Venkman.  Magical
                Paths to Fortune and Power.

He hands Venkman the book.

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

                                STANTZ
                Oh, just checking something for an old friend.

                                VENKMAN
                Who?

                                STANTZ
                        (at a loss)
                Who?  Just -- someone we know.

                                VENKMAN
                Oh, Ray --

He grabs Stantz by both ears and pulls up.

                                VENKMAN
                Who?  Who?  Who?

                                STANTZ
                Aaah!  Nobody!  I can't tell you!

                                VENKMAN
                Who, Ray?

                                STANTZ
                        (giving in)
                Dana!  Dana Barrett!

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

                                                                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.

INT.  COURTROOM - GHOST BATTLE - DAY

Everybody is silent now as the rumbling increases.  All eyes turn to the
exhibit table.  Then suddenly all Hell breaks loose as TWO FULL-TORSO
APPARITIONS explode out of the specimen jar.

JUDGE

He looks up in terror at the two huge apparitions looming above him and
recognizes them immediately.

                                JUDGE
                        (in horror)
                Oh, my God!  The Scoleri Brothers!

SCOLERI BROTHERS

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

JUDGE

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

                                JUDGE
                        (terrified)
                You've got to do something!

                                VENKMAN
                Who are they?

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

                                VENKMAN
                Maybe they just want to appeal.

SCOLERI BROTHERS

They break loose from the electric chairs, then turn toward the defense
table and BLAST it with HIGH-VOLTAGE FINGER-LIGHTNING.

PROSECUTOR

She sprints for the door, pursued by one of the Scoleri brothers.

GHOSTBUSTERS

They jump to safety behind the rail of the jury box, pulling the Judge
with them.

                                VENKMAN
                These boys aren't playing around.

                                JUDGE
                        (desperately)
                You've got to stop them.  Please!

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

SCOLERI BROTHERS

They start punching through the jury box.

JUDGE

He is just about hysterical with fear.

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

                                STANTZ
                Let's go to work, boys.

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

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

                                STANTZ
                        (grabbing other gear)
                Okay, let's heat 'em up!

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

                                STANTZ
                All right, throwers.  Set for full neutronas
                on stream.

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

SCOLERI BROTHERS

They are just about to wipe out the Judge when a loud shout distracts
them.

                                VENKMAN
                Hey!  Why don't you pick on someone your own
                size?

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

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

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

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

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

                                STANTZ
                Watch it!  I'm coming under you, Pete.

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

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

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

INT.  COURTROOM - TRAPS - DAY

LEDs on the outer casing start flashing, indicating the presence of a
ghost inside each trap.

                                VENKMAN
                        (checking the trap)
                Occupado.

INT.  COURTROOM - JUDGE - DAY (AFTER GHOST BATTLE)

He sticks his head up slowly from behind the debris of his bench and
looks around in total amazement.

LOUIS

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

PROSECUTOR

She's lying on the floor, attended to by the Bailiff and the Court Clerk.

                                SPENGLER
                        (to the Prosecutor)
                Brilliant summation.

GHOSTBUSTERS

They break into big smiles as photographers start snapping pictures of
them standing in the wrecked courtroom.

                                VENKMAN
                Case closed, boys.  We're back in business.

The spectators cheer and applaud.

                                                                CUT TO:

EXT.  FIREHOUSE - DAY

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

INT.  BEDROOM SET (TV COMMERCIAL - FULL SCREEN VIDEO) - NIGHT

A man and his wife are lying in bed reading.  The man is played by Louis
Tully and JANINE MELNITZ, the Ghostbusters' once and future receptionist,
is playing his wife.  They are both terrible actors.  Suddenly, a ghost,
actually a very bad puppet on a wire, floats through the bedroom.  Janine
sees it and screams.

                                LOUIS
                What is it, honey?

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

                                LOUIS
                Don't worry.  We're not moving.  He is.

He picks up the phone.

                                JANINE
                Who are you going to call?

                                LOUIS
                        (with a wink)
                Ghostbusters.

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

GHOSTBUSTERS

Stantz speaks directly TO the CAMERA.

                                STANTZ
                I'm Ray --

                                VENKMAN
                I'm Peter --

                                SPENGLER
                I'm Egon --

                                STANTZ
                And we're the ...

                                ALL
                        (together)
                Ghostbusters.

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

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

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

                                VENKMAN
                Hold on, Ray!  Half-price!  Have you gone
                crazy?

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

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

                                SPENGLER
                You mean the Ghostbusters hot beverage
                thermal mugs and free balloons for the kids?

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

                                STANTZ
                You bet.

As Stantz wraps it up, SUPERS APPEAR at the bottom of the SCREEN: FULLY
BONDED - FULLY LICENSED - SE HABLA ESPANOL.

                                STANTZ
                        (TO CAMERA)
                So don't wait another minute.  Make your
                supernatural problem our supernatural problem.
                Call now, because we're still --

                                ALL
                        (in unison, mechanically)
                -- Ready to believe you.

                                                                CUT TO:

INT.  JACK HARDEMEYER'S OFFICE - DAY

Hardemeyer is watching the Ghostbusters commercial on a TV in his office.
He bangs his fist on his desk and angrily switches OFF the TV.

                                                                CUT TO:

EXT.  FIREHOUSE - DAY (LATER)

The garage door opens and the new improved ECTOMOBILE comes ROARING out
onto the street, its ghostly SIREN MOANING and WAILING.  Louis comes
running out after it.

                                                                CUT TO:

INT.  FIREHOUSE - DAY

Louis comes back into the garage bay and stops as he smells a foul odor.
He sniffs around, following the smell.

                                LOUIS
                Oh, geez, smells like somebody took a really
                big --

He freezes.

INT. OFFICE AREA - LOUIS'S POV

Slimer, a spud-like green ghost, is hovering over Louis's desk, scarfing
down Louis's bag lunch.  Slimer looks up and sees Louis.

SLIMER AND LOUIS

They both scream and run off in opposite directions.

SLIMER

He passes right through a wall and disappears.

LOUIS

He runs right into a wall, recovers and exits in a hurry.

                                LOUIS
                        (screaming)
                Help!  There's a thing!

                                                                CUT TO:

EXT.  CENTRAL PARK RESERVOIR - DAY (LATER)

Runners of both sexes and all ages are huffing and puffing as they jog
along the track that circles the reservoir.  One of the runners looks
behind him at the sound of APPROACHING FOOTFALLS and screams.

GHOSTLY JOGGER

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

EXT. CLEARING IN PARK - DAY (SAME TIME)

Venkman is sitting on a park bench near the jogging track reading the
newspaper, eating a donut and drinking coffee from a Styrofoam cup.

STANTZ

He's sitting on a bench opposite Venkman's, casually watching the jogging
track.

GHOST JOGGER

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

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

                                STANTZ
                If he wasn't dead he'd be an Olympic
                prospect.

                                                                CUT TO:

EXT.  JEWELRY STORE - DAY

The Ghostbusters come out carrying smoking traps, wearing cheap
dime-store Santa Claus hats.

                                STANTZ
                        (to the client)
                Merry Christmas!

                                                                CUT TO:

EXT.  FIFTH AVENUE - ORREFORS GLASS STORE - DAY

The Ectomobile is parked at the curb and a curious crowd looks on as the
Ghostbusters enter the store.

INT.  ORREFORS GLASS STORE - CONTINUOUS ACTION

All the precious crystal is floating in the air, several feet above the
glass shelves and display tables.  Stantz and Venkman are talking to the
manager while Winston and Spengler set up an array of electronic devices
positioned in each corner of the store.

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

                                STANTZ
                        (to the manager)
                So will that be cash or a check?

                                                                CUT TO:

INT.  MUSEUM - RESTORATION STUDIO - DAY (LATE AFTERNOON)

Everyone else has gone home.  Dana is cleaning her brushes and putting
her supplies away.

VIGO PAINTING - CONTINUOUS ACTION

Vigo turns his head and watches Dana as she walks past the painting.

DANA

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

INT.  FIREHOUSE - DAY

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

WALL

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

LOUIS

His eyes light up and he stomps the foot pedal.

                                LOUIS
                        (shouts)
                Gotcha!

DESK

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

                                LOUIS
                        (seeing the damage)
                Uh-oh.

He slinks off, defeated.

                                                                CUT TO:

INT.  MANHATTAN MUSEUM OF ART - SECURITY DESK - DAY

The Ghostbusters commercial is playing on a portable TV on the security
desk.  Rudy, the Security Guard, is reading a National Enquirer with a
giant front-page headline: GHOSTBUSTERS SAVE JUDGE.  Venkman enters.

                                VENKMAN
                I'm looking for Dana Barrett.

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

                                VENKMAN
                        (flattered)
                Thanks.  What's the other one?

                                SECURITY GUARD
                'Bass Masters.'  It's a fishing show.  Ever
                see it?

                                VENKMAN
                Yeah, really great.  Take it easy.

He exits.

INT.  MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)

Dana is working on a valuable Flemish still-life by Ver Meer.  Janosz is
at the other end of the room, still working on the painting of Vigo.
Venkman enters and sneaks up behind Dana.

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

                                DANA
                        (glad to see him)
                Oh, hello, Peter.

                                VENKMAN
                You're really good, you know.

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

VIGO

He turns his head and watches Venkman and Dana.

VENKMAN

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

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

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

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

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

They are interrupted by the sudden appearance of Janosz.

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

                                DANA
                Oh, I'm sorry.  This is Peter Venkman.
                Peter, Janosz Poha.

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

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

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

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

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

                                VENKMAN
                        (staring at the painting)
                Too bad for the Moldavians.

                                JANOSZ
                        (defensive)

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

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

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

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

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

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

Dana looks disapprovingly at Venkman.

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

                                JANOSZ
                My pleasure.

Venkman and Dana cross back to her workspace.

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

                                DANA
                Good-bye, Peter.

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

He exits.

VIGO

Vigo turns his head and follows Dana as she returns to her workbench.

DANA

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

                                                                CUT TO:

INT.  FIREHOUSE - LIVING QUARTERS - CONTINUOUS ACTION - DAY

Venkman and Winston enter and find Stantz and Spengler at work in the lab
area.

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

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

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

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

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

                                VENKMAN
                And now you're going to eat it?

                                STANTZ
                No, I'm just restoring it to its normal state.

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

                                STANTZ
                Now watch this.

He leans over the specimen and starts shouting at it.

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

SPECIMEN

It bubbles and swells, changing color with each insult.

                                STANTZ
                You foul, obnoxious muck!!

STANTZ

He continues venting his rage on the slime.

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

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

STANTZ AND SPENGLER

They turn to Venkman for his reaction.  He's dumbfounded.

                                VENKMAN
                This is what you do with your spare time?

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

                                VENKMAN
                'Mood slime.'  We ought to bottle this stuff
                and sell it.

                                SPENGLER
                We've found it at every event site we've
                been to lately.

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

                                STANTZ
                Like a goat on garbage.

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

                                VENKMAN
                What kind of tests?

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

                                VENKMAN
                You're not sleeping with this stuff, are you?

Spengler reacts as if he might be.

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

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

SPECIMEN

It stops bubbling and starts to shrink.

                                WINSTON
                Does it have any favorites?

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

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

                                STANTZ
                Watch this.

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

TOASTER

It shakes, spins and actually starts moving in time with the MUSIC.

VENKMAN

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

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

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

                                VENKMAN
                So we'll put a warning on the label.

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

                                VENKMAN
                        (to the toaster)
                Go ahead.  I dare you.

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

                                VENKMAN
                Just kidding.

                                                                CUT TO:

INT.  DANA'S APARTMENT - NIGHT

Dana brings Oscar into the bathroom and lays him on the bassinet.  She's
wearing a robe over her nightgown, preparing to bathe the baby.  She
turns the taps on the old claw-footed bathtub, checks the water
temperature, then turns away and starts to undress the baby.

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

BATHTUB

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

DANA

Still unaware, she routinely reaches over and squirts some bubble bath
into the tub.

BATHTUB

The rim of the tub puckers up and the sides convulse as if swallowing the
bubble bath.

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

                                                                CUT TO:

INT.  VENKMAN'S LOFT - SAME NIGHT (LATER)

The big open loft space is a chaotic clutter of mismatched furniture, old
magazines, books, tapes, and sports equipment.  Venkman is asleep on the
floor, still wearing his coat, scarf, hat and gloves, having collapsed
just short of the bedroom.  The DOORBELL RINGS, he wakes up, lumbers to
his feet and answers it.  He opens the door and sees Dana standing there.
She is wearing only a nightgown under her coat and Oscar is naked,
wrapped in a baby blanket.

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

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

                                DANA
                        (upset)
                Peter, the bathtub tried to eat Oscar.

Venkman looks at her for a long moment.

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

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

                                VENKMAN
                Who could blame him?  Were you wearing this
                nightgown?

                                DANA
                        (distraught)
                I don't know what to do anymore.

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

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

                                VENKMAN
                Now this kid has a serious nudity problem.

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

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

                                DANA
                Peter, what about the bathtub?

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

                                DANA
                It was full of this awful pink ooze.

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

He hangs up.

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

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

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

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

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

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

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

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

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

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

                                DANA
                Really?  And how would we handle the sleeping
                arrangements?

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

                                DANA
                How about you on the sofa and me in bed with
                the baby.

                                VENKMAN
                Or we could do that.

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

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

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

                                                                CUT TO:

EXT.  MUSEUM - DAY (NEXT MORNING)

Venkman is waiting in front of the building as ECTO-2 pulls up and
Stantz, Spengler and Winston get out and report on Dana's apartment.

                                VENKMAN
                Did you find anything at Dana's?

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

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

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

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

                                WINSTON
                I guess he wasn't too popular at the end
                there.

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

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

                                VENKMAN
                That's it?  "I'll be back?"

                                SPENGLER
                It's a rough translation from the Moldavian.

They enter the museum carrying their monitoring equipment.

INT.  MUSEUM - SECURITY DESK - DAY (CONTINUOUS ACTION)

Rudy the guard looks up in surprise as the Ghostbusters enter.

                                RUDY
                Hey, Dr. Venkman.  What's going on?

                                VENKMAN
                We're just going up to Restorations for a
                minute.

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

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

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

                                RUDY
                We got a flux?

                                WINSTON
                You got a flux and a half.

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

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

INT.  MUSEUM - RESTORATION STUDIO - DAY (MOMENTS LATER)

Janosz is working on the Vigo painting when the Ghostbusters enter.  He
rushes over and stops them at the door.

                                JANOSZ
                Dr. Venkman?  Dana is not here.

                                VENKMAN
                I know.

                                JANOSZ
                Then why have you come?

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

                                STANTZ
                        (to Spengler and Winston)
                Let's sweep it, boys.

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

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

                                JANOSZ
                        (nervous)
                The Upper West Side.

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

                                JANOSZ
                What exactly are you looking for, Dr. Venkman?

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

STANTZ

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

                                VENKMAN
                This is the one that looked at Dana.

                                JANOSZ
                It must be the chemical fumes in the studio.
                People start imagining things --

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

They watch the painting for any sign of movement.

VIGO

His eyes stare lifelessly into the distance.

STANTZ AND VENKMAN

Venkman starts shooting Polaroids of Vigo.

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

                                STANTZ
                I'll get one more reading.

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

VIGO

His eyes seems to burn right through to the depths of Stantz's soul.

STANTZ

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

                                WINSTON
                        (looking at the painting)
                Now that's one ugly dude.

                                STANTZ
                        (coming back to his senses)
                Huh?  What?

                                WINSTON
                You finished here?

                                STANTZ
                        (distracted)
                What?  Yeah.

                                WINSTON
                Are you all right?  You coming down with
                something?

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

They head for the door.

JANOSZ

He escorts the Ghostbusters to the door.

                                JANOSZ
                So you see, everything is in order, is it
                not?

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

They exit.

                                                                CUT TO:

EXT.  MUSEUM - DAY (LATER)

The Ghostbusters cross to ECTO-2.

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

                                WINSTON
                I'd put my money on that Vigo character.

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

INT.  ECTO-2 - DAY (LATER)

The Ghostbusters are driving back to the firehouse.  Stantz is at the
wheel.  His eyes are vacant, he seems distracted and very tense.  Stantz
swerves suddenly and HONKS the horn angrily.

                                STANTZ
                        (to another driver)
                Idiot!
                        (honking)
                Move it, you jerk!

Venkman and Winston exchange surprised looks.

EXT.  STREET - DAY (CONTINUOUS ACTION)

Stantz drives extremely fast, HONKING vindictively, weaving dangerously
through traffic.

INT.  ECTO-2 - DAY (CONTINUOUS ACTION)

Winston looks at Ray, concerned.

                                WINSTON
                Going a little fast, aren't we, Ray?

Stantz turns on him.

                                STANTZ
                        (viciously)
                Are you telling me how to drive?

                                WINSTON
                No, I just thought --

                                STANTZ
                Well don't think!

He HONKS again and tromps hard on the accelerator.

EXT.  STREET - DAY (CONTINUOUS)

Ecto-2 is now barreling down the avenue.  Pedestrians leap to safety as
Stantz runs a red light.

INT.  ECTO-2 - DAY (CONTINUOUS ACTION)

They hang on to the safety straps as Stantz continues his maniacal ride.

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

Stantz looks at him and smile demonically.

                                STANTZ
                No, I'm going to kill everybody!

He swerves off the road.

EXT.  ECTO-2 - DAY (CONTINUOUS ACTION)

The car heads right for a big tree.

INT.  ECTO-2 - DAY (CONTINUOUS ACTION)

At the last possible moment, Winston cold-cocks Stantz, grabs the wheel
and steps across to stomp on the brakes.

EXT.  ECTO-2 - DAY (CONTINUOUS ACTION)

The car skids into the tree and stops.  The Ghostbusters stumble out
dazed and shaken, but unhurt.  Stantz rubs his eyes and looks at the
others, completely at a loss.

                                STANTZ
                        (himself again)
                What happened?

                                VENKMAN
                You just picked up three penalty points on
                your driver's license.

                                WINSTON
                Are you all right?

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

They inspect the damage to the car.

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

                                                                CUT TO:

INT.  VENKMAN'S LOFT - DAY (LATER)

There's a KNOCK at the front door, a key turns in the lock, and Venkman
enters somewhat tentatively holding a bouquet of flowers and a small
suitcase of Dana's.

                                VENKMAN
                        (calls out)
                I'm home!

He looks around the large open loft.

                                VENKMAN
                        (to himself)
                I knew it.  She cleaned.

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

She comes out again, this time wearing a robe.

                                VENKMAN
                Are you all squeaky clean now?

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

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

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

Dana opens the bedroom door.

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

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

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

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

                                DANA
                Does she know anything about babies?

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

                                DANA
                Okay, but it's not a date.  It's a dinner.

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

                                VENKMAN
                Did you happen to see some shirts on the
                floor in here?

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

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

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

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

                                                                CUT TO:
INT.  FIREHOUSE - RECEPTION AREA - EARLY EVENING

Janine covers her computer terminal and starts turning out the lights.
Then she notices that the lights are still on upstairs.  She starts
primping and freshening up her makeup.

INT.  FIREHOUSE - LAB AREA - SAME TIME

Louis is strapping on a proton pack, preparing to deal with Slimer once
and for all.  He's wearing a bicyclist's rearview mirror on a headband.

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

THE CEILING

Slimer pokes his head through the ceiling and scans the room hanging
upside down.

LOUIS

He spots Slimer through the rearview mirror.

                                LOUIS
                        (quietly)
                Okay, let's boogie!

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

THE STAIRS

Janine comes up and ducks as a bolt of energy streaks across the room and
strikes the wall behind her.  Slimer disappears.

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

                                JANINE
                What are you doing up here?

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

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

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

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

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

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

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

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

                                JANINE
                Well, good night, Louis.

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

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

                                LOUIS
                Oh, sure, that sounds great.

They exit.

                                                                CUT TO:

INT.  VENKMAN'S LOFT - NIGHT (LATER)

There is a KNOCK at the door and Venkman goes to answer it.  He's dressed
for the evening and looking very dapper.

INT.  VENKMAN'S LOFT - ENTRANCE HALL - CONTINUOUS ACTION

Venkman opens the door and finds Stantz, Spengler and Winston standing
there wearing over-the-hip rubberized waders, firemen's slickers, and
miners' helmets, carrying tons of sensing devices, meters, collection
jars and photographic equipment.  They look like they're rigged out for a
major spelunking expedition.

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

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

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

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

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

Dana steps into the living room looking very beautiful.

                                STANTZ
                Wow.

Dana looks curiously at their outfits.

                                DANA
                Hi.

They nod and wave back.

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

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

INT.  VAN HORNE STATION - NIGHT (LATER)

Stantz, Spengler and Winston come down the stairs into the station,
guided by a very old map of the underground city.

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

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

                                STANTZ
                Let's get a sounding on the depth of that
                flow.

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

                                STANTZ
                Stand back.

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

                                SPENGLER
                Six feet -- seven -- eight --

                                STANTZ
                That's it.  It's on the bottom.

                                SPENGLER
                Nine feet -- ten --

                                WINSTON
                Is the line sinking?

                                SPENGLER
                No, the slime is rising.

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

                                STANTZ
                        (alarmed)
                Let's get out of here, boys.

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

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

                                                                CUT TO:

INT.  ARMAND RESTAURANT - NIGHT (LATER)

Dana and Venkman are sitting at a table in an elegant restaurant nibbling
caviar and toasting with very expensive champagne.

                                VENKMAN
                        (very intimate)
                Here's to -- us.

She sighs and drinks.

                                VENKMAN
                So -- are you making any New Year's
                resolutions?

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

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

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

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

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

                                VENKMAN
                I'm not even good for me.

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

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

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

                                VENKMAN
                Let me jingle you right now.

He leans over to kiss her.

                                DANA
                Maybe I should call Janine.

                                VENKMAN
                Don't worry.  Janine has a very special way
                with children.

They kiss.

                                                                CUT TO:

INT.  APARTMENT - NIGHT (SAME TIME)

Janine is on the sofa doing her nails while Louis paces with the baby.

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

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

                                JANINE
                It's really not a bad place.  It just needs
                a woman's touch.

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

Louis goes into the bedroom and puts the baby down.

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

                                LOUIS
                Okay.

He sits stiffly beside her on the sofa.

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

                                LOUIS
                        (gulps)
                Tonight?

EXT.  STREET - MANHOLE COVER - NIGHT (SAME TIME)

A manhole cover is dislodged and pushed up from below.  It slides away,
and Winston crawls out of the manhole followed by Stantz and Spengler.
They are exhausted and covered with slime.

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

                                STANTZ
                        (unusually mean)
                Look, Zeddemore, it wasn't my fault you were
                too stupid to drop that line.

                                WINSTON
                        (shoves him)
                You better watch your mouth, man, or I'll
                punch your lights out.

                                STANTZ
                Oh yeah?  Anytime, anytime.  Just go ahead
                and try it.

Spengler steps between them with unprecedented aggression.

                                SPENGLER
                If you two are looking for a fight, you got
                one.
                        (putting up his fists)
                Who wants it first?  Come on, Ray.  Try me,
                sucker.

                                STANTZ
                        (squaring off)
                Butt out, you pencil-necked geek.  I've had
                it with you.

They grab each other and start to tussle.  Suddenly Spengler comes to his
senses and pulls them apart.

                                SPENGLER
                        (forcefully)
                Strip!  Right now!  Get out of those clothes!

He starts yanking off his slicker and waders.  Bewildered, Stantz and
Winston start doing the same.  Spengler helps pull off their clothes and
throws them into the open manhole.  Now wearing only long underwear, they
seem to return to normal.

                                WINSTON
                What are we doing?  Ray, I was ready to kill
                you.

                                STANTZ
                Don't you see?  It's the slime.  That stuff
                is like pure, concentrated evil.

Stantz looks around and sees that they are standing right in front of the
museum.

                                SPENGLER
                And it's all flowing right to this spot.

                                                                CUT TO:

INT.  ARMAND RESTAURANT ENTRANCE - NIGHT (CONTINUOUS ACTION)

The MAITRE D' looks up in surprise as Stantz, Spengler and Winston enter
the restaurant wearing only long underwear.

                                MAITRE D'
                        (intercepting them)
                Can I help you?

Stantz looks around and spots Venkman.

                                STANTZ
                That's all right, I see him.

They blow right by the Maitre d' who jumps back in horror as they pass.

VENKMAN

He's just about to pour more champagne when he sees Ray, Egon and Winston
coming toward him through the restaurant.

                                STANTZ
                        (very excited)
                You should've been there, Venkman.
                Absolutely incredible!

                                VENKMAN
                Yeah, sorry I missed it.
                        (noting their attire)
                I guess you guys didn't know about the dress
                code here.  It's really kind of a coat and
                tie place.

                                STANTZ
                It's all over the city, Pete -- well, under
                it actually.

                                WINSTON
                Rivers of the stuff!

                                SPENGLER
                And it's all flowing toward the museum.

He gestures excitedly and a big gob of slime flies across the room and
lands on a well-dressed diner.

                                STANTZ
                        (calls out)
                Sorry!

                                DANA
                Maybe we should discuss this somewhere else.

Venkman notes the look of alarm on Dana's face and pulls his colleagues
aside.

                                VENKMAN
                        (confidentially)
                Boys, listen.  You're scaring the straights.
                Let's save this until tomorrow, okay?

                                SPENGLER
                        (to Venkman)
                This won't wait until tomorrow, Venkman.
                It's hot and it's ready to pop.

MAITRE D'

He hurries through the restaurant with two city COPS right behind him and
makes straight for Venkman's table.

                                MAITRE D'
                Arrest these men.

                                COP
                        (recognizing them)
                Hey!  It's the Ghostbusters.  You're out of
                uniform, gentlemen

Stantz suddenly realizes how ridiculous they look.

                                STANTZ
                        (self-conscious)
                Uh -- well -- we had a little accident, but
                forget that.  We have to see the mayor as
                soon as possible.

                                COP
                Look, Doc, why don't you just go home.
                You'll get a good night's sleep and then you
                can give the mayor a call in the morning.
                Come on.

He takes Stantz by the arm but Stantz resists.

                                STANTZ
                We're not going anywhere with you.  I told
                you we have to see the mayor now.

                                COP
                        (grabbing Stantz)
                I'm warning you.  You can come along
                peaceably or --

                                VENKMAN
                        (grabs the Cop)
                Hey, don't be an idiot.  This is serious.

                                COP
                        (angry)
                Look, pal, keep this up and you're going
                with them.

                                VENKMAN
                Oh, yeah?

                                COP
                        (has had enough)
                Yeah, let's go.  You're all under arrest.

The Cop catches Venkman in an armlock and starts walking him out of the
restaurant.

                                VENKMAN
                        (to Dana)
                Finish your dessert -- it's already paid
                for.  I'll call you.

They all exit, causing a major commotion among the other diners.

EXT.  ARMAND'S RESTAURANT - NIGHT (CONTINUOUS ACTION)

The police car is parked right behind Ecto-2.  Spengler stops at the
police car and confronts the cops.

                                SPENGLER
                Look, we're not drunk and we're not crazy.
                This is a matter of vital importance.

Venkman steps in and looks at the policemen's nametags.

                                COP
                What are you doing?

                                VENKMAN
                I just want to get your names right for when
                the mayor asks us why we didn't let him know
                about this sooner.

The Cops look at each other, uncertain about what to do.

                                COP
                        (relenting)
                Okay, Doc.  You want to see the mayor, you
                got it.  Follow us.

They head for their respective vehicles.

                                                                CUT TO:

INT.  VENKMAN'S LOFT - NIGHT (SAME TIME)

Louis and Janine are on the sofa making out when Dana enters.  They jump
up and start smoothing their clothes.

                                LOUIS
                        (embarrassed)
                Oh, hello, Dana.  we were just -- we were --

                                DANA
                I know what you were doing, Louis.  It's
                all right.

                                JANINE
                How was your date?

                                DANA
                Typical.  Peter was arrested.  Has he called?

                                LOUIS
                No, nobody called.

Dana frowns.

                                DANA
                Is everything all right with Oscar?

                                JANINE
                Oh, he's fine.  He's such a good baby.  He
                was a little fussy at first, but we gave
                him a Freach bread pizza and he went right
                to sleep.

                                DANA
                        (relieved)
                Oh, good.  I'll just check on him.

She crosses to the bedroom.

INT.  VENKMAN'S BEDROOM - NIGHT (CONTINUOUS ACTION)

Dana looks at Oscar sleeping peacefully on the bed.  She starts to change
clothes.

INT.  VENKMAN'S LIVING ROOM - NIGHT (SAME TIME)

Louis and Janine aren't sure what to do.

                                LOUIS
                Should we go?

                                JANINE
                I don't think we should leave her alone.

                                LOUIS
                You're right.  We should stay.

He grabs Janine and they start making out again.

                                                                CUT TO:

INT.  MUSEUM RESTORATION STUDIO - NIGHT (SAME TIME)

Janosz stands before the painting of Vigo.  Vigo comes to life and
repeats the litany of his power.

                                VIGO
                I, Vigo, the scourge of Carpathia --

                                JANOSZ
                        (heard all this before)
                Yes, the scourge --

                                VIGO
                -- the sorrow of Moldavia --

                                JANOSZ
                -- the sorrow --

                                VIGO
                I command you.

                                JANOSZ
                        (checking his watch)
                I await the word of Vigo.

                                VIGO
                The season of evil begins with the birth of
                the new year.  Bring me the child that I
                might live again.

                                JANOSZ
                        (abjectly humble)
                Lord Vigo, the mother, Dana, is fine and
                strong.  I was wondering -- well, would it
                be possible -- if I bring the baby, could I
                have the woman?

                                VIGO
                So be it.  On this the day of darkness, she
                will be ours, wife to you and mother to me.

                                                                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


      script copyright © 1989 Columbia Pictures Industries Inc.
                          All rights reserved.