Final Film Transcript
original script by Dan Aykroyd and Harold Ramis
transcribed by MrMichaelT
The caption: "5 YEARS LATER" appeared on the black screen.
Day. The scene opened on a close up of a New York City sidewalk. A
small amount of pink Psychomagnotheric ectoplasm oozed out through a
crack in the sidewalk. The wheels of a baby carriage rolled through
the ectoplasm. Dana Barrett pushed the carriage down the sidewalk
and passed by other New Yorkers. A man argued with a meter
maid over a parking ticket.
MAN WITH A TICKET: Here, you can take this ticket! You can have this
ticket and keep it! I'm not paying that ticket! You gotta do
The man threw the ticket to the ground, pointed at the meter maid,
then turned to his car. The Meter Maid laughed at him. A young man
crashed into a young woman on crutches. He turned to her briefly,
but kept his stride and kept running.
YOUNG MAN: Sorry, lady!
YOUNG WOMAN ON CRUTCHES: Jesus! Jerk! Would you watch where you're
A pair of women passed by Dana carrying snow skis.
SKI LADY: He's only interested in my buns.
Dana approached her apartment building at 325 East 77th Street.
Frank, the superintendent, gave some orders to a repairman. Frank
was clearly agitated with the repairman's progress or lack of.
FRANK: Then I want you to go downstairs to the cellar and check the
water lines under the boiler. Check the pump. All right? I want you
to do that today, all right? Can you do that?
The repairman nodded and went inside after bumping into a dog being
DANA BARRETT: Frank? Would you mind giving me a hand with these,
FRANK: Hey, I ain't the doorman, Miss Barrett. I'm the building's
Dana handed him her two full D'Agostino grocery paper bags to carry.
DANA BARRETT: You're also a human being.
FRANK: Okay, it's not my job, but what the hell, I'll do you a
DANA BARRETT: Listen, when are you going to get around to fixing the
radiator in the baby's room? Though I asked you last week...
The baby carriage began to roll away from them.
FRANK: Didn't I do that?
DANA BARRETT: It's getting really cold in there. I--I--I--i...
Dana noticed carriage was on the move.
FRANK: Okay, well, it's no problem.
The carriage stopped. Dana went to it. It rolled away slowly. The
infant cooed. She ran after it.
DANA BARRETT: Hey! Hey! Hey, stop that carriage! Stop!
Moving men at 335 East 77th Street carried a rolled up carpet from
the back of their Ford truck. They dropped the carpet and turned
their attention to the carriage.
MOVING MAN #1: Whoa! Stop!
MOVING MAN #2: Get it!
The carriage suddenly swerved on its own accord to the right onto
the street. A car swerved and honked.
DANA BARRETT: That's my baby! Watch out!
The carriage rolled head on towards a car coming in the opposite
The freaked out driver honked his horn. The carriage turned right at
the last second.
DANA BARRETT: Oscar! Watch out! My God! Please!
The carriage turned left around a taxi cab that braked and dodged a
bicyclist who fell over. Dana lunged for it but missed. It continued
back onto the sidewalk. It passed by a dog walker and several
barking dogs. Dana got
back up and kept running.
DANA BARRETT: Stop that carriage!
The carriage went off the sidewalk right into the intersection of
East 77th Street and First Avenue. It passed four lanes and honking
DANA BARRETT: Oh!
The carriage stopped suddenly, just before it was about to get hit
by a bus driving by in the fifth lane. The horn honked as it drove
past the carriage. Dana ran into the street and picked up Oscar,
holding him close to her.
DANA BARRETT: Oh, sweetie. Oscar... oh...
A snippet of "Ghostbusters" started. Fade to black. Mist swirled on
screen and became the Ghostbusters II logo. The screen faded to a
street. Day. A very dirty Ecto-1 drove through the city. It made
noises hinting at its disrepair. It passed Columbus Avenue and West
89th Street. It later passed by the St. Moritz Hotel at 50 Central
Park South then 2 Columbus Circle, turned onto Broadway and then
ended up back on Columbus Avenue, turning onto West 88th Street.
Ecto-1 pulled up at at 420 East 78th Street and parked in front of
brownstone buildings. Ray Stantz and Winston Zeddemore got out.
Winston got out of the front passenger seat and walked to the rear.
Ray stepped out of the driver's side with a cigar in his mouth. The
scene cut to Ray and Winston, now fully suited up as Ghostbusters,
walking through a home with a woman. They passed by an elderly woman
leaning on a dining table.
RAY STANTZ: How many of them are there?
BROWNSTONE MOTHER: Fourteen. They're in here. I hope you can handle
it. It's been like a nightmare.
WINSTON ZEDDEMORE: How big are they?
BROWNSTONE MOTHER: Mmm, four feet.
The woman held out her arm to indicate the height. Winston and Ray
exchanged looks. There was a birthday party in full swing. Children
ran around in a frenzy and made a lot of noise.
BROWNSTONE MOTHER: Hey, hey, kids, listen up! Listen up! Look who's
Ray and Winston entered the room and greeted the children with faux
enthusiasm. Winston had a little boombox in hand.
RAY STANTZ: Hey, hi!
WINSTON ZEDDEMORE: How you doing, kids?
The children booed them.
BROWNSTONE BOY: Aw, I thought it was gonna be He-Man.
WINSTON ZEDDEMORE: Hey, hey, I know. I know. Why don't we all sit
down, and we'll have fun.
RAY STANTZ: Yeah!
Ray clapped. Brownstone Boy #2 walked up to Ray.
BROWNSTONE BOY #2: You know, my dad says you guys are full of crap.
BROWNSTONE MOTHER #2: Jason, hush!
RAY STANTZ: Well, some people have trouble believing in the
BROWNSTONE BOY #2: No, he just says you guys are full of crap and
that's why you went out of business.
It was 8:04 on the clock in the room. Ray nodded. The Brownstone
Mother #2 grinned. Ray held back.
RAY STANTZ: Song.
Winston pressed play. The "Ghostbusters" song played. Ray and
Winston started to dance. The Brownstone Boy #2 sat back down,
rubbing his right shoulder.
BROWNSTONE MOTHER: Come on, everybody!
The Brownstone mothers and the children started to clap in rhythm.
Ray and Winston danced and sang along with the tape and they ended
at "There's something strange in your neighborhood, who ya gonna
paused for the children to answer.
CHILDREN: He-Man! He-Man! He-Man! He-Man! He-Man! He-Man! He-Man!
The children got up and the chaos resumed.
Ray and Winston lost their buzz and bleakly sang, "...and it don't
RAY STANTZ: Let's go get a beer? All right?
WINSTON ZEDDEMORE: Yeah.
Some time later, Ray and Winston exited the Brownstone. A Christmas
wreath hung on the front door. Ray was wearing a birthday hat.
RAY STANTZ: Thank you!
WINSTON ZEDDEMORE: Bye.
RAY STANTZ: Call any time.
WINSTON ZEDDEMORE: That's it. I've had it, Ray. No more parties.
Ray handed Winston some money.
RAY STANTZ: Here's your share.
WINSTON ZEDDEMORE: Look, I'm tired of taking abuse from
Winston opened the rear of Ecto-1. Ray sighed.
RAY STANTZ: I know, Z, but we can't quit now. The holidays are
coming up. It's our best season.
Winston pulled out the gurney for the Proton Packs. Winston took the
party hat off Ray's head.
WINSTON ZEDDEMORE: Ray. Man, face it, Ghostbusters doesn't exist. A
year from now, those kids won't even remember who we are.
Ray became glum.
RAY STANTZ: Ungrateful little yuppie larva. After all we did for
Winston helped Ray take off his Proton Pack.
WINSTON ZEDDEMORE: Yeah. Conjured up a hundred-foot marshmallow
man... blew the top three floors off an uptown high-rise... ended up
getting sued by every state, county and city agency in New York.
RAY STANTZ: Yeah, but what a ride.
Ray smiled fondly.
Day. Dana Barrett walked through Columbia University campus, near
the Low Library. She stopped and looked at a folded up piece of
paper then proceeded to the Institute for Advanced Theoretical
Research. It stood where Weaver Hall once was five years ago. She
dashed up the stairs and stepped into the building after two older
men exited. In a laboratory, Dana told Egon Spengler about the
DANA BARRETT: It went--right out in the middle of traffic and I
started really running after it. And then it just suddenly stopped
right in the middle of the street.
Egon leaned over and wrote something then stood up straight and
turned around while Dana told her story.
EGON SPENGLER: Mm-hmm, and did anyone else see this happen?
Egon grabbed a thin printout.
DANA BARRETT: Well, sure, hundreds of people. Egon, I didn't imagine
EGON SPENGLER: I'm not saying you did, it's just in science we
always look for the simplest explanation.
SPENGLER'S ASSISTANT: We're ready, Dr. Spengler.
Egon walked over to a large glass window. A camcorder was set up to
EGON SPENGLER: Good. We'll start with the negative calibration.
DANA BARRETT: What are you working on, Egon?
EGON SPENGLER: I'm trying to determine whether human emotions
actually affect the physical environment. It's a theory Ray and I
had when we were still Ghostbusters.
There was a frustrated couple inside a waiting room. Egon and Dana
observed them through a two way mirror. The husband was yelling
DANA BARRETT: Can they see us?
EGON SPENGLER: No. They think they're here for marriage counseling.
I kept them waiting for two and a half hours. And I've been
gradually increasing the temperature in the room. It's up to
ninety-five degrees at the moment. Now my assistant is asking them
if they'd mind waiting another half-hour.
The husband became angrier. He threw down his coat jacket and
pounded against the wall. The assistant left the room. Egon examined
EGON SPENGLER: Oh, good. Very good. Very, very nice.
DANA BARRETT: So, Egon, what do you think?
EGON SPENGLER: Excellent. Just excellent.
Egon turned to his assistant off screen.
EGON SPENGLER: Do the happiness index next.
DANA BARRETT: I mean about the carriage.
Egon wrote down some notes then went to observe another room. A
little girl inside played with stuffed animals. He looked into the
EGON SPENGLER: Well, I'd like to bring Ray in on this, if you don't
DANA BARRETT: Sure, whatever you think. But not Venkman.
EGON SPENGLER: Oh, no.
DANA BARRETT: Do you ever see him?
EGON SPENGLER: Occasionally.
Egon flipped some switches on a machine bank.
DANA BARRETT: How is he these days?
EGON SPENGLER: Peter? Well, he was borderline for a while. Then he
crossed the border.
DANA BARRETT: Does he ever mention me?
Dana smiled in anticipation of a "yes" from Egon.
EGON SPENGLER: No.
Dana's smile broke. Egon ran his Monitor 4 Radiation Detector over
her while her back was turned to him.
DANA BARRETT: Oh. Well, we--we didn't part on very good terms. And
then we sort of lost track of each other, uh, after I got married.
Spengler's assistant walked up to them.
SPENGLER'S ASSISTANT: We're ready for the affection test.
EGON SPENGLER: Good, send in the puppy, please.
An adorable puppy was handed to a little girl in the observation
DANA BARRETT: I thought of getting in touch with him after my
marriage ended, but... aw. Isn't that sweet?
They squatted low and watched the girl with the puppy.
DANA BARRETT: I appreciate your doing this.
EGON SPENGLER: Try not to worry.
They stood up and walked. Dana handed him a piece of paper.
DANA BARRETT: Here's my phone number. You'll call me?
EGON SPENGLER: Yes.
DANA BARRETT: I'd rather you didn't mention any of this to Peter, if
you don't mind.
EGON SPENGLER: No, I won't. I won't.
She kissed him on the cheek
DANA BARRETT: Thanks.
Egon was pleased. After Dana left, he turned to his assistant.
EGON SPENGLER: Let's see what happens when we take away the puppy.
The scene opened on a darkened TV studio set. Peter Venkman chatted
with his two guests. The POV shifted from a cameraman looking into a
camera. The theme for The World of the Psychic, "Young Man's Fancy"
by New Concert Orchestra and Cedric Dumont, played.
PETER VENKMAN: This-- Gee, I don't know... They would wash their
hair with their own--Their father encouraged them.
The lights came on and recording started on an episode of "The
World of the Psychic." Peter sat between his two guests.
PETER VENKMAN: Hi, welcome back to "World of the Psychic." I'm Peter
Venkman. I'm chatting with my guest. Author, lecturer and psychic
Milton Angland. Milt, your new book is called "The End of the
Now, can you tell us when it's gonna be or do we have to buy the
MILTON ANGLAND: Well, I predict that the world will end at the
stroke of midnight on New Year's Eve.
PETER VENKMAN: This year?
MILTON ANGLAND: Mm-hmm.
PETER VENKMAN: Well, that's cutting it a little bit close, isn't it?
I mean, just from a sales point of view. I mean, your book is just
coming out. You're not going to see any paperback sales for at least
a year. It'll be at least
another year before you know whether you've got that mini-series or
movie-of-the-week kind of possibilities. I mean, just Devil's
Advocate, Milty. I mean, Shouldn't you have said, "Hey, the world's
gonna end in 1992"?
MILTON ANGLAND: Wait.
PETER VENKMAN: Or better yet, 1994.
MILTON ANGLAND: Wait a minute! This is not just some money-making
scheme, all right? I have a strong psychic belief--
Milton pressed his finger to his forehead and began to look
MILTON ANGLAND: --that the world will end on New Year's Eve.
Milton exhaled and adjusted his coat. He sighed.
PETER VENKMAN: Well, for your sake I hope you're right, okay, but I
think my other guest may disagree with you. Elaine, now you had
another date in mind?
ELAINE: According to my source, the end of the world will be on
February 14th in the year 2016.
PETER VENKMAN: Valentine's Day. Bummer. Where'd you get your date,
ELAINE: I received this information from an alien. As I told my
husband... it was in the Paramus Holiday Inn. I was having a drink
at the bar, alone... and this alien approached me. He started
talking to me. He bought me a drink. And then I think he must have
used some kind of a ray or a mind control device, because he forced
me to follow him to his room, and that's where...
Peter stared directly into the camera.
ELAINE: …he told me about the end of the world.
Elaine looked down at the floor. Peter pursed his lower lip.
PETER VENKMAN: So your alien had a room at the Holiday Inn, Paramus?
ELAINE: It might have been a room on the spacecraft made up to look
like a room at the Holiday Inn. I can't be sure about that, Peter.
Peter stood up and walked forward.
PETER VENKMAN: Of course not. And that is the whole problem with
aliens... is you just can't trust them. Occasionally you meet a nice
one: Starman, E.T. But usually they turn out to be some kind of big
The World of the Psychic tune started playing.
PETER VENKMAN: That's all the time we've got for this week on World
of the Psychic. Next week, though -- Gimme Ira.
A crewman handed Peter a bald hairless cat. It meowed. Peter turned
his hand around to show the back of the cat, too.
PETER VENKMAN: Hairless pets. Weird.
Peter handed the cat back. It meowed.
PETER VENKMAN: Until then... this is Peter Venkman, saying:
Peter pretended to send a psychic message to the audience then
PETER VENKMAN: See you then. Bye.
Peter turned around and shook Milton's hand.
Peter walked through the backstage offices with his producer Norman.
PETER VENKMAN: Norman, where do you find these people? Weren't we
supposed to have the telekinetic guy who bends the spoons?
NORMAN: He canceled. This is the best we could do on such short
notice. Look, no respected psychic will come on the show. They think
you're a fraud.
PETER VENKMAN: I am a fraud.
Peter saw Mayor Lenny, trailed by an entourage.
WOMAN: Thank you for coming this morning.
PETER VENKMAN: Mr. Mayor. Lenny. Lenny! Pete Venkman.
Jack Hardemeyer stepped between Peter and the Mayor and gently
pushed him away. The Mayor and his entourage continued on.
JACK HARDEMEYER: Can I help you?
PETER VENKMAN: Yeah, get your hand off me. Thank you. I'm an old
friend of the mayor's. I wanted to say hello and give him a kiss.
JACK HARDEMEYER: I'm Jack Hardemeyer. I'm the mayor's assistant. I
know who you are, Dr. Venkman. I just don't see any ghosts anywhere.
Jack pretended to look around for ghosts. Peter smirked.
PETER VENKMAN: Well, that's why I wanted to talk to His Highness.
See, we did a little job for the city a while back and we got
stiffed on the bill by some bureaucratic bookworm like yourself.
Jack's demeanor changed to a serious one. A police officer stopped
to check them out.
JACK HARDEMEYER: Look, you stay away from the mayor. He's running
for governor next fall and the last thing we need is for him to be
associated with two-bit frauds and publicity hounds like you and
Jack walked away and left Peter dumbfounded.
PETER VENKMAN: You know, I'm a voter. Aren't you supposed to lie to
me and kiss my butt?
Day. The scene opened on the exterior of the Manhattan Museum of
Art. A motorist honked the car horn in traffic. In the Restoration
room, a painting of Vigo the Carpathian was being wheeled in. Janosz
JANOSZ POHA: All right, yes. Now, I want you to put the Vigo, uh, in
the arch. Under the arch there.
Janosz was distracted by the work of a art restorer at her station.
JANOSZ POHA: Everything you are doing is bad. I want you to know
Janosz passed by another restorer, an older man, who just stared
blankly at him.
JANOSZ POHA: You be careful there. All right? No one listens to me.
Janosz went to Dana's station and perked up.
JANOSZ POHA: Well, Dana, how are you doing? How's this Bonnington
DANA BARRETT: It's coming along fine. This mixture you gave me is
working really well.
JANOSZ POHA: Yes? Well, I make pretty good cocktails, don't I? Heh.
Yes, you're doing really quite good work there.
DANA BARRETT: Thank you.
JANOSZ POHA: Think it won't be long before you can assist me in more
It was 12:40 on the clock on the wall. Janosz pulled something out
of her hair. She turned to him.
JANOSZ POHA: Just a--a white thing.
DANA BARRETT: Well, thank you, Dr. Poha. Um--
JANOSZ POHA: Janosz.
DANA BARRETT: Janosz. Um, I've enjoyed working here, but now that my
baby's a little older I'm gonna to try to go back to the orchestra.
Dana cleaned her brush.
JANOSZ POHA: Oh, I am sorry to hear that, that you will not be not
here. Well, could I say goodbye, you know, maybe bring you to a
DANA BARRETT: Well, I can't today. I have an appointment. In fact,
I'd better go.
Dana hastily put her tools away and put her coat on.
JANOSZ POHA: I don't understand this. You know, every day I say,
"Well, can you do something?" You say "No, I can't do something." Do
I have a bad breath or something?
DANA BARRETT: Of course not.
Dana exhaled quietly and walked away.
JANOSZ POHA: Well, I'll give you a rain check.
Janosz stood next to the Vigo painting and talked to himself.
JANOSZ POHA: I think that she likes me. Heh. No, I do, I truly do.
Vigo's head partially bulged out of the painting unnoticed.
Late afternoon. It just rained. The streets were wet. Two people on
the sidewalk held umbrellas. A storefront read, "Ray's Occult
Books." Naturally, the bookstore was full of shelves of books.
Objects were hung up. Egon looked through a book while Ray emptied a
jar. The customer placed cash down on Ray's open book, took the item
EGON SPENGLER: This one's interesting, Ray. Berlin, 1939. A flower
cart took off by itself, rolled half a kilometer. Three hundred
Ray finished ringing up a sale. Egon turned and looked at the
customer. The doorbell rang as the customer left.
RAY STANTZ: My best to the coven. Berlin, huh?
Ray stepped out from the counter over to a book shelf with Egon. He
placed his pipe in his mouth.
RAY STANTZ: You know, you should also check Duke University's mean
averaging studies on controlled psychokinesis.
EGON SPENGLER: I pulled it.
Peter entered the bookstore and spoke in an accent. Ray smiled and
went back behind the counter.
PETER VENKMAN: Ah, perhaps you could help me. I am looking for a
love-potion aerosol that I could spray on a certain Penthouse Pet to
obtain her total submission.
EGON SPENGLER: Hello, Venkman.
RAY STANTZ: Hi, Pete. How's it going?
Peter threw his coat onto an empty book cart.
PETER VENKMAN: Hey, well, hi, Egon. How's school? Bet those science
chicks really dig that large cranium of yours, huh?
EGON SPENGLER: I think they're more interested in my epididymis.
Peter scoffed then paused in thought.
PETER VENKMAN: Ray, let's close this place up so you can buy me a
RAY STANTZ: Oh, I really can't do that right now, Pete. I'm working
on something. But your book came in. "Magical Paths to Fortune and
PETER VENKMAN: Thank you.
Egon snickered while Peter held his head up high.
EGON SPENGLER: Oh. Good luck with that, Venkman.
PETER VENKMAN: Will you put this on my account, please?
RAY STANTZ: Sure.
EGON SPENGLER: Ray, take a look at this.
RAY STANTZ: Oh, yeah.
PETER VENKMAN: What are you guys working on?
RAY STANTZ: Ah, well, we're just kind of--
Egon cleared his throat to subtly warn Ray not to blab.
RAY STANTZ: --checking something out for an old friend.
PETER VENKMAN: Neat. Who?
RAY STANTZ: Ah—Oh.
The store's phone rang.
RAY STANTZ: Ray's Occult. 7:00 on weekdays, midnight on Saturdays.
Ray hung up and looked back down at his book. Peter placed his left
hand under Ray's chin and made him look into his eyes.
PETER VENKMAN: Who?
RAY STANTZ: Who? Oh, just someone we know.
PETER VENKMAN: Oh.
Peter pulled on Ray's ears. Egon turned around and could only stand
RAY STANTZ: Aggh!
PETER VENKMAN: Who?
RAY STANTZ: I can't! No, no, no! Nobody! Nobody! No, I can't, I-
PETER VENKMAN: Yes you can. Who? Can you tell me now?
RAY STANTZ: Aggh! I can't, no, I-
PETER VENKMAN: Now?
RAY STANTZ: Aggh, aggh, Dana Barrett!
Peter was surprised and released him.
RAY STANTZ: Ow.
Ray massaged his ears.
PETER VENKMAN: My Dana Barrett?
Dana Barrett played her cello in her apartment. She was about two to
three minutes into performing Joseph Haydn's "Cello Concerto No. 1"
in C Major the first movement (Moderato). Maria, Dana's nanny, fed
Oscar in the kitchen. There was a knock on the door.
DANA BARRETT: I'll get it!
Dana placed her cello on her stand, walked over, and opened her door
to Ray and Egon.
RAY STANTZ: Hi, Dana.
DANA BARRETT: Hi, Ray. How good to see you.
DANA BARRETT: Thanks for coming.
RAY STANTZ: Hey, no problem. Always glad to help--and hug!
EGON SPENGLER: Hello, Dana.
Dana shook Egon's hand.
DANA BARRETT: Hi, Egon.
RAY STANTZ: Nice place.
EGON SPENGLER: Um...
Dana pushed the door to close it. Peter slipped in through the door
and stopped it.
PETER VENKMAN: Well, I know I'm just asking for the big hurt but I
thought I'd give us one more chance.
Ray rubbed his palms. Egon glared at Peter's back.
RAY STANTZ: He tortured me. He pulled my ears.
DANA BARRETT: Hello, Peter.
Peter turned to them, modulated his voice to sound deep and sexy.
PETER VENKMAN: Hello, Dana.
Instead of responding, Dana turned to Egon.
DANA BARRETT: So, what would you like to do first?
EGON SPENGLER: We'd like to examine the baby first.
Maria handed the baby to Dana then went back into the kitchen. They
walked over to a round table.
RAY STANTZ: Yeah, and anything associated with the baby, especially
stuffed toys. Things with fabrics in them.
EGON SPENGLER: Then we'd like to see the buggy.
DANA BARRETT: All right. Can I put him over here?
RAY STANTZ: And wherever he sleeps.
DANA BARRETT: Yes.
RAY STANTZ: Um...
Egon pointed to the table.
EGON SPENGLER: This will be fine.
RAY STANTZ: This okay?
Ray laid a blue pad over the table.
EGON SPENGLER: Fine.
Egon placed his briefcase on a chair at the table. Ray took off his
RAY STANTZ: We'll have to lay him down flat.
Peter took his jacket off and tossed it. He looked around at the
DANA BARRETT: Okay, sweetheart, now they're gonna take a look at
EGON SPENGLER: We'll do a cursory medical examination.
RAY STANTZ: What do you say? Gammill and Pross Infant Acuity Test?
EGON SPENGLER: Sounds good. We'll finish with an Apgar score.
DANA BARRETT: It's nothing that's going to hurt him, right?
RAY and EGON: Noooo.
EGON SPENGLER: No, I don't think so. He'll be fine.
Ray handed Egon calipers. Dana became concerned from the look of the
calipers. Peter played Dana's cello like a guitar. Egon looked away.
Ray also held back. She walked over to him.
RAY STANTZ: You ever done this before?
EGON SPENGLER: On a chimp.
PETER VENKMAN: So, whatever happened to Mr. Right, anyway? I heard
he ditched you and ran off to Europe.
DANA BARRETT: He didn't ditch me. We had some problems, and he got a
very good job offer from an orchestra in London, and he took it.
Dana placed her cello back on its stand. Peter held a mini-snow
globe upside down.
PETER VENKMAN: So he ditched you.
Ray spoke into a tape recorder.
RAY STANTZ: Okay. Subject is a male Caucasian, approximately...
Egon measured Oscar.
EGON SPENGLER: 24 inches.
RAY STANTZ: 24 inches in,uh, length. Uh, subject weighs
approximately 18 pounds and is about eight months old. Uh, okay.
Egon shined a small flashlight at Oscar then stood back up.
EGON SPENGLER: Uh, pupillary response normal.
Egon placed his flashlight back into his pocket protector.
RAY STANTZ: Auditory?
They snapped their fingers. Oscar moved his head around in reaction
EGON SPENGLER: Is normal.
RAY STANTZ: Apillary reflex?
They tickled Oscar.
EGON SPENGLER: Uh, appears to be ticklish.
RAY STANTZ: Yup, baby ticklish.
PETER VENKMAN: You know, you'd have been better off marrying me.
He held the miniature snow globe upright.
DANA BARRETT: You never asked me. And whenever I brought it up,
you'd get drowsy and fall asleep.
Peter placed the globe back on the shelf and walked away.
PETER VENKMAN: You never got it, Dana. I'm a man. I'm sensitive. I
need to feel loved. I need to be desired.
Dana placed her left hand on his shoulder.
DANA BARRETT: It was when you started introducing me as the old ball
and chain. That's when I left.
PETER VENKMAN: Well, I may have a lot of personal problems but I'm a
total professional when it comes to my job.
Peter walked over to Egon and Ray before Dana could get there. Egon
was using a stethoscope on Oscar as he lay on his back. Ray scanned
him with a P.K.E. Meter.
PETER VENKMAN: Egon?
EGON SPENGLER: What?
Egon looked up at Peter, and he spoke right into Egon's stethoscope.
PETER VENKMAN: What are we doing?
EGON SPENGLER: He seems to be fine, Dana.
DANA BARRETT: Mm-hmm. He's very healthy.
PETER VENKMAN: He's okay.
RAY STANTZ: When he does sleep, where do you put him?
DANA BARRETT: Uh, right around here, I'll show you.
Egon turned to Peter as Ray followed Dana to Oscar's bedroom. He
handed him a specimen jar and walked away with a new device, the
EGON SPENGLER: Venkman, could you get a stool specimen, please?
PETER VENKMAN: Business or personal?
Dana picked up a ring stacking toy in Oscar's bedroom. Ray picked up
a small yellow Stegosaurus stuffed animal and swept it the P.K.E.
DANA BARRETT: It's a little messy.
RAY STANTZ: Well, we don't wanna play with anything, we just want to
sweep for valances.
EGON SPENGLER: Hmm. Very cheerful. My parents didn't believe in
Egon picked up a rattle.
Peter smiled down at Oscar.
PETER VENKMAN: You wanna play with a big kid? You know, I--I should
have been your father. I mean, I could have been.
Peter shook Oscar's hand.
PETER VENKMAN: I understand.
Peter picked Oscar up and started singing "Dixie." Oscar bit him
softly on the nose.
PETER VENKMAN: Help, he's gone completely berserk! Help!
Ray, Egon, and Dana heard Peter.
RAY and EGON: Uh-oh.
Dana left the room. Egon shook the rattle. Ray walked over to Egon.
RAY STANTZ: You mean, you never even had a Slinky?
EGON SPENGLER: We had part of a Slinky. But I straightened it.
Peter's voice returned to normal once he saw Dana.
PETER VENKMAN: He had, uh, he had some sort of a clear liquid coming
out of his mouth, too.
DANA BARRETT: Yes, well, that happens. Well, what do you think?
PETER VENKMAN: Well, he's ugly. I mean, he's not Elephant Man ugly,
but he's not attractive. Was his father ugly?
DANA BARRETT: Don't listen.
PETER VENKMAN: And he stinks. You're right, Señor!
PETER VENKMAN: Did his father stink? Yeah. Daddy was a smelly? Huh?
What's your name?
DANA BARRETT: His name is Oscar.
PETER VENKMAN: Oh! Named after a hot dog. You poor man. You poor,
DANA BARRETT: Oh, but seriously - there's--there's nothing unusual
about him, is there?
PETER VENKMAN: Well, I don't have a lot of experience with babies.
But you're excited now, because Mama's here to get you a stool
sample. Right, Mama?
DANA BARRETT: Stool sample?
PETER VENKMAN: Yeah.
They laid Oscar down on the table.
Ray, lying down on his back, swept the underside of Oscar's crib.
Peter conferred with Ray and Egon in Oscar's bedroom.
RAY STANTZ: Nothing.
PETER VENKMAN: So, what, Brainiac?
EGON SPENGLER: I'd like to run some gynecological tests on the
PETER VENKMAN: Who wouldn't?
EGON SPENGLER: Let's check the street.
Day. Dana showed Peter, Egon, and Ray where the incident happened on
First Avenue. Behind them, the corner shop was selling Christmas
DANA BARRETT: It stopped right over there in the middle of the
PETER VENKMAN: All right, I can handle this.
Peter dashed into the middle of the street and started directing
traffic. Cars honked at them.
RAY STANTZ: Hey. Venkman. Hold on.
PETER VENKMAN: We're scientists, excuse us. Get out of the way!
Thanks a lot, we've got work for you here. Hold on. Thanks.
Appreciate it. Thanks a lot.
A taxi driver braked and honked.
TAXI DRIVER: You gonna get out of there or what?
PETER VENKMAN: Relax, you're on the meter. Come on, hey! We're
scientists, get out of the way.
Ray used a P.K.E. Meter. Egon used the Giga Meter. Both were lit up.
RAY STANTZ: Whoa-ho-ho! I think we hit the honey pot. There's
something brewing under the street. I've got 1-1-18 on the PKE.
EGON SPENGLER: 2.5 GEVs on the Giga Meter.
DANA BARRETT: Well, what does that mean?
Ray and Egon exchanged looks.
The scene opened many hours later, now evening, at the same spot on
First Avenue. Egon was dressed like a road worker and used a
jackhammer. A police squad car braked near him and honked.
FIRST COP: Hey! How ya doing?
EGON SPENGLER: Me?
FIRST COP: Yeah.
EGON SPENGLER: Fine. Fine. It's cutting fine now.
FIRST COP: Great. Why are you cutting?
Peter and Ray left Libby's Coffee Shop and exchanged looks.
EGON SPENGLER: Why am I cutting?
FIRST COP: Yeah.
EGON SPENGLER: Boss!
Egon gestured at them to come over. They walked back over to Egon.
Peter spoke in a thick stereotypical accent of a blue collar man.
PETER VENKMAN: Who told you to stop cutting? Someone tell you to
FIRST COP: What are you guys doing here?
Peter turned to the First Cop.
PETER VENKMAN: Did you tell him to stop cutting?
FIRST COP: Yes, I told him to stop cutting. What are you doing?
PETER VENKMAN: What does it look like we're doing? Why don't you let
us work? We let you work.
Ray emulated Peter's blue collar impression.
RAY STANTZ: Hey, take it easy. He's been working overtime. I'll tell
you why we're here, we're here because some diaper bag downtown is
being a jerk and making us work on a Friday night. Am I right,
PETER VENKMAN: Of course you're right, Raymond. Is he right, Ziggy?
EGON SPENGLER: Yo.
They all giggled.
FIRST COP: You guys take it easy, all right?
The squad car drove away.
PETER VENKMAN: Come on. Come on.
RAY STANTZ: What have you been doing?
EGON SPENGLER: What have I been doing? While you were getting coffee
for an hour, I've been digging a big hole in the middle of the
RAY STANTZ: Wow! Looks like you've uncovered an old air shaft. Man,
it just goes on and on!.
Egon took readings with the Giga Meter while Ray aimed his
flashlight down the hole.
EGON SPENGLER: It's very intense. We should get a deeper reading.
RAY STANTZ: Yeah, we're gonna need a deeper reading.
They stood back up.
EGON SPENGLER: Yeah, somebody has to go down there.
RAY STANTZ: Yeah, somebody's gotta go down there.
Ray looked up and realized Peter and Egon were staring at him.
Evening. Janosz Poha was still at the Manhattan Museum of Art. He
was about to apply a touch up on an eyelid on the Vigo painting when
Vigo fired orange hued lightning bolts at him. Janosz screamed in
shock and fell off the step ladder.
JANOSZ POHA: Yiiiiii!!!! Stinging! I'm stinging! Whoa!
On the floor, Janosz tried swatting his arm to repel the bolt. The
painting shifted in appearance to a chamber filled with pink
ectoplasm. Vigo now appeared as a giant floating head.
VIGO: Listen to me.
JANOSZ POHA: What? Who?!
VIGO: I, Vigo, the Scourge of Carpathia, the Sorrow of Moldavia,
JANOSZ POHA: Oh! Command me, lord.
VIGO: On a mountain of skulls in the 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.
JANOSZ POHA: Evil?
VIGO: Find me a child that I might live again!
The painting's image transitioned back to normal. Janosz stood.
JANOSZ POHA: Yes. A child. A child. A child?
The painting fired lighting bolts directly into Janosz's eyes.
JANOSZ POHA: Whoo! Whoo! Whoo! Whoo!
He patted his chest then his face.
JANOSZ POHA: A child.
PETER VENKMAN: You all right?
Ray Stantz was being lowered down the hole on a wire.
RAY STANTZ: Yeah, I'm good. The speed's good, boys. Keep it coming.
We're breaking through. I see some light. I'm in some kind of a
chamber. There's tile work--SLIME!
PETER VENKMAN: What?
RAY STANTZ: It's a river of slime! There's gotta be 25,000 gallons
of it. It's flowing through here like a river. Van Horne. Pneumatic
Transit. I can't believe it. It's the old pneumatic transit system,
it's still here. Okay. Whoa, whoa! That's good. Hold me up. Hold me
up. That's good.
PETER VENKMAN: What do you see?
While Peter and Egon looked down, the same police squad car from
before returned along with another vehicle.
RAY STANTZ: All right. Let's see if I can get a sample.
Ray activated his Slime Scooper. It extended down to the river.
CON EDISON SUPERVISOR: What's going on here? Hey, what's the story?
PETER VENKMAN: Hey, what, you boneheads are gonna come and roust me
out again? I've got three thousand phones out on Greenwich Village.
I got about eight million miles of cable I gotta check. You gonna
and shake my monkey tree again?!
CON EDISON SUPERVISOR: What are you talking about, buddy? The phone
lines are over there.
The supervisor turned around and pointed.
PETER VENKMAN: What'd I say to you?
Peter smacked Egon's hard hat angrily.
EGON SPENGLER: Augh!
PETER VENKMAN: The phone lines are over there. What did I say? How
FIRST COP: Hey! Hey! Hey, you're not with Con Ed or the phone
company. We checked. So tell me another one.
PETER VENKMAN: I got a major gas leak here!
Peter pointed to some steam that happened to be nearby.
PETER VENKMAN: Where do you think all this is coming from, the sky?
Ray reeled the Slime Scooper back in. The river of slime stirred.
Tentacles and claws formed. They reached for Ray.
RAY STANTZ: Uh, okay, boys? Boys? Pick me up now, all right?
There's some kind of activity going on with this stuff. Boys? Hey,
help! Take me up!
Everyone went over to the hole.
PETER VENKMAN: Ray! Start! Start!
The harness device started up and began to pull Ray up.
RAY STANTZ: Boys? Hey, what's going on up there? Come on! Get me out
of this hole! Aggh!
As Ray was pulled up, he inadvertently kicked a pipe as he panicked.
The pipe was dislodged, fell, and crashed into a power line. First
Avenue went dark, followed by all of New York City. Horns honked.
Dana Barrett checked on Oscar in his bedroom. She had a candle.
DANA BARRETT: Hello, sweetheart. Hello. Go back to sleep, darling.
Janosz knocked on her front door.
DANA BARRETT: Who is it?
JANOSZ POHA: It's Janosz.
Dana griped silently.
DANA BARRETT: Hello, Janosz.
She slightly opened her door.
DANA BARRETT: This is a surprise.
JANOSZ POHA: Ah, hello. Yes. Well, I happened to be here in this
neighborhood and I thought that I would stop by to see how is it
with you. You know, because of all this blackness.
DANA BARRETT: Oh. We're fine, thank you. Thank--
JANOSZ POHA: Well, then you're okay. And how is the baby?
DANA BARRETT: Well, he's--he's okay.
Janosz peeked in and vocalized.
JANOSZ POHA: Woo-ooh!
DANA BARRETT: He's sleeping.
Janosz covered his mouth with a hand in embarrassment.
JANOSZ POHA: Oh, but I "woo"-ed.
DANA BARRETT: That's okay.
JANOSZ POHA: All right, and do you need anything? You know? Do you
want me to come in?
DANA BARRETT: No, thank you.
JANOSZ POHA: Ah, well, just thought that I would check. You know.
Well, hey, you. Don't let the bedbugs bite.
DANA BARRETT: Good night, Janosz.
Dana closed the door then applied the various locks. Light beams
projected out of Janosz's eyes and he walked down the hall.
Day. Vehicles drove up and down the busy street outside the Thurgood
Marshall U.S. Courthouse. A bus with an advertisement for Kool
passed by. The scene transitioned to a packed courtroom.
JUDGE STEPHEN WEXLER: Before we begin this trial, I want to one
thing very clear. The law does not recognize the existence of
ghosts. I don't believe in them either. Don't wanna hear a lot of
malarkey about goblins and spooks and demons. We're gonna stick to
the facts in this case and leave the ghost stories to the kiddies,
A bailiff stood at the bench. A stenographer typed away. A county
clerk gathered some documents then stood up and walked over to
Wexler. Winston leaned against the defendant's table.
WINSTON ZEDDEMORE: Wow. Sounds like a pretty open-minded guy, huh?
Ray, Peter, and Egon sat at the defendants table. The Proton Packs,
Trap, P.K.E. Meter, the Giga Meter, and the Slime Scooper were on
the exhibit table. The pink ectoplasm Ray collected was in a clear
EGON SPENGLER: Yeah, they call him "The Hammer."
RAY STANTZ: What can we do? It's all in the hands of our lawyer now.
Louis Tully came over with a messy stack of books.
LOUIS TULLY: I think you guys are making a big mistake. I do mostly
tax laws and probate stuff occasionally. I got my law degree at
RAY STANTZ. Well, that's fine, Louis. We got arrested at night.
Ray slammed his head on the desk.
Jack Hardemeyer conferred with the prosecutor at her table.
JACK HARDEMEYER: Look, just put these guys away fast and make sure
they go away for a long, long time, okay?
PROSECUTOR: I don't think it's gonna be hard with this list of
JACK HARDEMEYER: Good. Very good.
Jack looked over to Peter and snickered. He walked over to gloat.
JACK HARDEMEYER: Violating a judicial restraining order, willful
destruction of public property, fraud, malicious mischief. Heh. See
you in a couple of years, at your first parole hearing. Peter
snickered. Officers led
some men through to the gallery.
PETER VENKMAN: They'll never take us alive.
Judge Wexler banged his gavel and adjusted his glasses.
JUDGE WEXLER: All right, all right. Let's get on with it.
Louis made his opening remarks. He turned from the bench and
addressed the gallery.
LOUIS TULLY: Your Honor, ladies and gentlemen of the--of the
audience. I don't think it's fair to call my clients frauds. Okay,
so the blackout was a big problem for everybody, okay? I was stuck
in an elevator for two
hours and I had to make the whole time. But I don't blame them.
Because one time I turned into a dog and they helped me. Thank you.
Judge Wexler was bewildered and speechless. Louis sat back down. The
guys looked at him.
EGON SPENGLER: Very good, Louis. Short but pointless.
The Prosecutor examined the Con Edison Supervisor from First Avenue.
His name is revealed to be Mr. Fianella. Winston sat in Fianella's
seat in the gallery.
PROSECUTOR: Mr. Fianella, please look at Exhibits A through F on the
table over here. Do you recognize this equipment?
CON EDISON SUPERVISOR: Yeah, that's the stuff the cops took from
PROSECUTOR: Do you know what this equipment is used for?
The supervisor sighed.
CON EDISON SUPERVISOR: I don't know. Catching ghosts, maybe? I
Wexler stared at the supervisor.
PROSECUTOR: May I remind the court that the defendants are under a
judicial restraining order that strictly forbids them from
performing services as paranormal investigators or eliminators.
The Assistant Prosecutor handed the Prosecutor several sheets from
their table. She walked over to the bench. Louis got up and followed
JUDGE WEXLER: So noted.
Louis took his copy and walked back to his seat. The Prosecutor
handed the Con Edison Supervisor the jar of pink ectoplasm collected
PROSECUTOR: Now, Mr. Fianella... can you identify the substance in
this jar marked "Exhibit F"?
She walked to the witness stand and handed him the jar.
CON EDISON SUPERVISOR: Yeah. Yeah, that's the stuff, all right. Your
Honor, I've been working underground for Con Ed for 27 years. I
never saw anything like this in my life.
JUDGE WEXLER: Mmm.
CON EDISON SUPERVISOR: Whatever's down there, they must have put it
Fianella pointed at the defendant's table. Ray quickly stood up in
RAY STANTZ: No, we didn't!
Judge Wexler banged his gavel.
JUDGE WEXLER: Shut up!
Louis examined Peter. It was extremely obvious Peter was feeding
Louis his lines.
LOUIS TULLY: So--so you were just trying to help out—help out a
friend, who was scared of what was happening to her, when you're
scared, what? There was no evil intended, no malice--
Judge Wexler stared at them.
LOUIS TULLY: --because you live here and when you live in a place--
The Prosecutor stood up slowly.
LOUIS TULLY: --and you love it like you do you don't want nothing
bad to happen, what? Because it'll never happen again, it's an
isolated incident, it's a one shot deal.
PROSECUTOR: Objection, Your Honor.
LOUIS TULLY: What?
PROSECUTOR: He's leading the witness.
JUDGE WEXLER: Sustained.
LOUIS TULLY: Give me a break. We're both lawyers.
JUDGE WEXLER: Mr. Tully...
Louis approached the bench. The Prosecutor sat back down.
JUDGE WEXLER: --do you have any questions for this witness that
might have some bearing on this case?
LOUIS TULLY: Do I?
PETER VENKMAN: No, we've helped them out enough already.
LOUIS TULLY: No, Your Honor.
Louis walked back to his seat but half turned to the Prosecutor.
LOUIS TULLY: Your witness.
After Louis sat down, Ray patted his shoulder. The Prosecutor stood
PROSECUTOR: Dr. Venkman... would you please tell the court why it is
that you and your co-defendants took it upon yourselves to dig a
very big hole in the middle of First Avenue?
PETER VENKMAN: Well, there are so many holes in First Avenue, we
really didn't think anyone would notice.
The gallery laughed. Judge Wexler banged his gavel.
JUDGE WEXLER: Keep that up, mister, I'll find you in contempt.
The pink ectoplasm bubbled again.
PETER VENKMAN: I'm truly sorry, Your Honor.
PROSECUTOR: I'll ask you again, Dr. Venkman. Why were you digging
the hole? And please remember you're under oath.
PETER VENKMAN: There are some things in this world that go way
beyond human understanding. Things that cannot be explained. Things
that most people don't even want to know about. That is where we
Ray and Egon nodded in agreement.
PROSECUTOR: So what you're saying is that the world of the
supernatural is your exclusive province?
She leaned on the stand. Peter placed his hands on top of hers. She
PETER VENKMAN: Kitten, I think that what I'm saying is that
sometimes, shit happens, someone has to deal with it, and who ya
The gallery erupted in cheers and applauded. Egon and Ray turned and
looked at the gallery. Judge Wexler banged his gavel.
JUDGE WEXLER: Shut up!
JUDGE WEXLER: Peter Venkman, Raymond Stantz, Egon Spengler, stand
up! Get up! You too, Mr. Tully.
They all stood.
JUDGE WEXLER: I find you guilty on all charges. I order you to pay
fines in the amount of $25,000 each.
The pink ectoplasm continued to bubble.
JUDGE WEXLER: I sentence you to eighteen months in the city
correctional facility at Rikers Island.
Ray finally noticed it and became alarmed. The atmosphere in the
courtroom began to eerily shift, too.
RAY STANTZ: Egie, she's twitching.
JUDGE WEXLER: I'm not finished! On a more personal note, let just me
go on record as saying that there is no place for fakes,
EGON SPENGLER: Uh, Your Honor?
JUDGE WEXLER: Shut up! Tricksters like you in decent society.
PETER VENKMAN: Your Honor, this is important.
The pink ectoplasm started bubbling faster.
JUDGE WEXLER: You prey upon the gullibility of innocent people.
RAY STANTZ: Yes, sir.
JUDGE WEXLER: Be quiet!
RAY STANTZ: But--
JUDGE WEXLER: And believe me, if my hands were not tied by the
unalterable fetters of the law... And I would invoke the tradition
of our illustrious forebears...
They gestured and started to lower themselves to hide under the
table. Louis nervously followed suit. The people in the gallery
became worried, too.
JUDGE WEXLER: ... reach back to a purer, sterner justice, and have
you burned at the stake!
The pink ectoplasm jar exploded violently.
The ghosts of the Scoleri Brothers manifested from the ectoplasm.
The stenographer and the bailiff ran to the juror's door. The clerk
jumped out of his seat.
RAY STANTZ: Wow!
Mr. Finalla held a man and backed up. The Prosecutor looked up in
shock at the ghosts.
JUDGE WEXLER: Oh my God, the Scoleri brothers.
They dive bombed the Judge's bench. Wexler hopped off just in time
and scooted over to Peter, Ray, Egon, and Louis under their table.
JUDGE WEXLER: Scoleri Brothers!
RAY STANTZ: Friends of yours?
JUDGE WEXLER: I tried them for murder! Gave them the chair!
Tony Scoleri, the skinnier ghost, surveyed the room and cackled.
JUDGE WEXLER: You gotta do something!
EGON SPENGLER: Why don't you just tell them you don't believe in
The Scoleri Brothers picked up their table and threw it at the
judge's bench. Wexler, Peter, Ray, Egon, and Louis ran behind the
glass partition to the judge's door. Wexler pounded on the locked
door in vain. He turned to
Ray and grabbed him by his suit jacket.
JUDGE WEXLER: You gotta do something. Help me!
RAY STANTZ: Don't talk to me. Talk to my attorney.
LOUIS TULLY: And that's me! My guys are still under a judicial
mistrangement order. That blue thing I got from her. They could be
PETER VENKMAN: And you don't want us exposing ourselves.
The Prosecutor screamed. They peeked around the partition. Nunzio
Scoleri carried the Prosecutor by her ankle across the courtroom. A
lone woman peeked out from behind a column. Nunzio and the
the courtroom. The people outside shrieked. The doors closed and
electricity traveled throughout it. Judge Wexler was at the end of
JUDGE WEXLER: Aggh...
PETER VENKMAN: You're next, Bubbles.
JUDGE WEXLER: All right, all right! I rescind the order! Case
LOUIS TULLY: Hooray! We won the case!
JUDGE WEXLER: Now, do something!
Ray, Egon, and Peter suited up with the Proton Packs laid out on the
exhibit table. Ray helped put one on Egon's back. Peter stumbled
around with his pack on.
PETER VENKMAN: Oh... oh, I always hated this part of the business.
Egon helped Ray put on the third pack.
PETER VENKMAN: You know, it's been a couple of years since we used
this stuff. I hope it still works.
EGON SPENGLER: It should. The power cells have a half-life of five
RAY STANTZ: Well, there's no time for a bench test. Heat 'em up.
Peter turned on the switch on his thrower.
PETER VENKMAN: Do...
Ray followed with his thrower.
RAY STANTZ: Re...
Egon turned on his.
EGON SPENGLER: Egon!...
Peter looked at Egon in disbelief. Egon grinned. The chairs in the
gallery started to bounce around. Egon, Ray, and Peter stood their
ground waiting for the ghosts to reappear.
RAY STANTZ: Whoa!
The Scoleri Brothers popped up. The three opened fired wildly and
missed. The Scoleri Brothers flew away through the wall behind the
judge's bench. Peter yelled. Peter, then Ray, then Egon all laughed.
Louis started to calm down but freaked out and back behind the
partition when the Scoleri Brothers came back. Peter fired at Nunzio
in the gallery. He walked past the bar and snagged him.
PETER VENKMAN: Come on, big boy. I'm gonna take you home to my
RAY STANTZ: You got him. You got him! Spengie, bring the trap.
Egon got the Trap off the exhibit table.
EGON SPENGLER: Okay, okay.
Tony Scoleri came through a wall cackling.
EGON SPENGLER: Behind you, Ray!
Egon ducked as Ray fired. The glass partition shattered and the
shards rained down on Judge Wexler's back. Ray soon wrangled Tony
Scoleri. Peter backed out of the gallery with Nunzio.
EGON SPENGLER: Hold him, Ray. Venkman, start bringing him back!
PETER VENKMAN: Come on, you big meanie. Let's go, hi-ya, chubby.
EGON SPENGLER: Hold him. Ray, keep pulling to the right!
Egon placed the Trap on the floor.
EGON SPENGLER: Okay, the trap's going in.
Egon pushed the Trap across.
RAY STANTZ: Now, now, Spengie!
EGON SPENGLER: Hold it, Ray!
RAY STANTZ: Hit it!
Egon stomped the pedal. They all turned away. The Scoleri Brothers
were pulled into the Trap. Their eyeballs were the last to be seen
as the Trap closed. It beeped.
RAY STANTZ: Two in the box!
EGON SPENGLER: Ready to go!
PETER VENKMAN: We be fast...
PETER, RAY and EGON: ...and they be slow!
Louis came over and looked at the Trap in awe.
Peter, Egon, and Ray triumphantly strode out of the courtroom. Louis
held out the Trap. The Prosecutor was tended to nearby. Reporters
swarmed around them. Cameras flashed.
PETER VENKMAN: We're the best! We're the beautiful! We're the
RAY STANTZ: We're back!
Run-D.M.C.'s take on "Ghostbusters" began playing for the montage.
The Firehouse. A closeup on a phone ringing. Janine Melnitz answered
the phone at the reception desk like no time had passed.
JANINE MELNITZ: Ghostbusters. Yes, we're back.
Day. Egon, Peter, Ray, and Winston jogged down the street suited up
as Ghostbusters again.
A workman wiped down the new Ghostbusters II sign up on the
Firehouse exterior. A Santa Claus rang his bell nearby.
Ecto-1a, the new car, drove off. Louis walked out the Firehouse
LOUIS TULLY: We accept certified check, cash or money order!
Evening. Ecto-1a sped past stores at 532-536 Columbus Avenue (at
West 86th Street) and turned at the corner of East 76th Street and
First Avenue, past the 3-Star Diner at 1463 First Avenue. A taxi cab
behind them braked on the crosswalk.
Day. The Ghostbusters jogged out of Record Explosion at 2 Broadway
with Santa hats on and in charcoal jumpsuits. Egon held a smoking
Trap. Peter held the Latent Image Sensor.
Day. Ray and Egon collected more pink ectoplasm from a set of stairs
of the Church of St. Paul the Apostle at 8-10 Columbus Avenue. Ray
ladled some into a clear jar.
Day. A ghost jogger ran the jogger's route around the Jacqueline
Kennedy Onasis Reservoir in the northern part of Central Park.
Living joggers screamed in fright and hopped out of its way. Ray,
with his Ecto Goggles on, gave Peter the signal.
RAY STANTZ: Get him!
Peter, who sat on a bench reading the newspaper, stomped the pedal.
A Trap was buried in the ground just barely visible for it to open.
The ghost ran right over it and was trapped.
PETER VENKMAN: Bye-bye!
A new Ghostbusters commercial played on a Sony television set in
Jack Hardemeyer's City Hall office.
A ghost prop swung by the bed of a couple. The couple was portrayed
by Janine and Louis. Janine screamed.
JANINE MELNITZ: Ah!
LOUIS TULLY: Ah! What is it, honey?
JANINE MELNITZ: It's that darn ghost again. He just won't leave us
alone. I guess we're just going to have to move.
Louis picked up the phone at their bedside.
LOUIS TULLY: No, wait! Don't worry, we're not moving. He is.
Louis reached for a blue phone.
JANINE MELNITZ: Who are you going to call?
The Ghostbusters stood in front of their bed in pose.
PETER, RAY, EGON, WINSTON: Ghostbusters.
Jack Hardemeyer buried his head in his crossed arms.
The Ghostbusters slid down a pole in the Firehouse. Winston was in
the tan coverall. Egon and Peter were in the charcoal.
PETER VENKMAN: Yee-ha!
Day. Traffic light was on red. Ray drove Ecto-1a way too quickly and
erratically. Ecto-1a made a hard left turn heading north on Hudson
Street, turning west onto Barrow Street near 460 Hudson Street and
93 Barrow Street. He shouted something. Peter and Egon exchanged
worried looks. Peter looked at him from the back.
Day. The Ghostbusters, in their charcoal coveralls, ran into a store
named Orrefors on 58 East 57th Street. They had several cases. Only
Peter and Winston wore Proton Packs. Egon had the Giga Meter. Ray
had the Sound Level Meter. Inside, they wore Ray Ban sunglasses.
Peter looked over at a female employee. Several mounted devices
bearing the caution stripe motif were placed around floating fine
crystals. Egon gave the signal.
EGON SPENGLER: Now!
The devices were triggered. Purple beams were projected. They
turned away. The fine crystal coming came crashing to the ground and
cases below and shattered.
Slimer ate food out of Louis's lunch box in the Firehouse garage bay
and made a mess. A Fritos bag was open. A chocolate snack was eaten.
Only a red apple was untouched. Louis walked to the bay.
LOUIS TULLY: Janine, lunch! Boy, it smells like somebody took a
Louis and Slimer saw each other and paused. Louis dropped his files.
They both screamed and fled in opposite directions. Louis ran right
into the couch and flipped over it.
Day. Ray and Egon collected more pink ectoplasm from the phone of a
phone booth on West 59th Street across from the 910 9th Avenue side
of Coliseum Park Apartments a block over from the Church of St.
Paul. Egon held up the phone and slime dripped down into a clear jar
held by Ray.
Day. Ecto-1a drove along FDR Drive between East 36th & East 37th
Day. The Ghostbusters, in their charcoal suits, returned to Ecto-1a
at East 57th Street and Park Avenue. Winston and Peter held a Trap
each. Ray and Egon still had their throwers drawn.
Dana Barrett fed Oscar while she saw the same commercial Jack
Hardemeyer saw earlier.
WINSTON ZEDDEMORE: ...with our special half-price service plan.
PETER VENKMAN: What? Hold on. Half-price? Have we all gone mad?
RAY STANTZ: I guess so, Pete. Because that's not all. Tell them,
EGON SPENGLER: Oh, you mean the Ghostbusters hot beverage thermal
mug and free balloons for the kids?
A caption flashed on screen reading, "LIMIT ONE PER FAMILY"
Dana grinned and shook her head in reaction to the caption.
A black Kitchen Aid microwave beeped. The Ghostbusters gathered
around a table on the second floor of the Firehouse. Egon took a
sample of the pink ectoplasm in tupperware out of the microwave.
RAY STANTZ: We've been experimenting with the plasm we found in the
subway tunnel. Careful.
PETER VENKMAN: Should I get spoons?
EGON SPENGLER: Don't bother. Watch this. Go ahead, Ray.
It was 2:30 on the clock on the wall by the refrigerator.
RAY STANTZ: You! You worthless piece of slime! You ignorant,
The pink ectoplasm bubbled in reaction to Ray's shouting.
EGON SPENGLER: You're nothing but an unstable, short-chain molecule!
RAY STANTZ: You foul, obnoxious muck!
EGON SPENGLER: You have a weak electrochemical bond!
Winston and Peter looked at each other.
RAY STANTZ: I have seen some disgusting crud in my time, but you
take the cake. You know what, you're just--
Winston stopped Ray. Egon flashed his hands to stop.
PETER VENKMAN: This is what you do with your spare time?
RAY STANTZ: Peter, this is an incredible breakthrough. I mean, what
a discovery. A psychoreactive substance. Whatever this stuff is, it
responds to human emotional states.
PETER VENKMAN: Mood slime.
Egon turned away in disbelief.
PETER VENKMAN: Oh, baby...
WINSTON ZEDDEMORE: You mean this stuff actually feeds on bad vibes?
RAY STANTZ: Like a cop in a doughnut factory.
EGON SPENGLER: We've been running tests to see if we can get an
equally strong positive reaction.
PETER VENKMAN: What kind of tests?
RAY STANTZ: Well, we sing to it, and we talk to it, and say
supportive, nurturing things to it...
PETER VENKMAN: You're not sleeping with it, are you, Ray?
There was an awkward silence and sense of uneasiness from Ray and
PETER VENKMAN: Oh, you.
WINSTON ZEDDEMORE: It's always the quiet ones.
PETER VENKMAN: You hound.
EGON SPENGLER: Ahem. How about the kinetic test?
RAY STANTZ: Okay.
Egon took a toaster from the kitchen counter.
EGON SPENGLER: Ordinary household toaster.
PETER VENKMAN: I'll take your word for that.
Ray placed some ectoplasm into the toaster with a spoon. Egon placed
it on the billiards table.
RAY STANTZ: It responds to music, so we've been doing some
experimentation. Playing easy listening. Middle-of-the-road type
stuff. You know, Paul Young, Dust In The Wind, that works okay.
PETER VENKMAN: It works for me.
EGON SPENGLER: It loves Jackie Wilson.
Jackie Wilson's "(Your Love Has Lifted Me) Higher and Higher" was
PETER VENKMAN: Sheesh! You guys do this at night when I'm not here?
Oh, I get it. It sings. It sounds exactly like Jackie, that's
EGON SPENGLER: Just watch.
PETER VENKMAN: Does it do Emmylou Harris?
The toaster hopped up.
PETER VENKMAN: Oh, it dances, too.
The toaster moved around like it was dancing. The guys smiled.
RAY STANTZ: Whoa! Shake it up!
The toaster ejected toast. Egon caught them then turned off the
music. Peter hugged the toaster.
PETER VENKMAN: Oh! Oh, oh baby, oh, you're my number one Christmas
boutique gift item!
WINSTON ZEDDEMORE: Right, and the first time somebody gets mad the
toaster could eat their hand.
PETER VENKMAN: No, no, no, no. We put a warning label on it, we
don't have any liability- aggh! Ow! Ow!
Egon quickly took the toaster away. It was just a prank. Peter
gestured like he poked Egon's eyes.
PETER VENKMAN: Ow! Oh, did you ever go for it! The old
Peter gestured with his index and middle fingers in a "V" pointed at
Egon's eyes. Ray screamed as he grabbed Peter from behind playfully.
RAY STANTZ: Get him!
Day. A Santa Claus rung his bell. People walked in and out of the
Manhattan Museum of Art. Dana ran up the stairs.
Peter stopped at the guard's station.
PETER VENKMAN: Hello. I'm looking for Dana Barrett.
RUDY THE MUSEUM GUARD: Room 304, Restoration.
PETER VENKMAN: Thank you.
RUDY THE MUSEUM GUARD: Hey, uh, Dr. Venkman! "World of the Psychic."
PETER VENKMAN: Yes.
Rudy stood up and shook Peter's hand.
PETER VENKMAN: That's right. How ya doing?
RUDY THE MUSEUM GUARD: I'm a big, big fan of yours.
PETER VENKMAN: Thank you very much. Thank you.
RUDY THE MUSEUM GUARD: It used to be one of my two favorite shows.
PETER VENKMAN: You're kidding me. Well, great. What was the other
RUDY THE MUSEUM GUARD: "Bass Masters." It's a fishing show.
PETER VENKMAN: Yeah, I know "Bass Masters." Sure.
Rudy snapped his fingers in delight.
In the Restoration room, the Vigo painting smiled at Dana as she
walked by. His expression returned to normal just before she looked
up. She was worried. Peter entered the room and found her retouching
a painting. He pulled the easel away and took a look.
PETER VENKMAN: You're good, pretty eyes.
Dana was wearing magnifying glasses.
DANA BARRETT: I didn't paint it. I'm just cleaning it. It's a
PETER VENKMAN: Oh, I've heard of him.
JANOSZ POHA: Well, heh heh. Hey, Dana, aren't you going to introduce
me to your friend?
DANA BARRETT: Um. Sure. Peter Venkman, this is Dr. Janosz Poha, the
head of our department.
Dana emphasized "head" as a warning to Peter. Instead of shaking
Peter's hand, Janosz touched it. Peter looked at Dana and slowly
wiped his hand across his sweater.
JANOSZ POHA: Yes, I have of course seen you on the television. Quite
enjoy. Eh, not here on business, I hope.
Peter wiped his hand on his sweater again.
PETER VENKMAN: Well, it's top-secret.
Peter saw the Vigo painting and went over to it.
PETER VENKMAN: Say, Johnny, you've got a Gauguin, too.
JANOSZ POHA: No. Actually, I am preparing this portrait for the new
Romantic exhibition. Yes. This is Prince Vigo, the ruler of
Carpathia and Moldavia.
Peter imitated Vigo's pose, to Dana's amusement. Janosz went up on
the step ladder.
PETER VENKMAN: Bit of a sissy, isn't he?
JANOSZ POHA: He was a very powerful magician, Dr. Venkman. And a
genius in many ways.
DANA BARRETT: He was also a lunatic and a genocidal madman. I hate
this painting. I've felt uncomfortable ever since it came up from
PETER VENKMAN: Well, you're probably feeling what Vigo's feeling.
Carpathian kitten loss. He's missed his kitten.
Dana smiled while Peter grabbed some paint.
PETER VENKMAN: We'll just put one in here by the castle.
Janosz stood between Peter and Vigo.
JANOSZ POHA: No. We don't go around altering valuable artwork, Dr.
Venkman. Go. Yes, I think, go. Yes. The joyfulness is over.
DANA BARRETT: He's kidding.
PETER VENKMAN: Well, you're not gonna get a green card with that
attitude, pal. Okay?
Peter walked away and turned to Dana.
PETER VENKMAN: I don't know what to—Oh, of course. Of course. I get
it. You're sweet on this hunky stud, aren't you?
DANA BARRETT: You know, Peter, every now and then I get the feeling
that painting is watching me, even smiling at me.
They noticed Janosz talking to Vigo and gesturing to them. They
exchanged looks of concern.
Dana Barrett carried Oscar into the bathroom. She placed a board
into the tub.
DANA BARRETT: You know, I think we got more food on your shirt than
we did in your mouth.
Dana turned the water on in the bathtub.
DANA BARRETT: Bath. You get to take a bath, don't you? It's your
favorite thing. Yes. It's your favorite thing. Because I know what
you get to do. You know what you get to do? You know what's more fun
anything? Huh? Splash Mommy. "I get to splash Mommy." Yes.
Dana undressed Oscar while tickling him and making stomach-sucking
sounds. The water suddenly stopped running and Psychomagnotheric
ectoplasm poured in.
DANA BARRETT: We'll be ready for this in just a moment. Mommy's
going to take her shirt off, too.
Dana unbuttoned and took off her shirt then picked Oscar up. She
turned around and was horrified by the mass of Psychomagnotheric
ectoplasm. It tried to move towards Oscar but the tub winced. She
screamed and ran out the bathroom.
DANA BARRETT: No!
It tried to follow them but could not.
Peter was stirred out his slumber on the couch in his apartment by
frantic pounding on the door and a baby's cries. There were several
Budweiser bottles around. A few Christmas decorations were up.
DANA BARRETT: Peter, it's me! Please let us in!
PETER VENKMAN: What the hell is this?
DANA BARRETT: Peter, let us in, please!
Peter opened the door. Dana came in. She was in a coat with Oscar
DANA BARRETT: I didn't know where else to go. The most awful thing
happened. The bathtub... the bathtub was trying to eat Oscar! I was
giving him a bath... there was all this pink ooze everywhere and it
was reaching for him.
She cuddled Oscar.
PETER VENKMAN: You're all right. Okay, you're all right, you're all
DANA BARRETT: I'm not gonna let it get you.
PETER VENKMAN: All right, you're all safe now, okay?
DANA BARRETT: I was so terrified.
Peter took his coat off and threw it towards his couch.
DANA BARRETT: Yes, darling, I'm so sorry.
PETER VENKMAN: You guys just sit down, relax, huh? C'mon. Just sit
down, I'll get you guys a shirt or something. Hold on.
Peter went to his phone, dialed, and closed the door.
PETER VENKMAN: Ray? Yeah, Dana's just come over to my place. Well,
actually, her--her tub tried to eat her.
Ray spoke to Peter in a lab in the Firehouse. There were two pink
ectoplasm jars. He was wearing a skullcap with wires attached to the
jar. "Flesh 'N Blood" played in the background.
RAY STANTZ: What? Are you serious? Well, that's great! I mean,
that's terrible. But it's great for what we were... Yeah, I will.
Yeah, sure, we'll get right on it.
Ray hung up and took the skullcap off.
RAY STANTZ: Spengler. A major slime-related psychokinetic event.
Egon made some adjustments to a blower gun.
EGON SPENGLER: What happened?
RAY STANTZ: Something came out of Dana's bathtub. Tried to grab her
and the baby.
EGON SPENGLER: Are they all right?
RAY STANTZ: Yeah, well, she got out of there and went over to
Egon placed the blower gun down.
EGON SPENGLER: This is interesting, Ray. Remember the painting
Venkman mentioned? I ran "Vigo the Carpathian" through the Occult
Reference Net. Look what came up.
Egon typed. They looked at the Hewlett Packard computer screen.
It read, "ZUNDINGER, LEON.
MAGICIANS, MARTYRS AND MADMEN
Chapter 6, PP. 128-145
Vigo the Carpathian (1505-1610)
Sixteenth century Carpathia was in a constant state of spiritual
turmoil due principally to the despotic rule of PRINCE VIGO VON
HOMBURG DEUTSCHENDORF, tyrant, sorcerer and psychotic autocrat."
RAY STANTZ: Ooh... Nice ugly history. Think there's a connection
between this Vigo character and the--
Some ectoplasm bubbled.
RAY STANTZ: --slime?
EGON SPENGLER: Is the atomic weight of cobalt 58.9?
They took off their labcoats. Ray went for his leather jacket on a
RAY STANTZ: We'd better get over to Dana's apartment. I'd like to
check out that bathtub.
EGON SPENGLER: It might be a good idea to go to the museum in the
morning and get a look at that painting.
Ray reached for a P.K.E. Meter. Egon swung his suit jacket over his
left shoulder and grabbed the Giga Meter with his right hand and
Dana now had on a blue shirt. Peter briefed Dana on what was going
to happen next.
PETER VENKMAN: Ray's gonna go on over to your place and just take a
DANA BARRETT: He is?
Peter presented a green sweatshirt.
PETER VENKMAN: Okay. I have been holding onto this for a long time,
Oscar. I got this from a girl who got this from Joe Willie Namath,
okay? We don't know how. We don't want to know.
Peter made a diaper out of it.
PETER VENKMAN: So I would appreciate it if you would not hose this
thing down, you know, give it your own personal rinse. Thank you. It
would be an excellent time for you to start practicing a thing we
big guys like
to call "self control". Get outta here. Oh, look at him, look at
him, oh, look at this guy. Oh, he's a coconut, this guy. Woop!
You're gonna be staying at Uncle Pete's until this thing blows over.
This is your place now.
They went over to Peter's bedroom. He leaped onto the bed and
bounced a few more times then posed.
PETER VENKMAN: Hi. Come on in. This is my place.
DANA BARRETT: So how are we going to handle the sleeping
PETER VENKMAN: Well, what's best for me is if I lie on my side like
this, and you spoon up beside me, your arm draped over me. If we do
it the other way--
Peter rolled over into position to demonstrate. She sat down.
PETER VENKMAN: --I get your hair caught in my throat and I choke in
DANA BARRETT: How about you on the sofa and me and the baby in the
PETER VENKMAN: It's a way to go.
DANA BARRETT: It's so late. I really ought to put him down.
PETER VENKMAN: May I?
DANA BARRETT: Yeah, if you want to.
PETER VENKMAN: You're short. Your belly button sticks out too far.
And you're a terrible burden on your poor mother.
Peter pointed at Oscar then waved his finger around.
Day. Peter waited outside the Manhattan Museum of Art. Ecto-1a drove
up and parked.
PETER VENKMAN: Find anything at Dana's?
Winston helped Ray put on his Proton Pack while Ray got out a piece
RAY STANTZ: Nah, nothing but some mood slime residue around the
bathtub. But I did get something on that Vigo character you
mentioned. Found it in Leon Zundinger's "Magicians, Martyrs and
Madmen". Dig that.
EGON SPENGLER: Vigo the Carpathian, born 1505, died 1610.
PETER VENKMAN: A hundred and five years old. He hung in there,
Egon helped Winston put on his pack.
RAY STANTZ: He didn't die of old age, either. He was poisoned,
stabbed, shot, hung, stretched, disemboweled, drawn and quartered.
PETER VENKMAN: Ouch.
WINSTON ZEDDEMORE: I guess he wasn't too popular at the end.
Peter placed a camera strap around his neck.
EGON SPENGLER: No, not exactly a man of the people. Also known as
Vigo the Cruel, Vigo the Torturer, Vigo the Despised and Vigo the
PETER VENKMAN: Wasn't he also Vigo the Butch?
RAY STANTZ: And dig this!. here was a prophecy, just before his head
died. His last words were: "Death is but a door, time is but a
window. I'll be back."
The Ghostbusters stepped into the Restoration room. The restorers
looked up at them. Egon held the Giga Meter. Ray held a Globuscope.
Winston held a KUD Meter.
PETER VENKMAN: Let's suck in the guts, guys. We're the Ghostbusters.
JANOSZ POHA: Go! Go, please, go, you. Yes. You--
RAY STANTZ: Who's this wiggler?
PETER VENKMAN: He's yours, Ray. Sic him.
JANOSZ POHA: I have discussed--
Ray engaged Janosz politely.
RAY STANTZ: Hi, how are you? Ray Stantz from the Ghostbusters. Nice
to see you. Beautiful lab you have here. We're just doing a routine
Peter handed Janosz his coat.
JANOSZ POHA: Dr. Venkman, Dana is not here.
PETER VENKMAN: Yeah, we know that, Johnny.
JANOSZ POHA: So why are you came?
PETER VENKMAN: Well, we got a report there was a major creep in the
area. We checked our list and you were right on the top. Johnny,
where in the hell are you from, anyway?
JANOSZ POHA: The Upper West Side.
EGON SPENGLER: The whole room's extremely hot, Peter.
Winston noticed the Vigo painting.
WINSTON ZEDDEMORE: Ugh. That's one ugly dude.
JANOSZ POHA: Hot?
Peter snapped photographs.
PETER VENKMAN: Oh, that's Vigo! Mr. Vigo! Vigs, would you look this
JANOSZ POHA: No. No, don't. No! No!
Janosz stood in front of the painting
JANOSZ POHA: No! No photographs, please. Slides are available in the
Winston took him aside.
JANOSZ POHA: Aggh!
PETER VENKMAN: Yeah, thanks. Thank you, Winston.
Peter continued with taking photographs.
PETER VENKMAN: All right, you know what? Give me angry, will you,
will you give me angry. You've had a bad day, you're cranky. Yeah,
thank you. Good. Good. Ooh, angrier. Ooh. I'm scared, you're scaring
me, stop it. Yeah... good! Okay, walk for me, talk for me. Yeah,
yeah. Okay, give me hot and sexy. Can you do it? You can. Oh, boy.
Show me some teeth. Come on. I bet the girls like you? Huh? Huh? The
girls? Do the guys? I bet they both do. Huh? How about the animals?
They like you?
Ray stood on the step ladder and took readings. He looked at Vigo's
eyes and became transfixed. The eyes turned red, then blue again.
Ray stared in a daze. His arm became limp.
PETER VENKMAN: That's it. More. That's right, you're big. You're
big. Yeah. Yeah. All right, destroy me! Destroy me! Yeah! Destroy
me! Yeah! Destroy me! Yeah! Yeah, yeah! Give it, give it! Give it.
EGON SPENGLER: Venkman?
PETER VENKMAN: Yeah.
EGON SPENGLER: We need to talk.
Peter turned to Vigo.
PETER VENKMAN: I've worked with better. But not many. Thank you.
Peter took his coat from a distraught Janosz.
PETER VENKMAN: John, thanks.
WINSTON ZEDDEMORE: Hey, hey?
Winston patted Ray. Ray snapped out of it.
RAY STANTZ: Huh?
WINSTON ZEDDEMORE: Hey, you finished?
RAY STANTZ: Yeah, I'm finished here.
WINSTON ZEDDEMORE: Are you all right?
RAY STANTZ: Wh--What?
Ray went back down and walked away with Winston.
WINSTON ZEDDEMORE: I mean, you're not coming down with something?
Ray patted himself. They walked past Janosz.
RAY STANTZ: Me?
Day. Outside Peter's apartment building 644 Broadway, the camera
panned up. Peter returned home to his apartment at with a suitcase.
PETER VENKMAN: Dana. Your prince. Oh, no. Oh, no. Oh, no. She
Dana was fresh out of the shower and wrapped in a white towel.
DANA BARRETT: Hi.
PETER VENKMAN: Hi.
DANA BARRETT: Ssh... he's asleep. Come here. So what happened with
Several old newspapers from 1984 about the Ghostbusters were framed
on the wall of Peter's office area.
PETER VENKMAN: Well, the guys spent the whole night there. They went
through all your things, your personal stuff, they tried on some of
your clothes, made some long-distance phone calls, cleaned out the
DANA BARRETT: Did they find anything?
PETER VENKMAN: They found a little bit of that pink slime.
DANA BARRETT: Oh God. Well, what am I supposed to do now?
PETER VENKMAN: You are supposed to get dressed and get crazy with me
on the streets of Manhattan tonight.
DANA BARRETT: Peter, I don't think--
PETER VENKMAN: This is exactly what you need. I have got you a
babysitter. The whole thing's wired.
DANA BARRETT: Peter, I don't think we should go out on a date. You
know, and I can't leave Oscar in a strange place with a strange
PETER VENKMAN: Strange person? Janine Melnitz from my staff
DANA BARRETT: Janine has experience babysitting?
Peter handed her a bouquet of flowers.
PETER VENKMAN: Here.
DANA BARRETT: Thank you.
Peter presented a suitcase.
PETER VENKMAN: I've also brought some things from your apartment.
Some wardrobe choices. A couple of provocative ensembles in here.
I'll leave it up to you.
DANA BARRETT: Okay, but after dinner. Don't put any of those old
cheap moves on me.
PETER VENKMAN: No, no, no, no.
DANA BARRETT: It's different.
PETER VENKMAN: I have all new cheap moves.
They entered the bedroom to find Oscar awake. She picked him up.
DANA BARRETT: Hey, you. Hey, you. It looks like you're awake, huh?
You're awake, yes.
PETER VENKMAN: Yes, Oscar. You're gonna have the whole place to
yourself tonight, pal. It's gonna be pretty neat. I got some Laura
Antonelli tapes if you wanna watch them. Dana, did you see some
shirts here in the
DANA BARRETT: Yeah, I put them in the hamper.
PETER VENKMAN: I have a hamper?
DANA BARRETT: Yeah, it's in the bathroom.
PETER VENKMAN: Neat.
Peter took some of the clothes out of the hamper.
PETER VENKMAN: Will you tell me next time you're going to do that,
DANA BARRETT: Well, I thought they were dirty.
PETER VENKMAN: I have more than two grades of laundry, okay? There's
not just clean and dirty. There are many subtle levels. Okay?
Peter measure with his hands then slowly moved on hand down. He
scoffed and took out a white shirt with gray stripes. He smelled it.
PETER VENKMAN: See? You hang this outside the window for twenty
minutes, it's perfectly fine.
Peter left the bedroom.
DANA BARRETT: Interesting role model for you, Oscar, huh?
She kissed Oscar.
Day. The Firehouse. Three men crossed the street. At the reception
desk, Janine was ending a phone call. Several old newspapers and
magazines from 1984 were framed on the wall of Peter's office along
with some new ones.
JANINE MELNITZ: Well, they couldn't get to you until after the New
Janine listened to the caller's response and covered up her
JANINE MELNITZ: Well, just don't go in there.
Janine hung up.
JANINE MELNITZ: Louis, I'm closing up!
Janine and Louis walked out of the Firehouse.
LOUIS TULLY: Well, should I take the subway or the surface roads, or
what? It's kind of busy out.
JANINE MELNITZ: Well, I'm walking. Good night.
LOUIS TULLY: Well, now. Well, well, hang on now. Do you--Do you
maybe wanna--no, no--do you wanna have something to eat with me?
JANINE MELNITZ: Well, yeah, I'd love that. But I-I-I told Dr.
Venkman I'd babysit for him.
LOUIS TULLY: Oh, oh.
JANINE MELNITZ: Do you want to babysit with me?
LOUIS TULLY: Okay, I would.
JANINE MELNITZ: Great. His place at eight. Bye.
Janine walked off. Louis stood in the middle of the crosswalk
talking to himself.
LOUIS TULLY: His place at eight. All right. Well, I can get his
address from the W2...
A car honked at him.
DRIVER: Hey, dummy, move!
Cars honked at him. He stepped out of the way and directed the cars.
Ray and Egon processed Peter's photographs of Vigo in a photo lab
set up somewhere in the Firehouse. Ray pinned one on the line. Egon
used a magnifying lens.
EGON SPENGLER: We were right, Ray. Multi-planar Kirlian emanations.
RAY STANTZ: Yeah, well, here's your next month's cover of GQ. Check
out the aura on this sucker. Now, there's definitely a living
EGON SPENGLER: We should get a deeper look.
RAY STANTZ: Why don't I run this wider shot through the spectro
EGON SPENGLER: Good, I'll try turning up the roentgens.
Ray fed a photograph into the spectro analyzer, which looked like a
copy machine. Egon pressed some buttons on a pad.
RAY STANTZ: So, what do you think? Chinese?
EGON SPENGLER: How about Thai?
RAY STANTZ: Nah, too spicy. Greek?
EGON SPENGLER: Mexican?
RAY STANTZ: Pizza?
EGON SPENGLER: Thin or thick?
RAY STANTZ: Chicago.
A photograph came out of the analyzer. Egon hung it up. The
photograph was of the floating head of Vigo and the river of slime.
EGON SPENGLER: What the hell is that?
Egon picked up the magnifying lens.
RAY STANTZ: I know what it is.
The lab door's deadbolt moved on its own and locked.
RAY STANTZ: I've seen it before.
EGON SPENGLER: Where?
RAY STANTZ: When you guys had me dangling like a worm on a hook a
hundred feet below First Avenue. That's the river of slime.
Suddenly, the photographs ignited.
RAY STANTZ: What?
They ran to the door and realized it was locked
EGON SPENGLER: Uh, Ray.
RAY STANTZ: We need a blanket or a hose or something.
EGON SPENGLER: Let's get out.
RAY STANTZ: What? Why's this closed?
EGON SPENGLER: Winston!
RAY STANTZ: Winston! Hey! Fire!
EGON SPENGLER: That way! That way!
RAY STANTZ: What are we gonna do, put our heads in the toilet?
Winston broke through the door with the butt of the fire
extinguisher and used it on the photographs.
Evening. Peter walked outside his building and tried to hail a taxi
PETER VENKMAN: Taxi!
Ecto-1a pulled up. Ray, Egon, and Winston came out wearing yellow
RAY STANTZ: Pete, it's great that you're here. We've got incredible
PETER VENKMAN: Wait a minute. Can I have one try? All-you-can-eat
barbecue rib night at the Sizzler?
EGON SPENGLER: No. We analyzed the photos you took of Vigo. The
spectrogram shows a river of slime flowing behind it.
RAY STANTZ: Just like the one I saw underground. Now we're going
into the subway and sewer system to see if we can trace the source
of the flow.
EGON SPENGLER: Yeah, come on. Change your clothes. We'll wait for
WINSTON ZEDDEMORE: Yeah. Egon thinks there might even be a
tremendous breeding surge in the cockroach population.
Dana steps out.
DANA BARRETT: Hi, boys. What's up?
RAY STANTZ: Hi.
PETER VENKMAN: Dana, the guys are going down to the sewer to check
for slime stuff. And Egon thinks there may be a huge surge in
cockroach breeding. Want to blow off this dinner thing and go with
Dana smiled and walked to the edge of the sidewalk.
DANA BARRETT: Taxi!
PETER VENKMAN: Women, huh? Ha ha.
Peter walked to Dana. Egon turned around and headed back to Ecto-1a.
Egon, Ray, and Winston walked down some abandoned train tracks. Ray
tripped on the track and yelped. Egon swept around with the Giga
meter. Ray held a pickaxe over his left shoulder.
WINSTON ZEDDEMORE: Will you watch your step? I hate this.
RAY STANTZ: According to this old transit map there should be an
entrance anywhere along here somewhere.
EGON SPENGLER: I'm not getting anything yet.
WINSTON ZEDDEMORE: Well, at least it's too dark to see the
RAY STANTZ: Forget about cockroaches. It's the subway rats you gotta
worry about. Big as beavers.
EGON SPENGLER: Yeah, some of them can go four or five kilos.
WINSTON ZEDDEMORE: Hey, hey. Enough, all right?
RAY STANTZ: Listen, you hear them behind the walls. Scratching.
There must be thousands of them.
WINSTON STANTZ: Just shut up about the rats.
RAY STANTZ: Okay, okay. (shouts) Hello?
EGON SPENGLER: (shouts) Hey!
WINSTON ZEDDEMORE: (shouts) Hello!
There was no echo.
SCARY VOICE: Wiiiiiinstooooon.
WINSTON ZEDDEMORE: Okay, I'm outta here.
Suddenly, they were surrounded by many severed heads on stakes.
RAY, EGON, WINSTON: Aggh! Aggh!
Just as quickly, the heads vanished.
WINSTON ZEDDEMORE: They're gone. What the--?
EGON SPENGLER: Before we go any further, I think we should get our
RAY STANTZ: Uh. Yeah.
WINSTON ZEDDEMORE: Good idea.
A rumbling sound made them pause.
WINSTON ZEDDEMORE: What's that?
RAY STANTZ: What's what?
WINSTON ZEDDEMORE: Sounds like a train.
The rumbling continued.
RAY STANTZ: Uh-uh. These lines have been abandoned for 50 years.
WINSTON ZEDDEMORE: Oh.
The rumbling came closer.
EGON SPENGLER: Probably in one of the tunnels above us.
They looked up.
WINSTON ZEDDEMORE: I don't know. Sounds awfully close to me.
A light appeared and a train whistle sounded off. A train came down
the tunnel towards them. Ray and Egon jumped out of the way. Winston
froze and just stood there. The ghost train was intangible and
through him. Winston's hardhat fell to the ground.
WINSTON ZEDDEMORE: Aggh!
EGON SPENGLER: I think that was the old New York Central, City of
Albany. Derailed in 1920, killed hundreds of people. Did you catch
the number on the locomotive?
WINSTON ZEDDEMORE: Sorry. I missed it.
EGON SPENGLER: Something's trying to stop us. We must be close.
Winston picked up his helmet and put it back on.
WINSTON ZEDDEMORE: Where's Ray?
EGON SPENGLER: Ray?
WINSTON ZEDDEMORE: Ray?
EGON SPENGLER: Ray!
WINSTON ZEDDEMORE: Ray?
EGON SPENGLER: Ray?
WINSTON ZEDDEMORE: Ray.
Ray suddenly popped out and spooked them. They turned around and
RAY STANTZ: Guys! Oh, sorry. I found it.
EGON SPENGLER: What?
RAY STANTZ: Right here. There's a hole.
EGON SPENGLER: Let's go.
WINSTON ZEDDEMORE: Hey, fellas, what about the packs? What about the
Egon, Ray, and Winston cleared some debris aside and walked into the
Van Horne Pneumatic Station, the exact place where Ray was lowered
down into. They stared at the river of slime.
EGON SPENGLER: Unbelievable.
RAY STANTZ: Huh? What'd I tell you? I wasn't lying, was I?
EGON SPENGLER: Do you realize how much negative energy it must have
taken to generate a flow this size?
WINSTON ZEDDEMORE: Hey! New York, what a town.
EGON SPENGLER: All right. Let's see how deep it is. Get a sounding.
Winston used his sounding line.
WINSTON ZEDDEMORE: Yeah. All right. Six feet. Twelve feet.
RAY STANTZ: Twelve?
WINSTON ZEDDEMORE: Maybe something's pulling it!
RAY STANTZ: Hold on!
WINSTON ZEDDEMORE: I'm trying. Give me a hand!
EGON SPENGLER: Ray!
Egon went over behind Winston.
WINSTON ZEDDEMORE: Give me a hand. Give me a hand!
EGON SPENGLER: Ray! Something's got him!
RAY STANTZ: Get his belt off!
EGON SPENGLER: We can't hold it!
WINSTON ZEDDEMORE: Wait! Hold on! Ah. Ah! Aaaaahhhh!!!!!
He was pulled into the river. The current carried him away,
screaming. Ray and Egon looked at each other then jumped in after
Dana and Peter dined at Armand's.
DANA BARRETT: A toast to the most charming, kindest--
PETER VENKMAN: Oh, it's--it's me.
DANA BARRETT: It's you. And most unusual man I have ever broken up
They clinked glasses and drank
PETER VENKMAN: Speaking of breaking up with neat guys, why did you
DANA BARRETT: I didn't dump you. I was protecting myself. I mean,
you weren't very good for me, you know. You know that, don't you?
PETER VENKMAN: Heck, I'm not even good for me.
DANA BARRETT: You're much better than you realize. You don't give
yourself enough credit.
PETER VENKMAN: I need to hear that kind of stuff. If I had this kind
of support on a twenty-four-hour-day basis, I could have myself
whipped into shape by the end of this century.
DANA BARRETT: Why don't you just give me a jingle in the year 2000?
PETER VENKMAN: Why don't I give you a jingle right now?
Dana and Peter kissed.
Louis held Oscar and finished telling him his version of Snow White
and the Seven Dwarfs.
LOUIS TULLY: So the seven little dwarfs had a limited partnership in
a small mining operation. And one day a beautiful princess came to
live with them. And they bartered housekeeping services for room and
board. Which was a real good deal for them because they didn't have
to withhold Social Security or income tax or nothing, which you're
really not supposed to do, you see, but for the purposes of this
story I think it's okay.
JANINE MELNITZ: It really is a great place. I mean, it needs a
woman's touch. But I think it looks really good, you know--
Louis returned to the living room and gently closed the bedroom
LOUIS TULLY: Ssh. Bedtime.
JANINE MELNITZ: You're very good with children.
LOUIS TULLY: Thanks. I practiced on my hamster.
JANINE MELNITZ: Oh. So you live alone?
Janine held a crystal ball between her legs. Louis looked away.
LOUIS TULLY: I used to have a roommate, but my mom moved to Florida.
JANINE MELNITZ: Oh. Why don't you come over here and sit with me?
LOUIS TULLY: Okay.
Louis sat on the couch next to her.
LOUIS TULLY: So you wanna play Boggle or Super Mario Brothers?
JANINE MELNITZ: You know, I think motherhood's a very natural
instinct. I'd like a child myself.
Janine crossed a leg over Louis's.
JANINE MELNITZ: Would you?
Louis became nervous.
LOUIS TULLY: Tonight?
She touched his right ear.
Ray and Winston emerged from a manhole outside the Manhattan Museum
of Art. They were drenched in the ectoplasm.
RAY STANTZ: UH!!!
WINSTON ZEDDEMORE: Nice going, Ray. What are you trying to do, drown
A homeless person with a shopping cart passed by them on the
sidewalk taken aback by them.
RAY STANTZ: Oh, yeah, Zeddemore, like it was my fault! But you were
too stupid not to drop that plumb line!
WINSTON ZEDDEMORE: Stupid? Hey, you better watch your mouth or I'll
punch your lights out!
RAY STANTZ: Oh yeah?
WINSTON ZEDDEMORE: Yeah!
RAY STANTZ: Well, any time!
WINSTON ZEDDEMORE: Come on, right now!
RAY STANTZ: It's go time, man!
WINSTON ZEDDEMORE: I want you, bad!
RAY STANTZ: Grab me! Come on!
Egon looked at his gloves.
EGON SPENGLER: Wait! Wait! Stop, stop. Get your clothes off, quick.
Egon stripped off his clothing until he was only in his long
underwear. Ray and Winston stopped quarreling and followed suit.
WINSTON ZEDDEMORE: Oh, dear. Ray., what were we doing? I was ready
to kill you.
RAY STANTZ: It's the stuff. It's like pure, concentrated evil.
EGON SPENGLER: And it's all flowing right to this spot.
They looked at the Manhattan Museum of Art right in front of them.
A waiter placed a plate down for Peter as he spoke to Dana. Ray,
Egon, and Winston entered Armand's still in their slimed long
WINSTON ZEDDEMORE: Are you sure this is it? This place?
RAY STANTZ: Yeah, he said Armand's.
MAITRE D': Excuse me--
EGON SPENGLER: It's all right. We'll look in the back.
RAY STANTZ: We'll only be a minute.
They spotted Dana and Peter.
RAY STANTZ: Venkman! Venkman! Hey, Venkman!
They shouted and walked over, to Peter's dismay. The Maitre D'
MAITRE D': Please get out of my restaurant.
RAY STANTZ: Absolutely incredible!
MAITRE D': You cannot come in here!
RAY STANTZ: The greatest tangible evidence of psychic energy in
MAITRE D': Will you leave this restaurant?! You're disturbing my
RAY STANTZ: Just a second. Just a second.
PETER VENKMAN: Boys, boys! You're scaring the straights. Okay? Is
there any way we can do this tomorrow?
Dana looked around the room.
EGON SPENGLER: No, no, this won't wait until tomorrow, Venkman. It's
hot and it's ready to pop.
RAY STANTZ: Yeah. It's all over the city, Pete! Under it, actually.
WINSTON ZEDDEMORE: Rivers of this stuff.
EGON SPENGLER: Yes. And it's all flowing right to the museum.
RAY STANTZ: Yeah, the museum!
Ray threw out his arm to point towards the museum and ectoplasm was
tossed around. Some landed on a woman's dress.
SLIMED RESTAURANT PATRON: Ugh! It got all over me. What is this
RAY STANTZ: Sorry.
DANA BARRETT: Oh, God. You mean my museum?
PETER VENKMAN: I was--I was going to tell you between the dessert
and the cheese course.
"On Our Own" began to play.
The Maitre D' returned with two police officers.
MAITRE D': There they are!
PETER VENKMAN: You can never go back there again. You're gonna have
to find a new job.
RAY STANTZ: It's psychomagnotheric plasm.
RAY STANTZ: It affects behavior. We were fighting!
WINSTON ZEDDEMORE: We were fighting. Had him by the throat.
RAY STANTZ: We were in a fight.
EGON SPENGLER: He had him by the throat...
The officers attempted to get their attention.
RAY STANTZ: I'm glad they're here. We gotta see the mayor. No, no,
They each corralled Ray and Egon towards the door with Winston
talking to them. The Maitre D', the slimed patron, and the slimed
patron's date followed them. Peter and Dana got up from their table.
Evening. Gracie Mansion. There was a close up on the plate. A police
squad car drove up to the front door and sounded its siren. The
snippet of "On Our Own" ended. The doorman opened the passenger
door. The Ghostbusters got out. The officer driving opened his door.
DOORMAN: Oh, Ghostbusters!
PETER VENKMAN: How you doing?
DOORMAN: Hey, guys, come right this way.
The doorman opened the front door for them.
DOORMAN: Hey, you guys got another one of those Proton Packs? My kid
brother really wants one.
EGON SPENGLER: The Proton Pack is not a toy.
Ray turned to the doorman in the doorway.
RAY STANTZ: I guess he's right.
Dana entered Peter's apartment and turned on the lights. Louis
jumped off the couch in shock. He knocked over a stand. Janine
peeked at Dana.
LOUIS TULLY: Oh! Oh, Dana, we were just babysitting, honest. And we
watched some TV and we had something to eat and one thing led to
DANA BARRETT: That's all right. I know what you were doing.
LOUIS TULLY: I didn't know anything was gonna happen, really--
Janine got up and adjusted her dress.
JANINE MELNITZ: Hi, Dana. How was your date?
DANA BARRETT: Well, it wasn't a date. It was just dinner.
LOUIS TULLY: Where's Peter?
Dana placed her purse down.
DANA BARRETT: Oh, he was arrested.
JANINE MELNITZ: Typical.
DANA BARRETT: Did he call?
LOUIS TULLY: No, no. Nobody called.
DANA BARRETT: Well, how's Oscar? Is he all right?
JANINE MELNITZ: Oh, oh, he's fine. Such a good baby. He was a little
fussy at first, then we just gave him some French bread pizza...
passed right out.
DANA BARRETT: Good. Good. Well, I'll just give him a look-see.
Louis sighed in relief. Dana leaned in on Oscar, who was asleep.
LOUIS TULLY: So you think we should go?
JANINE MELNITZ: Gee, I don't know. I don't think we should leave her
LOUIS TULLY: You're right. Let's stay.
They dropped back on the couch together.
A butler opened the doors of the Gracie Mansion study. Mayor Lenny
entered. There was a reception going on elsewhere in the mansion.
The Ghostbusters greeted him.
PETER, RAY, EGON, WINSTON: Lenny!
PETER VENKMAN: Big man!
WINSTON ZEDDEMORE: Mr. Mayor.
Winston offered his hand out to shake. Mayor Lenny looked at him, in
his slime drenched long underwear. Winston awkwardly pulled his hand
MAYOR: What is this? A slumber party?
Jack Hardemeyer snickered. The Ghostbusters all talked at once.
EGON SPENGLER: That's what we're here to talk about.
MAYOR: Look, I don't wanna hear anything about it. You've got two
minutes. Make it good.
RAY STANTZ: Uh,well, first of all, Mr. Mayor, it's a great pleasure
to see you again. And we'd just like to say that almost 50% of us
voted for you in the last election.
MAYOR: I appreciate that.
PETER VENKMAN: I'm just sorry we always have to meet under these
RAY STANTZ: Mr. Mayor, we are here tonight because a
psychomagnotheric slime flow of immense proportions is building up
beneath the city.
EGON SPENGLER: Psychomagnotheric.
PETER VENKMAN: Big word. Big word.
EGON SPENGLER: Negative human emotions are materializing in the form
of a viscous, psychoreactive plasm with explosive supernormal
MAYOR: Does anybody speak English here?
WINSTON ZEDDEMORE: Yeah. Your Honor, see, what we're trying to tell
you is like, all the bad feelings, all the hate, the anger and vibes
of this city is turning into the sludge. Now, I didn't believe it at
first either, but we
just went for a swim in it and we ended up almost killing each
JACK HARDEMEYER: This is insane! I mean, do we really have to listen
PETER VENKMAN: Can't you stop your lips from flapping for two little
Peter went over and touched Jack's lips.
PETER VENKMAN: Lenny, have you been out on the street lately? Do you
know how weird it is out there? We've taken our own head count.
There seem to be three million completely miserable assholes living
JACK HARDEMEYER: Oh, please.
PETER VENKMAN: I beg your pardon. Three million and one.
JACK HARDEMEYER: Hey!
RAY STANTZ: And what budgie-brain here doesn't realize is that if we
don't do something fast, this whole place is gonna blow like a frog
on a hot plate.
JACK HARDEMEYER: Yeah, right.
MAYOR: What am I supposed to do? Go on television and tell ten
million people they have to be nice to each other? Being miserable
and treating other people like dirt is every New Yorker's God-given
right. Your two minutes are up. Good night, gentlemen.
Mayor Lenny left the room as they called out.
EGON SPENGLER: Wait.
RAY STANTZ: You're making a big mistake, Mr. Mayor.
PETER VENKMAN: You're making a very newsworthy mistake. Oh... the
Times is gonna be interested in this... And you know The Post--
JACK HARDEMEYER: Whoa, whoa, whoa. Now, now.
WINSTON ZEDDEMORE: "Mayor Hides Slime."
RAY STANTZ: "Times Square Slime"?
EGON SPENGLER "Slime Square".
RAY STANTZ: Slime Square.
JACK HARDEMEYER: Fine, fine, fine. Now, before you go running off to
the newspapers with this, would you consider telling this slime
business to some of our people downtown?
PETER VENKMAN: It's gotta be done right away.
Jack nodded in agreement.
The Ghostbusters exclaimed as they were led through Parkview
Psychiatric Hospital in straitjackets.
RAY STANTZ: You know the expression, "It all comes back?" Well, it's
gonna come back!
One of the police officers from Armand's and Gracie Mansion opened
the doors. He seemed conflicted.
RAY STANTZ: This city's in danger! The whole state! The whole world!
All we wanna do is help!
ORDERLY: I'm warning you. Come on, let's go.
JACK HARDEMEYER: The mayor wants them kept under strict observation
for the next few days. We think they're seriously disturbed and
PSYCHIATRIC DOCTOR: Well, we'll do whatever's necessary.
JACK HARDEMEYER: Thank you, doctor.
Jack shook the doctor's hand. The doctor followed after his men.
Jack walked back towards the doors.
JANOSZ POHA: I await the words of Vigo.
VIGO: I, Vigo, the Scourge of Carpathia...
Janosz Poha dressed the Restoration room to look like a shrine to
Vigo. Janosz stood in a circles of candles laid out on the floor.
The giant head form appeared in the painting.
JANOSZ POHA: No, you've told me this. The Scourge.
VIGO: --the sorrow of Moldavia...
JANOSZ POHA: Sorrows. I've heard all of this, yes.
VIGO: --command you.
JANOSZ POHA: Command me, lord.
VIGO: The season of evil begins with the birth of the new year.
JANOSZ POHA: Good.
VIGO: Bring me the child that I might live again.
JANOSZ POHA: Yes! Lord Vigo? I was wondering. This woman, Dana, is
fine and strong. Now, if I was to bring the baby, could I have that
Janosz touched the flame on one of the candles then quickly pulled
VIGO: So be it. On this day of darkness she will be ours. Wife to
you... and mother to me.
Janosz hopped up and spun around in elation.
JANOSZ POHA: Yes! Thank you, lord! Thank you.
Janosz twirled in a circle.
Louis, Janine, and Dana watched "The Lady from Shanghai" in Peter's
JANINE MELNITZ: Is, like, she the killer or what?
LOUIS TULLY: No, that's Rita Hayworth. She was married to Citizen
Kane while they were doing this thing. Then right after they
finished, she dumped him for some polo player.
Janine fed him some popcorn from a bowl next to an open Hi-C drink.
LOUIS TULLY: I don't why beautiful women love horses so much. Do you
JANINE MELNITZ: No.
Dana's expression and tone implied she wished they would leave.
DANA BARRETT: You know, you really don't have to stay. I'm sure
Peter will be back soon.
LOUIS TULLY: Oh, we don't mind. Can you see okay?
There was a thunder clap outside. She checked her wrist watch.
DANA BARRETT: Yep.
A window opened on its own in Peter's bedroom. Oscar turned around
and looked. Dana felt a draft and went to go check on Oscar.
DANA BARRETT: Oscar?
The bed was empty. She looked out the open window.
DANA BARRETT: Oh, no. Oh, God! Oscar!
She found Oscar on the ledge outside the apartment.
DANA BARRETT: Louis!
LOUIS TULLY: What?
DANA BARRETT: It's Oscar!
Dana crawled out onto the ledge.
DANA BARRETT: Oscar...
Louis came in and popped in his head out the window then yelled out
LOUIS TULLY: Call 911 right now!
Dana crawled across the ledge to Oscar. To her horror, Janosz flew
down from the sky in a ghost form dressed like an English nanny. His
eyes flashed red.
DANA BARRETT: Oscar... oh, no. No! Oh, God! No!
Janosz's right arm extended and grabbed Oscar. Dana lunged too late.
Oscar was placed in the baby carriage.
DANA BARRETT: No!
They flew away. Dana went back into the apartment.
LOUIS TULLY: Oh, my God. That was a ghost!
DANA BARRETT: No. No, that was Janosz. He took him...
JANINE MELNITZ: What? What's happening?
LOUIS TULLY: What should we do?
JANINE MELNITZ: Where's the baby?
DANA BARRETT: The museum!
Dana got Peter's green coat on.
LOUIS TULLY: Where are you going?
DANA BARRETT: I've got to get my baby!
Dana rushed off.
LOUIS TULLY: We gotta find the guys.
Egon, Ray, Peter, and Winston talked to the Psychiatric Doctor in a
room at Parkview Hospital. They looked exhausted from trying to
explain the situation to the doctor over and over. Peter buried his
face in his arms. The doctor smoked.
RAY STANTZ: As I explained before, we think the spirit of a
17th-century Moldavian tyrant is alive and well in a painting at the
Manhattan Museum of Art.
PSYCHIATRIC DOCTOR: Uh-huh. And are there any other paintings in the
museum with bad spirits in them?
EGON SPENGLER: You're wasting valuable time. He's drawing strength
from a psychomagnotheric slime flow that's been collecting under the
PSYCHIATRIC DOCTOR: Yes, tell me about the slime.
WINSTON ZEDDEMORE: It's very potent stuff. We made a toaster dance
PSYCHIATRIC DOCTOR: A toaster.
WINSTON ZEDDEMORE: And a bathtub tried to eat his friend's baby.
PSYCHIATRIC DOCTOR: A bathtub?
Peter raised himself up.
PETER VENKMAN: Don't look at me. I think these people are completely
In the Van Horne Pneumatic Station, the river of slime churned and
was an even higher level than previously seen. The river was almost
up past the archways.
Evening. A taxi cab pulled up to the Manhattan Museum of Art. Trash
was blown all around. Dana got out of her taxi and went into the
museum. The doors sealed shut. Psychomagnotheric ectoplasm flowed
down and covered the doorway and the entire museum. Dana entered the
Restoration room, ran to Oscar, and picked him up from an altar.
Ancient symbols were carved on the altar.
DANA BARRETT: Oscar. Sweetheart. Oh, oh. I thought I'd lost you. I
thought I'd never see you again. Oh, baby.
JANOSZ POHA: Hello, Dana. I thought that you might come.
DANA BARRETT: You stay away from us, Janosz. I mean it.
JANOSZ POHA: Oh, don't worry. He will not be harmed. He has been
chosen to be the vessel of the spirit of Vigo. And you will be the
mother of the ruler of the world. Doesn't that sound nice?
DANA BARRETT: No, it sounds ludicrous. You stay away from him. I
She backed out of the circle of candles.
JANOSZ POHA: Well, I don't think we have choice here, yes? Take a
look. It's not Gainsborough's "Blue Boy," there, huh? Heh, heh. He
DANA BARRETT: I don't care who he is. You're not going to take my
Dana was telekinetically flung backwards and sealed out of the room,
essentially in a prison cell. Oscar floated back to the altar.
DANA BARRETT: Oscar! Oh, you bastard!
The Vigo painting was in its normal state.
"Flip City" began to play. The river of slime flowed upwards to the
streets of New York City.
Evening. A ghost chased people out of a Movieland Theatre in Times
Square where there was a special New Years Midnite showing of
"Cannibal Girls," starring Eugene Levy and Andrea Martin. Slime
dripped off the sign.
Slime pulsed out of a ground vent. A woman with a mink coat stepped
on Psychomagnotheric ectoplasm on the sidewalk. The mink coat became
animated, screeched, and lunged at her. She threw it off. The coat
scurried down the sidewalk.
A huge manifestation walked under the Washington Square Arch and
bellowed at the people running away in terror.
The Midtown Central Police Station was abuzz with phone calls and
officers scrambling. Police Detective #1, in a green shirt, was on
POLICE DETECTIVE #2: Was this a big dinosaur or a little dinosaur?
Oh, a skeleton? Which way was it headed?
POLICE DETECTIVE #3: Wait a second. What was chasing you in the
park? The park bench was chasing you? I see.
POLICE SERGEANT: What? Wait a second. Lieutenant, I think you'd
better talk to this guy.
The sergeant stood with the phone still in his hand.
POLICE LIEUTENANT: I'm busy here.
POLICE SERGEANT: It's some dock supervisor down at Pier 34.
POLICE LIEUTENANT: What's the problem?
POLICE SERGEANT: He says the Titanic just arrived.
Evening. A ghostly version of the Titanic was docked at Pier 34.
Ghosts walked out onto the dock. A horn blared. A dock supervisor
and assistant watched from the Port Authority office in shock.
DOCK SUPERVISOR: Well, better late than never.
A conference room in City Hall was filled with various officials and
FIRE CHIEF: The Battery is swamped. We've had more than three
thousand calls since midnight last night!
POLICE COMMISSIONER: We've got every man in uniform on the streets,
and I am still short-handed. We got meter maids chasing ghosts all
The Public Works official handed Jack Hardemeyer a diagram.
PUBLIC WORKS OFFICIAL: There's this shell thing over the Manhattan
Museum of Art. We can't make a dent!
JACK HARDEMEYER: Have you tried dynamite?
PUBLIC WORKS OFFICIAL: We've tried everything.
Mayor Lenny entered the room, passing by a mob of reporters.
MAYOR: What the hell is going on? It's pandemonium out there.
JACK HARDEMEYER: Yes, I know. We're working on it.
MAYOR: Great. While you're working on it I'm going down in history
as the mayor who let New York get sucked down into the tenth level
of hell. All right, we've got no choice. Call the Ghostbusters.
JACK HARDEMEYER: Wait! Now, I'm sure there's another way.
MAYOR: Jack, I spent an hour last night in my bedroom talking to
Fiorello La Guardia and he's been dead for forty years. Now where
are the Ghostbusters?
JACK HARDEMEYER: They're not available.
MAYOR: What do you mean, they're not available?
JACK HARDEMEYER: Well, I had them committed to the psychiatric ward
at Parkview Hospital.
MAYOR: You what?
JACK HARDEMEYER: They were threatening to go to the press. I was
protecting your interests.
MAYOR: Oh yeah?
The Mayor followed Jack around the chairs. Jack cowered in fear.
JACK HARDEMEYER: Uh-huh!
MAYOR: Well, you can stop protecting my interests. You have exactly
three minutes to clear out. You're fired!
The Mayor shoved Jack to the doors.
JACK HARDEMEYER: But the election-- You're making a big mistake, Mr.
MAYOR: Harry, remove this man from the building. And get me the
Harry stood up and ushered Jack out. The reporters were still
outside the door.
JACK HARDEMEYER: Harry!
MAYOR'S AIDE: Mr. Mayor? Mr. Mayor, come take a look at this. Wow.
The Mayor walked over to the window.
MAYOR'S AIDE: What is it? Have you ever seen anything like that
The sky swirled and changed before their eyes into an eclipse and a
supernaturally induced darkness blanketed the city.
MAYOR: Somebody get me the Ghostbusters.
The Ghostbusters suited up in their flightsuits as they walked
through a hall in Parkview Psychiatric Hospital while Louis Tully
briefed them on what happened since they were incarcerated.
LOUIS TULLY: And he took the baby, then he put it into a-a carriage,
and levitated away!
PETER VENKMAN: What'd Dana do? Where'd she go?
LOUIS TULLY: I don't know. She said she was going to the museum to
get the baby back. And then there was an eclipse, and the whole town
went dark, and everybody's nuts!
RAY STANTZ: It all fits. Vigo wants in on the 21st century. He needs
a human body to inhabit. Little Oscar must be it.
WINSTON ZEDDEMORE: Yeah, and I bet we're the only ones who can do
anything about it, right?
RAY STANTZ: You bet we are!
Evening. Ecto-1a turned west on East 14th Street to the Lincoln
Tunnel. "On Our Own" played.
Evening. The Manhattan Museum of Art was encased in a hard shell of
the psychomagnotheric ectoplasm. Police officers and fire fighters
had the area blocked off. Crowds still gathered to see what was
going on. Ecto-1a arrived. The people cheered. A snippet of "On Our
Own" played. The Ghostbusters got out and stared at the slime shell.
RAY STANTZ: Looks like a giant Jell-O mold.
WINSTON ZEDDEMORE: I hate Jell-O.
PETER VENKMAN: Aw, come on. There's always room for Jell-O.
Egon stared at the shell.
In the Restoration room, Janosz tried to convince Dana to join
JANOSZ POHA: Soon it will be midnight and the city will be mine and
Vigo's. Well... mainly Vigo's. Oh, Dana. You and I have this
terrific opportunity to make the best of this relationship.
DANA BARRETT: We don't have a relationship.
JANOSZ POHA: I know! Marry me, Dana. Together we will raise Vigo as
our son. And let me tell you something here. There are many perks in
being the mother of a living god. I'm sure we could get you a
apartment, car, free parking...
Janosz opened the gate and allowed her back into the main space.
JANOSZ POHA: Many marriages begin with a certain amount of distance.
And I think that perhaps you and I could maybe learn to... love each
DANA BARRETT: Yes. I could learn.
The Ghostbusters marched up the the front of the entrance to the
Manhattan Museum of Art.
RAY STANTZ: Pull 'em.
EGON SPENGLER: Full neutronas.
RAY STANTZ: Let's cook!
They opened fire on the shell but it became apparent they were
shooting in vain.
RAY STANTZ: Save 'em.
The crowds booed and hissed at them.
PERSON: Aw, c'mon Ghostbusters!
EGON SPENGLER: That slime mold is pulsing with evil. It would take a
tremendous amount of positive energy to crack that shell and I
seriously doubt there's enough goodwill left in this town to do it.
Ray planted his face on Ecto-1a's hood in frustration then stood
RAY STANTZ: You know, I just can't believe things have gotten so bad
in this city that there's no way back. I mean, sure, it's dirty,
it's crowded, it's polluted, it's noisy and there's people all
around who'd just as soon step on your face as look at you. But come
on! There's got to be a few sparks of sweet humanity left in this
burned-out burg and we just have to figure out a way to mobilize it.
EGON SPENGLER: He's right. We need something that everyone in this
town can get behind, we need... a symbol.
They all started looking downwards.
RAY STANTZ: Something that appeals to the best in each and every one
Egon squatted down.
EGON SPENGLER: Something good.
WINSTON ZEDDEMORE: Something decent.
PETER VENKMAN: Something pure.
The camera POV shifted down to Ecto-1a's license plate. It featured
an image of the Statue of Liberty.
Evening. Liberty Island. The Ghostbusters stared at the Statue of
PETER VENKMAN: Kind of makes you wonder, doesn't it?
RAY STANTZ: Wonder what?
PETER VENKMAN: Whether she's naked under that toga. She's French.
You know that.
Egon looked at Peter then looked at Winston.
Inside the Statue, the Ghostbusters completed preparations with
EGON SPENGLER: Got it. Ready with the speakers, Ray. Slime blowers
RAY STANTZ: Okay. Internal audio set. Internal electric set.
WINSTON ZEDDEMORE: Slime blower primed and set.
Peter leaned towards one of the slime blowers.
PETER VENKMAN: Ooh. Good slime. Good slime. Winston, is our slime in
a good mood tonight?
WINSTON ZEDDEMORE: I hope so. She's a lot bigger than a toaster.
EGON SPENGLER: It's all yours, Venkman. Let's go.
Egon handed Peter a microphone.
PETER VENKMAN: Thank you. Testing, one, two, testing. Hey, how many
of you people out here are a national monument? Would you raise your
hand, please? Oh, hello, miss.
WINSTON ZEDDEMORE: Hey. Let's frost it.
RAY STANTZ: It's slime time.
Ray and Winston blasted slime all over the statue's interior. Ray
had a cigar in his mouth.
RAY STANTZ: Beautiful.
Some time later, the Ghostbusters gathered up in the crown. A
modified NES Advantage controller was readied.
RAY STANTZ: Pilot controls are ready.
EGON SPENGLER: All right. It's getting late. It's almost midnight.
Let's go, Venkman.
PETER VENKMAN: Here's something off the request line from Liberty
Island. We gonna squeeze some New Year's juice from ya, Big Apple!
Jackie Wilson's "(Your Love Has Lifted Me) Higher and Higher" was
played off a Sony WM-A39 Walkman. All of the Psychomagnotheric
ectoplasm reacted and energy surged throughout. The Statue's torch
suddenly ignited in an explosive manner, startling the Ghostbusters.
The Statue walked off its foundation and into the river to the
RAY STANTZ: Man, I can't wait to see people's faces when we come on
shore! This should really get the city's positive energy flowing,
PETER VENKMAN: Keep kicking, Libby. You make this work, we'll pop
for a weekend in Vegas with the Jolly Green Giant.
The same dock supervisor and co-worker saw the Statue coming and
In the Firehouse, Janine suited Louis up in one of Egon's
JANINE MELNITZ: You look fantastic in this.
LOUIS TULLY: I was born to wear this stuff.
The doors opened. Louis dashed outside the Firehouse in full gear,
wearing a Proton Pack.
LOUIS TULLY: Boy, this equipment's heavy.
"(Your Love Keeps Lifting Me) Higher And Higher" continued to play.
A police escort turned onto Fifth Avenue. The Statue of Liberty
walked off of West 54th Street onto Fifth Avenue, stepping out
from between the The Canada Building at 680 Fifth Avenue, towards
the Manhattan Museum of Art. People stood behind police barricades
PETER VENKMAN: It's a lovefest, New York!
RAY STANTZ: Sing it out!
EGON SPENGLER: Yeah! Come on!
PETER VENKMAN: Your love... has lifted me higher!
WINSTON ZEDDEMORE: Come on, you sing!
The Statue walked past Trump Tower at 725 Fifth Avenue.
EGON SPENGLER: We're running out of time, Ray.
WINSTON ZEDDEMORE: Can't you go any faster?
RAY STANTZ: I'm afraid the vibrations would shake her to pieces. We
should have padded her feet.
EGON SPENGLER: I don't think they make Nikes in her size, Ray.
PETER VENKMAN: Ah, don't worry, she's tough. She's a harbor chick!
The Statue stepped on a police squad car and squashed it in front of
Fred's at 703 Fifth Avenue.
RAY STANTZ: Sorry! My fault!
Louis ran down a sidewalk to a bus stop at East 77th and First
LOUIS TULLY: Happy New Year. Gotta stay fit, keep sharp, make good
Louis stopped at a bus stop and a bus pulled up.
LOUIS TULLY: Oh, good. Oh, good. Oh, good.
The doors opened to reveal Slimer was the driver. He wore a bus
LOUIS TULLY: Oh, it's you.
Slimer gestured him to come in.
LOUIS TULLY: Okay, but I didn't know you had your license.
Back at the Manhattan Museum of Art, Janosz and Dana wore New Year's
Eve party hats.
JANOSZ POHA: Four minutes to go, and then... party times.
DANA BARRETT: Oscar...ah!
Janosz held her back with one arm. A red ray shined from Vigo onto
Oscar. Vigo's face started to overlay onto Oscar.
JANOSZ POHA: It's happening. It's really happening.
They heard a creak and looked up to see the Statue of Liberty above
JANOSZ POHA: No. No! Go away from here!
Dana grabbed Oscar off the altar. Vigo groaned and vanished.
PETER VENKMAN: C'mon, baby! I love it when you roughhouse!
EGON SPENGLER: Hit it, Mama!
RAY STANTZ: Drop the hammer!
WINSTON ZEDDEMORE: Go! Do it now!
The Statue smashed the skylight with its torch. Janosz ran off. Dana
and Oscar hid behind a column.
DANA BARRETT: Oh, Oscar, look.
The Ghostbusters rappelled down into the museum.
JANOSZ POHA: Go away! Don't you know who this is?
PETER VENKMAN: Happy New Year.
JANOSZ POHA: He is Vigo! You are like the buzzing of flies to him!
The painting was blank. Janosz was without words.
PETER VENKMAN: Oh, Johnny, did you back the wrong horse. Will you
hose him, please?
RAY STANTZ: Hose him.
Ray and Winston slimed Janosz. He screamed, eventually slipped,
fell, thrashed around, and passed out.
WINSTON ZEDDEMORE: One down.
RAY STANTZ: On the ground.
DANA BARRETT: Boy, am I--
Dana kissed Peter.
DANA BARETT: --glad to see you.
Peter hugged them.
PETER VENKMAN: Oh, Oscar, Oscar.
DANA BARRETT: Is he dead?
RAY STANTZ: Uh-uh. This slime is positively charged. He'll wake up
feeling like a million bucks.
PETER VENKMAN: Whoa! This gentleman is a little bit ripe. That's all
right, my friend, I think I had an accident, too.
The Restoration room's atmosphere turned eerie. A draft blew
through. There was a crash of a fixture and a black hose wrapped
DANA BARRETT: Get him away!
RAY STANTZ: Get a knife or something! We gotta cut her out of this!
Peter took Oscar behind some boards and placed a blanket on the
floor for him to rest on.
PETER VENKMAN: Okay. All right, now listen. You gotta stay right
here. Don't move. Uncle Pete's gotta go help your mom for a second.
You just stay here and don't say anything, okay?
Vigo fully manifested in the room. As he walked, there were after
EGON SPENGLER: Uh-oh.
RAY STANTZ: Hold it right there, deadhead! You want a baby? Go ahead
and knock up some willing hellhound. Otherwise, I'm giving you three
to get back in that painting where you belong. One!
Peter stood up from his position with his particle thrower already
PETER VENKMAN: Two.
RAY STANTZ: Three!
Peter and Egon fired on Vigo. Vigo winced.
RAY STANTZ: You got him! You got him!
Vigo snarled, threw out his arms, broke the streams, unleashed a
pulse of energy, and the Ghostbusters fell to the ground.
WINSTON ZEDDEMORE: Oh, that was really stupid.
EGON SPENGLER: Ray, can you move?
RAY STANTZ: No. Are you okay?
EGON SPENGLER: No. Venkman, how are you?
PETER VENKMAN: I'm fine.
Vigo found Oscar's location and used telekinesis to move the boards
aside like a sliding door. He smiled.
DANA BARRETT: No. No! Oscar. Please, do something!
PETER VENKMAN: Not so fast, Vigo! Hey, Vigo! Yeah, you. The bimbo
with the baby. Anyone tell you the big shoulder look is out? You
know, I have met some dumb blondes in my life, but you take the
taco, pal. Only a Carpathian would come back to life now and choose
New York. Tasty pick, bonehead! If you had brain one in that huge
melon on top of your neck, you would be living the sweet life out in
Southern California's beautiful San Fernando Valley.
Vigo fired energy rays from his mouth at the Ghostbusters. They were
covered in the rays and convulsed in pain.
PETER VENKMAN: Oh darn it. Oh, darn it.
Vigo raised Oscar in his arms. Oscar cried.
VIGO: Now we become one.
"Auld Lang Syne" could be heard from the skylight. Vigo recoiled in
RAY STANTZ: Where's that singing coming from?
WINSTON ZEDDEMORE: The people outside.
The crowds of people outside the Manhattan Museum of Art celebrated
New Years together. Louis Tully passed through the crowd and made
his way to the front. The Statue of Liberty was on its back on the
LOUIS TULLY: Sorry folks! Excuse me. Ghostbusters. Wow. I'm here
with you guys.
Louis readied his particle thrower.
EGON SPENGLER: He's weakening! The singing is neutralizing his
RAY STANTZ: I can move!
Peter hobbled forward.
DANA BARRETT: Oscar!
Vigo was forcibly propelled back into the painting. Peter caught
Oscar just in time.
DANA BARRETT: Oh, sweetie.
EGON SPENGLER: He's back in the painting!
PETER VENKMAN: All right, go find a shady spot.
Ray turned towards the painting and locked eyes with Vigo.
PETER VENKMAN:Vigi, Vigi, Vigi. You have been a bad monkey.
Ray suddenly walked up to the painting and stared at it.
EGON SPENGLER: Ray? We'd like to shoot the monster. Could you move,
PETER VENKMAN: Ray?
WINSTON ZEDDEMORE: Ray?
PETER, EGON, WINSTON: Ray?!!!
Ray turned around to reveal he was possessed by Vigo and
transmogrified to resemble his true ghost form.
VIGO: No! I, Ray, am Vigo, shall rule the earth! Be gone, you
PETER VENKMAN: Now!
Peter and Egon fired at the painting. Winston slimed Ray.
At the same time by coincidence, Louis fired upon the slime shell.
Ray dropped to the ground as Vigo was ejected out of his body and
back into the painting as the giant floating head. They continued to
fire on him. Vigo was drenched in the positively charged
Vigo was sent spiraling further into the painting until there was an
explosion and a bright white light was projected. The slime shell
disintegrated and shot up into the sky. The people cheered. Several
LOUIS TULLY: I did it! I did it!
MAN: That was great! I loved it!
LOUIS TULLY: I'm a Ghostbuster!
Egon and Winston took the Slime Blower off Ray and helped him up.
WINSTON ZEDDEMORE: You all right?
EGON SPENGLER: Come on, get up. Let's get this off.
WINSTON ZEDDEMORE: Here. Here we go. How do you feel?
RAY STANTZ: Groovy.
PETER VENKMAN: You all right?
DANA BARRETT: Yes. Thank you, Peter.
Peter addressed Oscar.
PETER VENKMAN: Spread out, shorty.
Peter and Dana kissed.
RAY STANTZ: I love you guys. I love all you guys.
EGON SPENGLER: Great, Ray.
RAY STANTZ: And I love Venkman... wow.
EGON SPENGLER: Let's go.
WINSTON ZEDDEMORE: We gonna have to live with this?
RAY STANTZ: Real friendship.
EGON SPENGLER: Yeah.
Janosz lied in a puddle of ectoplasm singing.
JANOSZ POHA: They will come from behind...
Ray stepped on some ectoplasm, making a gush sound, and getting
Janosz's attention. Ray helped him up.
RAY STANTZ: Hey.
EGON SPENGLER: Sir, are you all right?
JANOSZ POHA: Ah, ah... why am I drippings with goo?
EGON SPENGLER: You had a violent prolonged transformative psychic
JANOSZ POHA: Eh?
RAY STANTZ: Sorry we had to hose you down there, but you were kind
of out of control. Hey, man... let me tell you something. I love
JANOSZ POHA: Yes?
RAY STANTZ: Yeah.
JANOSZ POHA: Well, I love you too.
Ray and Janosz hugged. Winston took a look at the painting.
WINSTON ZEDDEMORE: Hey fellas. You wanna take a look at this?
RAY STANTZ: Wow!
EGON SPENGLER: Early Renaissance, I think. Raphael, or Piero della
PETER VENKMAN: No, I believe it's one of the Fettucines.
The POV shifted to behind the Ghostbusters and Dana. The painting
now portrayed Peter, Ray, Winston, and Egon in classic robes
standing around a cherub that looked like Oscar.
The "Ghostbusters" song played.
The Ghostbusters, without their packs, Dana with Oscar, and Louis
walked down the steps of the museum to the cheering crowd. The crowd
chanted "Ghostbusters" over and over. They continued walking down to
the crowd. Mayor Lenny stood on the steps are raised his arms up.
During the credits, a series of previously unseen clips from various
points in the movie are played.
Peter looked inside his refrigerator and groaned in disgust at its
contents. He wiped the tear from his eye.
In a Firehouse lab, Ray smiled and laughed.
In Dana's apartment, Dana tickled Oscar.
"On Our Own" is played.
At the Manhattan Museum of Art, Egon grinned and shrugged.
Louis walked back into the Firehouse through the inner doors, found
himself outside again, and walked back inside.
Outside Parkview Psychiatric Hospital, Winston adjusted an elbow pad
at the rear of Ecto-1a.
In the Firehouse garage bay, Janine was handed two smoking Traps.
The Ghostbusters went back to Ecto-1a.
In the museum, Janosz turned around on the step ladder and grimaced.
Outside the museum, Jack Hardemeyer partied with the other citizens
in the crowd.
Mayor Lenny walked over to the Ghostbusters while police officers
held reporters back.
In the Thurgood Marshall U.S. Courthouse, Judge Wexler stood in the
wrecked courtroom. Outside in the hall, the Prosecutor was treated
for her injuries by a paramedic. Another paramedic checked a man's
Oscar appeared in side by side views. The left side had him on
Peter's bed. The right side had him during his check up by Egon and
The POV of a lens revealed Slimer inside the Firehouse.
The Ghostbusters jogged through traffic at a stand still with their
Peter and Ray danced in Central Park after they trapped the Jogger
Ray and Winston danced at the Brownstone.
Peter danced in his apartment before his date with Dana.
Egon did a funky dance with his arms on the second floor of the
The Statue of Liberty was back on her pedestal. A ceremony was held
on the island in recognition of the Ghostbusters role in saving the
world. Mayor Lenny shook Peter's hand. They accepted a Key to the
City from Mayor Lenny. The audience stood, cheered, and applauded.
The camera panned back to a view of New York City then faded to