"GHOSTBUSTERS II" (1989)

GHOSTBUSTERS II

Written by

Harold Ramis & Dan Aykroyd

February 27, 1989 Transcribed by Paul Rudoff

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

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

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

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

He GURGLES with delight at the movement.

Neither of them notice the movement of the carriage.

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

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

Its eyes are wide open with excitement.

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

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

LOGO - DAY

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

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

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

She holds her hand out indicating about four feet.

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

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

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

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

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

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

Stantz and Winston wearily load their equipment into the Ectomobile.

They get in the car

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

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

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

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

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

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

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

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

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

Hardemeyer smiles and drops his hand.

Hardemeyer walks off with the two cops.

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

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

Dana jumps, startled by the intrusion.

18 JANOSZ AND DANA 18

Neither of them notice the movement in the painting.

She starts gathering up her things.

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

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

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

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

An ASSISTANT interrupts.

He picks up the device and prepares to test it.

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

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

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

The Assistant interrupts again.

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

She shakes his hand and exits.

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

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

He hangs up.

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

Spengler steps out of the stacks.

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

He hands Venkman the book.

He grabs Stantz by both ears and pulls up.

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

The apartment is old and creatively furnished with a comfortable mix of modern and traditional pieces. Maria, a young Hispanic woman who does day care for Dana, is feeding the baby in the kitchen when the DOORBELL RINGS.

Dana enters from the bedroom and crosses to the front door. She opens it and admits Ray and Egon.

She shakes his hand and is about to close the door when Venkman appears in the doorway.

Dana is caught completely off guard by Venkman's surprise appearance.

She regards him coolly, as always amused and amazed at his presumptuousness.

Stantz and Spengler begin a comprehensive parapsychological work-up on the baby and the immediate physical environment.

24 VENKMAN AND DANA 24

Venkman starts nosing around the apartment. Dana follows him.

He leaves her and crosses to Spengler.

Spengler ignores the remark and hands Venkman a specimen jar.

He starts clowning with the baby, holding him over his head and pressing his nose into the baby's belly, pretending that the baby is attacking him.

Dana is amused and somewhat disarmed by Venkman's rapport with the baby.

He looks at the baby, pulling his feet up, trying to get the sleeper off.

Venkman enters and finds Stantz monitoring the room.

Spengler enters.

Dana walks down the street with Venkman, retracing the path of the runaway buggy. Spengler and Stantz follow, monitoring PKE valences from the pavement and the buildings.

Dana stops at the intersection and points to the middle of the street.

Venkman walks right out into the middle of the street, completely oblivious to the CARS HONKING and whizzing past him and starts motioning like a traffic cop, bringing traffic to a standstill. Then he signals for Dana, Stantz and Spengler to join him in the middle of the street.

Stantz reads the PKE meter.

Spengler switches on the Giga-meter, the device he was testing in the lab, and passes it over the spot on the street where the buggy stopped. The indicator goes right into the red zone and the DEVICE starts CLICKING WILDLY.

Stantz and Spengler look at him skeptically, not convinced by the coincidence theory.

The museum has just closed for the day and the last of the visitors and employees are leaving.

Janosz is working late on the painting of Vigo.

Bolts of red-hot energy shoot from the eyes of Vigo into Janosz's eyes. He screams and falls to his knees.

Venkman and Stantz come out with small boxes containing coffee, sandwiches and Danish and start walking up the street.

Spengler, wearing a hardhat, is JACKHAMMERING a hole in the middle of the street. Safety cones and reflectors have been set up and a small area is lit by strong work lights.

Venkman and Stantz arrive just in time wearing Con Ed hardhats, doing a good imitation of a Consolidated Edison repairman.

The cops seem satisfied by the explanation.

They drive off. Spengler breathes a great sigh of relief and starts rubbing his sore shoulders.

Stantz resumes JACKHAMMERING, while Venkman and Spengler clear the rubble from the hole. Suddenly he hits metal. They clear away generations of paving material revealing an ornate iron manhole cover. The manhole cover bears a strange logo and the letters NYPRR.

They prey off the iron cover with crowbars, uncovering a very dark and very deep abyss.

Spengler leans in with the giga-meter which is reading even higher now.

Venkman and Spengler both look at Ray.

They snap Stantz into a harness and lower him into the hole on a strong cable attached to a winch. Ray calls out orders to them as he descends deeper and deeper.

Stantz rappels off the sides of the airshaft as he continues his descent in total darkness.

Suddenly, his feet kick thin air as he gets to the bottom of the airshaft and swings free in some kind of tunnel.

He pulls a powerful flashlight from his utility belt and shines it into the tunnel below.

He is suspended near the top of a beautifully preserved chamber with rounded, polished tile walls ardorned with intricate, colorfully enameled Art Nouveau mosaics. A finely inlaid sign identifies it as VAN HORNE STATION.

Venkman has no idea what he's talking about.

Stantz shines his flashlight on the meter and whistles at the extremely high reading.

As Venkman and Spengler feed him some more cable, he pans his flashlight down the wall of the station, then onto the floor.

Below him is a river of bubbling seething, glowing slime, a veritable torrent of disgusting ooze.

As he stares into the foul effluent, we become aware of the strangely amplified and magnified sounds of great ENGINES THROBBING and pulsing in the bowels of the city, of WATER RUSHING through pipes, STEAM HISSING through ducts, the muffled RUMBLE of the SUBWAY and the ROAR of TRAFFIC, and mixed with it all, the unmistakable sounds of human conflict and pain -- VOICES SHOUTING in anger, SCREAMING in fear, GROANING in pain, a sad and eerie symphony.

Venkman and Spengler start hauling in the cable as a Con Ed Supervisor's car drives up, and behind it, the same police car they saw earlier. A burly SUPERVISOR gets out and crosses toward them, followed by the two cops.

Venkman and Spengler stop pulling up the cable and Venkman tries the belligerent worker ploy again, only this time he's wearing a Nynex hardhat.

Stantz can be heard ranting over Venkman's walkie-talkie.

Venkman switches off the walkie-talkie.

Venkman stares at the Cop for a long moment.

Stantz is hanging there, looking down into the shaft at the slime which is now bubbling up the shaft after him.

Desperate now, he kicks wildly and knocks loose a section of an old, rusting conduit.

The conduit falls on a heavy electrical transmission line, ripping through the cable with a SHOWER OF SPARKS.

Venkman, Spengler, the cops and the supervisor all react to a bright FLASH deep down in the hole and a SHOUT from Stantz.

One by one, all the streetlights go out; then the lights on all the buildings along East 77th street; then the whole neighborhood blacks out, and finally the entire city is plunged into darkness.

She walks around in the dark lighting candles and placing them all over the living room. Then she finds a transistor radio and turns it on for information about the blackout. She listens to a special news report for a moment, then has a compelling impulse to go check on the baby. She crosses to the nursery carrying a candle and quietly opens the door and looks in. Suddenly the DOORBELL RINGS, scaring her half to death. Leaving the chain on the door, she opens it a crack and sees Janosz standing in the hall, eerily lit by a red emergency spot at the end of the hallway. He looks slightly dazed and even creepier.

His affected concern is chilling. She is frightened but conceals it from him.

He tires to look around her into the apartment.

She closes the door behind him and double locks it, then stands there staring into the candlelight, alone and afraid.

Janosz stands there in semi-darkness, then his eyes light up like headlights and he walks off down the hall.

The JUDGE, a rather sour-looking jurist of the old school, calls the court to order.

Stantz and Spengler are seated with their attorney LOUIS TULLY, lawyer, CPA and former demonic possession victim. Louis is desperately paging through a mountain of legal textbooks.

She gives him a quick, unexpected kiss and exits. Venkman savors it for a moment then goes back to the defense table.

He smiles conspiratorially and makes a point of passing the defense table on his way out of the courtroom.

Herdemeyer exits. Louis looks devastated.

Spengler hands him a waste basket as the Prosecutor calls her first witness.

The Con Ed Supervisor is testifying.

Louis moans and goes back to his notes.

Venkman himself is on the stand and Louis is questioning him.

The Prosecutor rises and approaches the witness stand with relish.

The gallery laughs and the Judge gavels for order.

The spectators in the gallery cheer and the judge gavels for order.

The trial is nearing its end. The Judge calls on Louis to make his summation.

Louis rises.

Louis crosses to the judge's bench.

He goes back to the defense table and sits down. Stantz and Spengler hang their heads. Venkman pats Louis on the back.

He searches through a disorderly pile of notes.

He hammers the bench with his gravel as the gallery erupts noisily. Then he feels a LOW RUMBLING TREMOR in the courtroom.

The Ghostbusters duck under the defense table.

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

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

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

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

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

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

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

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

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

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

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

The spectators cheer and applaud.

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

NIGHT

A man and his wife are lying in bed reading. The man is played by Louis Tully and JANINE MELNITZ, the Ghostbusters' once and future receptionist, is playing his wife. They are both terrible actors.

Suddenly, a ghost, actually a very bad puppet on a wire, floats through the bedroom. Janine sees it and screams.

He picks up the phone.

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

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

(TO CAMERA) And to celebrate our grand reopening, we're giving you twice the value with our special half- price 'Welcome Back' service plan.

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

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

As Stantz wraps it up, SUPERS APPEAR at the bottom of the SCREEN: FULLY

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

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

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

He freezes.

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

58 SLIMER AND LOUIS 58

They both scream and run off in opposite directions.

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

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

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

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

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

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

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

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

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

He slinks off, defeated.

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

He exits.

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

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

They are interrupted by the sudden appearance of Janosz.

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

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

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

Dana looks disapprovingly at Venkman.

Venkman and Dana cross back to her workspace.

He exits.

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

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

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

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

He leans over the specimen and starts shouting at it.

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

70 STANTZ AND SPENGLER 70

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

Spengler reacts as if he might be.

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

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

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

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

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

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

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

Venkman looks at her for a long moment.

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

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

He hangs up.

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

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

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

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

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

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

They enter the museum carrying their monitoring equipment.

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

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

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

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

They watch the painting for any sign of movement.

76 STANTZ AND VENKMAN 76

Venkman starts shooting Polaroids of Vigo.

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

They head for the door.

They exit.

The Ghostbusters cross to ECTO-2.

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

Venkman and Winston exchange surprised looks.

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

Winston looks at Ray, concerned.

Stantz turns on him.

He HONKS again and tromps hard on the accelerator.

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

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

Stantz looks at him and smile demonically.

He swerves off the road.

The car heads right for a big tree.

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

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

They inspect the damage to the car.

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

He looks around the large open loft.

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

She comes out again, this time wearing a robe.

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

Dana opens the bedroom door.

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

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

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

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

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

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

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

They exit.

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

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

Dana steps into the living room looking very beautiful.

Dana looks curiously at their outfits.

They nod and wave back.

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

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

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

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

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

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

Spengler tries to help, but whatever is pulling on the cord is stronger than all three of them. As their unseen adversary pulls them closer and closer to the edge, Stantz works desperately to unhook the cord from his belt but finally just unhooks the whole belt. Spengler lets go in time but Winston doesn't.

He is jerked off his feet and into the slime flow. Stantz and Spengler look at each other, summon their courage and jump in after him.

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

She sighs and drinks.

He leans over to kiss her.

They kiss.

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

Louis goes into the bedroom and puts the baby down.

He sits stiffly beside her on the sofa.

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

Spengler steps between them with unprecedented aggression.

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

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

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

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

Stantz looks around and spots Venkman.

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

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

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

Stantz suddenly realizes how ridiculous they look.

He takes Stantz by the arm but Stantz resists.

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

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

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

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

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

They head for their respective vehicles.

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

Dana frowns.

She crosses to the bedroom.

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

Louis and Janine aren't sure what to do.

He grabs Janine and they start making out again.

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

Preceded by a police car, Ecto-2 enters the small park on the East River at 88th Street and disappears into an underground entrance. The CAMERA PANS UP to reveal Gracie Mansion, the residence of the Mayor of New York City.

The Ghostbusters, now wearing police raincoats over their longjohns are ushered through the house by a butler to a set of double oak doors. The butler knocks lightly, then opens the door to reveal the MAYOR sitting in front of the fireplace in his well-appointed private study, flanked by Jack Hardemeyer, both in tuxedoes. The Ghostbusters enter.

The Mayor is impatient and a little angry at having been pulled out of his formal reception. He frowns at their bizarre attire.

The mayor exits, leaving the Ghostbusters to Hardemeyer.

Hardemeyer's eyes go cold and calculating.

An attendant opens a locked door with a wire mesh window and the Ghostbusters, in straitjackets, are led into the psych ward as Hardemeyer confers with the chief PSYCHIATRIST.

Hardemeyer shakes his hand and exits as the door slams shut on the Ghostbusters.

Louis and Janine are watching an old rerun on TV, eating popcorn, while Dana is stretched out on the other sofa.

She hears a little CRY from the nursery and sits up.

She crosses to the bedroom.

Dana enters and immediately notices that the crib is empty and the window is open.

Frantic now, Dana rushes to the window and looks out, as Louis and Janine come running in.

The baby is standing out on the ledge at the corner of the building, fifty feet above the street, staring off into the distance as if he's waiting for something.

Dana climbs out onto the ledge and starts inching slowly toward the baby. Then she stops as a miraculous apparition materializes.

109 LOUIS AND JANINE 109

They lean out the window, gaping at the apparition.

A sweet, kindly-looking English nanny appears, pushing a pram, strolling on thin air parallel to the ledge high above the ground. Her face looks remarkably like Janosz Poha's. The nanny extends her hand to the BABY who GURGLES sweetly as he reaches out to take it.

A taxi pulls up, Dana jumps out and rushes into the museum. The moment the door closes behind her, there is a loud THUNDERCLAP, the ground trembles and a massive amount of slime erupts from around the base of the museum and starts covering the walls, sealing her inside the building.

Venkman, Stantz, Spengler and Winston are in a padded cell. They are handcuffed and the cuffs are chained to thick leather belts around their waists. Venkman stands there banging his head into the padded wall while the others try to explain the situation to a skeptical Psychiatrist.

The psychiatrist looks at Venkman.

Moonlight streams through the skylight above, bathing the studio in eerie white light. Oscar is lying safely on a table in front of the painting of Vigo. Dana enters cautiously and sees the baby. Seeing no one else about, she quickly sneaks down to the table and picks up the baby, hugging hin tight, greatly relieved to find him unharmed and intact.

Startled, Dana turns at the sound of his voice as Janosz steps out from behind the Vigo painting.

Dana walks quickly to the door but suddenly Oscar flies out of her arms, floats across the room and lands lightly back in the cradle.

It's the last day of the year and the sun is shining brightly.

The Ghostbusters are sitting in the dayroom, a dingy lounge for patients in the locked ward. There is a television set, a Ping-Pong table and a few tables and chairs. Stantz is looking at the sky through the heavy wire mesh covering the windows.

Venkman is doing occupational therapy, weaving on a little hand-loom.

A PATIENT at the next table joins the discussion.

Louis is pleading with his cousin, SHERMAN TULLY, a doctor on the staff at Parkview. He looks and sounds just like Louis.

Sherman looks out the window.

The sky begins to go dark as the sun is magically eclipsed.

The room goes dark. Louis switches on a lamp which casts an eerie light on his face.

A drainpipe starts dripping slime into the river near the Cunard Line docks.

With the Plaza Hotel in the background, the fountain starts to spout psycho-reactive slime.

She doesn't notice it, but a small amount of slime falls on the back of her luxurious, full-length, white mink coat. The doorman nods courteously and extends a hand to help her up the stairs.

The doorman looks curiously at her, then recoils in shock as her coat comes alive. MINK HEADS pop out of the thick fur, SNARLING, BARKING and YAPPING, their sharp, little teeth biting the air. Reacting quickly, the doorman yanks the coat off the woman's back, throws it to the ground and starts stomping on it as the Woman and her husband look on in horror. The coat scuttles down the steps and runs off down the street.

The squad room is busy as DETECTIVES try to answer the flood of calls regarding the wave of supernatural events sweeping the city.

A weary SERGEANT answers a RINGING PHONE.

He puts the caller on "Hold" and turns the LIEUTENANT.

The dock supervisor stands there with the phone in his hand, an assistant beside him, both staring out the window at the ocean liner tied up at the pier.

The name "R.M.S. Titanic" is clearly visible on the side of the huge ship. The gangplank is down and dozens of drowned passengers, sopping wet and festooned with seaweed, are disembarking while drowned porters off-load their waterlogged baggage.

Ecto-2 is parked outside as Louis and Sherman come out of the hospital with the Ghostbusters, now wearing their standard uniforms.

Louis winks conspiratorially at Sherman.

While he's talking, the Ghostbusters jump in the Ectomobile and drive off, leaving him and Louis standing at the curb.

(original version of the above scene - 11/27/88) (TRANSCRIBER'S NOTES: These two versions of this scene were put in my copy of the script, so I have included both of them here)

Ecto-2 is parked outside and the Ghostbusters are hastily donning their standard uniforms.

While he's talking, the Ghostbusters jump in the Ecto-2 and drive off without him.

(ECLIPSE)(LATER)

ECTO-2 pulls to the curb across the street from the museum. Hundreds of spectators are already there gawking at the building as the Ghostbusters jump out and gape at the sight that greets them.

The building is now totally covered in a shell of psycho- reactive slime. CITY WORKMEN and FIREMEN are trying to cut their way in with blowtorches, jackhammers, power tools and the "jaws of life," but they can't even make a dent.

They stride manfully across the street and approach the main entrance to the museum.

The workmen and firemen put down their tools and fall back as the Ghostbusters draw their particle throwers.

They adjust their settings and prepare to fire.

They trigger their throwers and spray the front doors of the building with bolts of proton energy, but it has no effect on the hardened slime.

A few of the firemen and workmen tentatively raise their hands. Venkman grabs them and lines them up at the entrance of the museum.

Stantz, Spengler, Winston and the firemen sing along, reluctantly holding hands and swaying to the music.

Stantz inspects the wall of slime with his infra-goggles and finds that they have only managed to open a hole the size of a dime.

His eyes fall on ECTO-2's New York State license plate which features a line drawing of the Statue of Liberty.

There is a commotion among the crowd as the Mayor's limousine arrives with a police escort. Jack Hardemeyer steps out followed by the Mayor himself and they cross to the museum entrance.

Hardemeyer, his ASSISTANT and several police BODYGUARDS confront the Ghostbusters.

The Mayor stops to consider the situation.

The Mayor turns to Venkman.

Hardemeyer flips out.

He pounds the wall of slime with his fist, and they all watch in amazement as his fist goes through the wall and he is sucked bodily through the slime curtain. Only his shoes can be seen, embedded in the slime.

With the city skyline in the b.g., the Ghostbusters prepare their equipment. Each of them dons a makeshift backpack consisting of tanks, hoses, nozzles and an abundance of gauges, valves and regulators. Venkman looks up at the Statue of Liberty looming above them.

Stantz is looking worried.

They enter the statue.

The Ghostbusters are working from the iron staircase that spirals straight up 100 feet inside the hollow super- structure of the statue.

Spengler and Winston are busy assembling hundreds of wires connected to various relays on the interior surface of the statue. Venkman and Stantz are mounting large auditorium loudspeakers near the top of the staircase. They finish the installation, then Stantz dons one of the new backpacks and gives the order.

They begin hosing the inside of the statue with the psycho- reactive slime.

Janine watches as Louis, wearing a Ghostbuster uniform, slings a heavy proton pack onto his back.

She kisses Louis and he gets extremely self-conscious.

He rushes out.

Louis stands on the street corner waiting for a bus. Finally, a bus pulls up, Louis climbs aboard and finds Slimer behind the wheel.

Venkman, Stantz, Spengler and Winston are standing in the observation windows in the crown of the statue.

It looks like they're on the bridge of an ocean liner, then the CAMERA PULLS BACK to reveal the head of the statue.

Venkman plugs the speaker cable into a Walkman and gives a downbeat.

He hits "Play" on the Walkman and "HIGHER AND HIGHER" BOOMS from the huge SPEAKERS, amplified by the statue's vast hollow interior.

The head of the statue lurches suddenly, but the Ghostbusters cling to the rail and manage to keep their feet.

Stantz picks up a Nintendo control paddle from a home video game and starts pushing the buttons.

They feel a strong vibration and the statue starts to move.

New Years Eve celebrants line the riverfront, pointing and gawking at an incredible sight.

The statue is moving up the river almost completely submerged, only her head from the nose up is visible above the surface.

Winston looks out apprehensively.

Stantz studies a maritime navigational chart.

Spectators cheer wildly, inspired by the sight of the Statue.

Janosz is sitting next to Dana, still wheedling her with promises and self-serving logic.

People are jammed together shoulder to shoulder filling Times Square, watching the big Seiko clock count down the last ten minutes to midnight. Suddenly, they look down Broadway and see a magnificent sight.

The Statue of Liberty is walking up Broadway approaching 42nd Street, with "Higher and Higher" BOOMING from the SPEAKERS inside. A great cheer goes up, and the crowd goes wild with joy, dancing and singing along with the MUSIC.

(CONTINUOUS)

Spengler reads the Giga-meter.

The avenue has been closed to traffic and barricades placed, blocking all the side streets. A squadron of police motorcycles comes speeding around the corner at 72nd Street and proceeds up Fifth Avenue in the direction of the museum. Then MUSIC is heard BOOMING in the distance, the ground shakes and the Statue of Liberty comes walking around the corner onto Fifth Avenue followed by a wildly cheering throng.

The Ghostbusters can see the museum ahead.

The Statue's huge foot comes down and squashes a car.

The Ghostbusters look down at the flattened car.

Janosz is painting the last of the mystical symbols on the baby's chest.

The people still in the square start counting off the last ten seconds to midnight and the New Year.

A strange light spreads over the painting. As the light moves onto his face, Vigo spreads his arms wide and his upper body starts to emerge from the canvas.

The baby's body begins to glow as Vigo reaches out for it. Then suddenly a dark shadow falls across the skylight. Janosz looks up.

The Statue of Liberty is looming over the skylight looking down on Janosz with an expression of righteous anger on it's face.

Kneeling beside the museum, the statue draws back it's mighty right arm and smashes the skylight with its torch.

Janosz retreats from the shower of broken glass as the Ghostbusters come sliding down ropes into the studio and confront Janosz with their new weapons. Quick as a flash, Dana seizes the moment, dashes across the studio and snatches the baby from Vigo's outstretched arms.

Vigo bellows in rage.

Janosz steps in front of the painting.

Janosz sneers, trusting the invincibility of Vigo.

With that, the Ghostbusters fire their slime-blowers and hose Janosz from head to toe, blowing him into the corner. Then they turn to Vigo.

Suddenly Vigo grabs Stantz by the neck and holds him up as a shield.

Winston fires and hoses both Vigo and Ray.

The paint turns liquid, melts off the canvas and runs onto the floor revealing another painting underneath it.

Venkman, Spengler and Winston rush over to Ray and kneel beside him. He is completely covered with slime and motionless.

Winston wipes the slime off Ray's face and Ray opens his eyes.

They pull him to his feet.

He hugs them each in turn, leaving them slimed as well. Venkman recoils in disgust.

Venkman crosses to Dana who is snuggling the baby. She hugs Venkman.

He picks up the baby.

They hug and kiss.

158 SPENGLER, WINSTON AND STANTZ 158

They help Janosz to his feet. He's dazed but unhurt.

As they exit they stop to examine the painting that was concealed by Vigo's self-portrait.

It's a beautiful painting in the high-Renaissance style depicting four archangels hovering protectively over a cherubic baby. One holds a harp, one, an olive branch, the third, a book, and the last, a sword. Most remarkably, their faces bear an uncanny resemblance to Venkman, Stantz, Spengler and Winston.

A city bus pulls up near the museum and Louis steps off. He waves his thanks to Slimer who is behind the wheel.

SLIMER GRUNTS and SLOBBERS a reply, flexing his scrawny biceps.

The Ghostbusters are greeted by wild cheering and applause as they come out the main entrance with Dana and the baby. Everybody starts singing "Auld Lang Syne." Louis picks his way through the celebrating crowd and finds the Ghostbusters.

Stantz pops the cork on a bottle of champagne and hands it to him.

Hardemeyer staggers out of the museum covered in slime. He looks at the celebrating crowd and his eyes fill with tears.

He joins in on "Auld Lang Syne."

The Statue of Liberty is sprawled inert on her back in the park behind the museum, her toga up over her knees. The Mayor looks nearly suicidal. The Ghostbusters stand beside him commiserating.

The Mayor looks at it and gasps at the amount.

Venkman looks at the Statue.

Realizing he has no alternative, the Mayor sighs and takes the bill back.

The sun is shining brightly and Liberty is back on her pedestal where she belongs. The Mayor and a host of officials are commemorating her return. The Ghostbusters, Dana, Janine and Louis are there as honored guests.

They all look up at the Statue.

Slimer flies out one of the observation windows, THEME MUSIC KICKS IN and the CAMERA PULLS UP and AWAY FROM the island TO a HIGH SHOT of the Statue, lower Manhattan and the shining sea beyond.