						Ghostbusters

							by
						Harold Ramis
							and
						Dan Aykroyd

					Final Shooting Script
				Last revised October 7, 1983


											FADE IN

EXT. NEW YORK PUBLIC LIBRARY -- DAY

The sun shines brightly on the classic facade of the main library at Fifth
Avenue and 42nd Street.  In the adjacent park area, pretty hustlers and
drug peddlers go about their business.

FRONT STEPS

A few people lounge on the steps flanked by the familiar stone lions.

INT. MAIN READING ROOM -- DAY

People are dotted throughout the room sitting at the long oak tables
polished by decades of use.  Reading lamps with green glass shades cast a
golden glow on the tables.  The patina of age is everywhere.  It is very
quiet.

LIBRARIAN

A slightly stout, studious looking girl in her late twenties circulates
quietly among the tables picking up books and putting them on her cart.
Everything seems completely normal and peaceful.

POV

A single eerie musical note signals the presence of something strange
looking down on the Librarian from a vantage point high above the room.
It follows the Librarian as she pushes her cart around the corner.

INT. WORK AREA

The Librarian is alone in a back room sorting books for reshelving.
Behind her is the card catalogue.  One of the books attracts her interest
and she starts leafing through it.

THE CARD CATALOGUE

Another eerie note is heard as one of the drawers silently slides open
behind the Librarian and hundreds of index cards start popping out.  The
Librarian continues reading completely oblivious to this strange
phenomenon.

She gets up and moves past another row of cabinets.  Two more drawers
quietly slide open, and thousands of file cards start shooting out of the
open drawers just behind her, but the Librarian still doesn't notice.

THE STACKS

The Librarian works her way through rows and rows of old iron shelves
containing many thousands of volumes stacked from floor to ceiling.  As
she puts the books back in their proper places, she slowly gets the
feeling that she's being watched.  She continues her task but suddenly
hears a scratching noise and stops.

						LIBRARIAN
				(puzzled)
			Hello?  Is anybody there?

A ROW OF BOOKS

As the Librarian walks down the aisle, books start shooting off the shelf
behind her.  She turns suddenly and sees the fallen books.

THE LIBRARIAN

Frightened now, she walks slowly to the end of the aisle and tentatively
peeks around the corner.  Seeing no one, she starts to scratch her head
and suddenly a dozen books fly off the shelf right in front of her and
fall to the floor.

						LIBRARIAN
				(frightened)
			All right!  Who's there?  Lyle? Is that you?

Very slowly now, her heart pounding, the Librarian tiptoes to the other
end of the aisle.  She gets to the corner and starts to peek around it,
afraid to look but unable to resist.

INT. THE NEXT AISLE -- DAY

The Librarian comes slowly around the end of the stacks and gets her first
look at the thing that's been watching her.  Her eyes go very wide and her
mouth opens in horror. She screams.

EXT. COLUMBIA UNIVERSITY -- DAY

Students are entering and leaving a neo-Gothic building on the
University's upper west side campus.  A sign identifies the building as:
Weaver Hall -- Department of Psychology.

INT. BASEMENT -- WEAVER HALL -- DAY

At one end of the dingy corridor is a door marked PARANORMAL STUDIES
LABORATORY.  A sign dangles from the doorknob: Maid -- Please Make Up This
Room.  Scrawled across the door is a line of student graffiti that reads:
"Venkman Burn In Hell!"  It looks like it's been written in blood.

						VENKMAN (V.O.)
			Now I'm going to turn over the next card and
			I want you to concentrate and tell me what
			you think it is.

INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY

DR. PETER VENKMAN is administering an ESP test to two student volunteers,
a boy and a girl, who sit across the table from him separated from each
other by a screen.

Venkman is an associate professor but his rumpled suit and the manic gleam
in his eyes indicate an underlying instability in his nature.  However,
while a little short on academic credentials, Venkman is long on
confidence, charm and salesmanship.

He turns to the male volunteer, an obnoxious SOPHOMORE, and pulls out a
card from the standard deck of ESP symbols.  The card is visible to the
camera over Venkman's shoulder but hidden from the sophomore by a masonite
board that rests between them on the table.  The card shows a star symbol
on it.

						VENKMAN
			All right.  What is it?

						SOPHOMORE
				(concentrates)
			A square?

						VENKMAN
				(shakes his head)
			Good guess -- but no.

He shows the Sophomore the star card then presses a button on the table
which administers a mild electric shock to the volunteer.  The Sophomore
twitches involuntarily as the shock passes through the electrode attached
to his fingertips.  Then Venkman turns to the female volunteer, a very
beautiful COED.

						VENKMAN
			Now just clear your mind and tell me what
			you see.

He turns over a card with a circle on it.

						COED
				(thinks hard)
			Is it a star?

						VENKMAN
				(feigning surprise)
			It is a star!  That's great.  You're very
			good.

The Coed beams proudly as Venkman turns back to the Sophomore without
showing her the card.

						VENKMAN
				(to the Sophomore)
			Now think.

He turns up the diamond card.

The Sophomore glances nervously at the electrodes, then ventures a guess.

						SOPHOMORE
			Circle?

						VENKMAN
			Close -- but definitely wrong.

He shocks him again and swivels around to face the Coed.

						VENKMAN (CONT'D)
			Ready?
				(she nods and he turns up
				the triangle card)
			What is it?

						COED
				(biting her lip)
			Ummm -- figure eight?

						VENKMAN
				(lies)
			Incredible!  Five for five.  You're not
			cheating on me here, are you?

						COED
				(amazed at her own ability)
			No.  They're just coming to me.

						VENKMAN
			Well, you're doing great.  Keep it up.

He turns back to the Sophomore who winces as the next card is turned
up -- two parallel wavy lines.

						VENKMAN (CONT'D)
			Nervous?

						SOPHOMORE
			Yes.  I don't like this.

						VENKMAN
			Well, just 75 more to go.  What's this one?

						SOPHOMORE
				(takes a deep breath)
			Two wavy lines?

						VENKMAN
				(burying the card)
			Sorry.  This isn't your day.

He zaps him again but this time the Sophomore really jumps.

						SOPHOMORE
				(angry)
			Hey!  I'm getting a little tired of this.

						VENKMAN
			You volunteered, didn't you?  Aren't we
			paying you for this?

						SOPHOMORE
			Yeah, but I didn't know you were going to
			give me electric shocks.  What are you
			trying to prove?

						VENKMAN
			I'm studying the effect of negative
			reinforcement on ESP ability.

						SOPHOMORE
			I'll tell you the effect!  It pisses me off!

						VENKMAN
			Then my theory was correct.

The Sophomore gets up, pulls the electrodes off his fingertips and exits.

						SOPHOMORE
				(as he goes)
			Keep the five bucks.  I've had it!

Venkman turns back to the Coed and shrugs.

						VENKMAN
			Well, I guess some people have it and some
			don't.

						COED
				(provocatively)
			Do you think I have it, Dr. Venkman?

						VENKMAN
			Definitely.  I think you may be a very
			gifted telepath.

Suddenly the door opens and RAY STANTZ enters.

STANTZ

He is Venkman's colleague and best friend.  A hard scientist with a good
academic background, Stantz is a maverick who genuinely loves a challenge.
At the moment, he seems really keyed up.

						STANTZ
			Drop everything, Venkman.  We got one.

He starts rummaging through cabinets and drawers, gathering up a variety
of electronic devices.

VENKMAN

He frowns at the intrusion and turns to the Coed.

						VENKMAN
			Excuse me for a minute.
				(he crosses to Stantz)
			Ray, I'm right in the middle of something
			here.  Can you come back in about an hour?

						STANTZ
				(excited, but hushed and
				confidential)
			Peter, at 1:40 this afternoon at the main
			branch of the New York Public Library on
			Fifth Avenue, ten people witnessed a
			free-roaming, vaporous, full-torso
			apparition.  It blew books from shelves at
			twenty feet away.  Scared the socks off some
			poor librarian.

						VENKMAN
				(unimpressed)
			Sure.  That's great, Ray.  I think you
			should get down there right away and check
			it out.  Let me know what happens.

						STANTZ
				(insistent)
			No, this one's for real, Peter.  Spengler
			went down there and took some PKE readings.
			Right off the top of the scale.  Buried the
			needle.  We're close this time. I can feel
			it.

Venkman looks at Stantz, then back at the Coed, torn between duty and
pleasure.

						VENKMAN
				(decides)
			Okay.  Just give me a second here.
				(he crosses back to the
				Coed)
			I have to leave now but if you've got some
			time I'd like you to come back this evening
			and do some more work with me.

						COED
			Eight o'clock?

						VENKMAN
				(lying again)
			I was just going to say "eight."  You're
			fantastic!

He waves good-bye and exits with Stantz.

EXT. PUBLIC LIBRARY -- DAY

Venkman and Stantz arrive in a taxi and trot up the front steps.  Stantz
is loaded down with equipment.

						STANTZ
			Spengler and I have charted every psychic
			occurrence in the Tri-State area for the
			past two years.  The graph we came up with
			definitely points to something big.

						VENKMAN
			Ray, as your friend I have to tell you I
			think you've really gone around the bend on
			this ghost stuff.  You've been running your
			ass off for two years checking out every
			schizo in the Five Boroughs who thinks he's
			had an experience.  And what have you seen?

						STANTZ
			What do you mean by "seen?"

						VENKMAN
			Looked at with your eyes.

						STANTZ
			Well, I was at an unexplained multiple
			high-altitude rockfall once.

						VENKMAN
			Uh-huh.  I've heard about the rockfall, Ray.
			I think you've been spending too much time
			with Spengler.

INT. MAIN READING ROOM -- DAY

EGON SPENGLER is looking for spirits when Venkman and Stantz arrive.
Spengler is a real egghead, a New Wave Mr. Spock, who single-handedly got
Venkman through graduate school.  Spengler is incredibly intelligent but
amazingly dense at the same time.  At the moment he is listening to a
table using a stethoscope connected to stereo earphones.  Venkman comes up
behind him and taps on the table to get his attention.

						VENKMAN
			Egon?

Spengler hears the tapping and thinks he's made contact with the spirit
world.  Then Venkman slams a heavy book down on the table.

						VENKMAN (CONT'D)
			Egon!

Spengler jumps at the deafening noise in his earphones and turns to see
Venkman and Stantz.

						SPENGLER
			Oh!  You're here.

						VENKMAN
			What have you got, Egon?

						SPENGLER
			Oh, this is big, Peter.  This is very big.
			There's definitely something here.

						VENKMAN
			Egon, somehow this reminds me of the time
			you tried to drill a hole in your head.  Do
			you remember that?

HEAD LIBRARIAN

A choleric, middle-aged civil servant, MR. DELACORTE, hurries over to meet
them.

						HEAD LIBRARIAN
				(nervous)
			Hello, I'm Roger Delacorte - the Head
			Librarian.  Are you the men from the
			University?

						VENKMAN
			Yes.  I'm Dr. Venkman and this is Dr. Stantz.

						HEAD LIBRARIAN
				(leads them off)
			Thank you for coming.  I'd appreciate it if
			we could take care of this quickly and quietly.

						VENKMAN
			One thing at a time.  We don't even know
			what it is yet.

INT. AN OFFICE -- A LITTLE LATER

Venkman is questioning the plump Librarian who saw the spirit, while a
Paramedic continues treating her for shock.

						LIBRARIAN
			I don't remember seeing any legs, but it
			definitely had arms because it reached for
			me.

						STANTZ
				(excited)
			Arms!  Great!  I can't wait to get a look
			at this thing.

Venkman glowers at him, still skeptical.

						VENKMAN
				(to the girl)
			All right, miss.  Have you or has any member
			of your family ever been diagnosed
			schizophrenic or mentally incompetent?

						LIBRARIAN
			Well, my uncle thought he was St. Jerome.

						VENKMAN
				(looks at Stantz)
			I'll call that a big "yes."
				(to the girl)
			Do you yourself habitually use drugs,
			stimulants or alcohol?

						LIBRARIAN
			No.

						VENKMAN
			I thought not.  And one last thing.  Are you
			currently menstruating?

						HEAD LIBRARIAN
				(shocked)
			What's that got to do with it?

						VENKMAN
				(snaps)
			Back off, man!  I'm a scientist!

THE DOOR

Spengler sticks his head in.

						SPENGLER
				(excited)
			It's moving!

Stantz and Venkman rush out.

INT. DEEP IN THE STACKS -- DAY

They come slowly down the dark aisle with Spengler leading, taking
constant readings.  Their faces are lit mainly by the light of their own
monitoring and recording equipment.

HIGH POV

Looking down on them from the spectral point of view.

A SPIRAL STAIRCASE

One by one, Venkman, Stantz and Spengler come down the tightly winding,
old iron staircase.  They are scared.  Books are strewn all over the
floor.

A BOOKSHELF

The books start to slide forward then the whole shelving unit topples over
and almost crushes the team under a ton of books.  They jump to safety.

						VENKMAN
			Nice.
				(out loud)
			Hello...

Spengler looks at his meters and silently points at a dark aisle
intersecting the one they're in.  The team inches toward it.

						SPENGLER
			It's here.

They stop at the corner.

INT. THE DARK AISLE -- DAY

The team peeks around the corner and looks toward camera.

THEIR POV -- DAY

An ethereal presence is hovering between the stacks about four feet off
the ground.  It seems to waver on the edge of being and non-being, then a
large legless, headless torso begins to emerge.

VENKMAN, STANTZ AND SPENGLER

They stand there amazed.

						STANTZ
				(whispers)
			What is it?

						VENKMAN
			It looks like a big pair of breasts and a
			pot belly.

THE TORSO -- DAY

A head and arms begin to form.  The apparition is now unmistakably a
full-bodied, somewhat elderly lady.

						SPENGLER
			It's a woman.

He edges closer to take valence readings.  Stantz starts snapping
infra-red photos of it.

						STANTZ
				(excited)
			I told you it's real.

						VENKMAN
				(whispers)
			What do we do now?

						STANTZ
				(whispers back)
			I don't know.  Talk to it.

						VENKMAN
				(nods in agreement then
				hesitates)
			What do I say?

						STANTZ
			Anything!  Just make contact.

						VENKMAN
				(takes a deep breath, then
				addresses the specter)
			Hey, Lady?
				(the apparition turns and
				seems to look right past
				them)
			Lady!  Can you talk?  Who are you?
				(no answer)
				(to Stantz)
			This is not working.  Think of something else.

						STANTZ
				(sotto voce)
			Okay.  Okay.  I got it.  I know what to do.
			Stay close.  I have a plan.

He starts moving closer to the apparition.  Venkman and Spengler edge
closer, fighting their fear.  They stop just a few feet from the vision.

						STANTZ (CONT'D)
				(whispers)
			Okay, now do exactly as I say. Everybody
			ready?

						VENKMAN & SPENGLER
			Ready.

						STANTZ
			Okay...
				(shouts)
			GET HER!!!

He leaps at the apparition.  Venkman and Spengler jump reflexively at
almost the same moment but they all end up on the floor grabbing at thin
air.

THE GHOST -- DAY

She drops back a few feet, looms up into a raging demonlike specter and
blasts them with a rush of hot breath as she mouths a single word.

						THE GHOST
				(roars)
			QUIET!

VENKMAN, STANTZ AND SPENGLER

They scream and fall backwards.

EXT. LIBRARY -- MAIN ENTRANCE - DAY

They burst through the doors and onto the broad steps, both terrified and
exhilarated by their first real contact with the supernatural.  The Head
Librarian rushes out the door after them and chases them down the steps.

						HEAD LIBRARIAN
				(very agitated)
			Did you see it?  What was it?

						VENKMAN
			We'll get back to you.

EXT. COLUMBIA UNIVERSITY -- DAY.

Venkman, Stantz and Spengler head for their lab in Weaver Hall.  Spengler
makes rapid calculations as Venkman and Stantz argue.

						VENKMAN
				(steamed)
			"Get her?"  That was your whole plan?  You
			call that science?

						STANTZ
				(exultant)
			I guess I got a little overexcited.  Wasn't
			it incredible!  I'm telling you, this is a
			first.  You know what this could mean to the
			University?

						VENKMAN
				(sarcastic)
			Oh, yeah.  This could be bigger than the
			microchip.  They'll probably throw out the
			entire engineering department and turn their
			building over to us.  We're probably the
			first serious scientists to ever molest a
			dead old lady.

						SPENGLER
				(consulting his
				mini-computer)
			I wouldn't say the experience was completely
			wasted.  Based on these new readings, I
			think we have an excellent chance of
			actually catching a ghost and holding it
			indefinitely.

Venkman stops dead in his tracks, stunned by the news.  Stantz and
Spengler continue walking.

						STANTZ
				(to Spengler; excited)
			Then we were right!  This is great.  And if
			the ionization rate is constant for all
			ectoplasmic entities, I think we could
			really kick ass -- in the spiritual sense.

Venkman catches up with them again.

						VENKMAN
			Spengler, are you serious about actually
			catching a ghost?

						SPENGLER
			I'm always serious.

						VENKMAN
				(his mind reeling at the
				possibilities)
			Wow!

EXT. WEAVER HALL -- A LITTLE LATER

They approach the entrance to the psychology department talking excitedly.
Venkman stops at the door and turns to Spengler.

						VENKMAN
			Egon, I take back everything I ever said
			about you.  Take this.
				(he hands him a candy bar)
			You earned it.

They enter the building with Spengler greedily devouring the candy bar.

INT. WEAVER HALL -- DAY

They walk through the hall, then down the stairs to the basement.

						VENKMAN
				(his mind racing)
			If you guys are right, if we can actually
			trap a ghost and hold it somehow, I think I
			could win the Nobel Prize.

						STANTZ
				(protests)
			If anyone deserves it, it's Spengler and me.
			We're doing all the hard research and
			designing the equipment.

						VENKMAN
			Yeah, but I introduced you guys.  You never
			would've met if not for me.  That's got to
			be worth something.

INT. THE BASEMENT -- DAY

A Workman in painter pants is at the door as Venkman, Stantz and Spengler
approach and enter the lab.  As soon as the door closes behind them, the
Workman starts scraping their names off the door with a razor blade.

INT. THE LAB -- DAY

As they enter, janitorial and maintenance personnel are busy dismantling
their apparatus and equipment.  DEAN YAEGER is supervising.  Venkman
confronts him.

						VENKMAN
				(shocked)
			I trust you're moving us to a better space
			somewhere on campus.

						DEAN YAEGER
			No, we're moving you OFF CAMPUS.  The Board
			of Regents has decided to terminate your
			grant.  You are to vacate these premises
			immediately.

						VENKMAN
			This is preposterous!  I demand an
			explanation.

						DEAN YAEGER
			Fine.  This University will no longer
			continue any funding of any kind for your
			group's activities.

						VENKMAN
			But why?  The students love us!

						DEAN YAEGER
			Dr. Venkman, we believe that the purpose of
			science is to serve mankind.  You, however,
			seem to regard science as some kind of
			"dodge" or "hustle."  Your theories are the
			worst kind of popular tripe, your methods
			are sloppy and your conclusions are highly
			questionable.  You're a poor scientist, Dr.
			Venkman, and you have no place in this
			department or in this University.

						VENKMAN
			I see.

						STANTZ
				(to Venkman)
			You said you floored 'em at the Regents'
			meeting.

						VENKMAN
				(righteous)
			Ray, I apologize.
				(looking at Dean Yaeger)
			I guess my confidence in the Regents was
			misplaced.  They did this to Galileo, too.

						DEAN YAEGER
			It could be worse, Dr. Venkman.  They took
			the astronomer Phileas and staked his head
			to the town gate.

EXT. COLUMBIA UNIVERSITY -- DAY --  A LITTLE LATER

Stantz and Venkman are sitting on a bench both looking desolate.

						STANTZ
				(shaking his head)
			This is like a major disgrace.  Forget
			M.I.T. or Stanford now ... they wouldn't
			touch us with a three-meter cattle prod.

						VENKMAN
			You're always so worried about your
			reputation.  We don't need the University.
			Einstein did his best stuff while he was
			working as a patent clerk.'They can't stop
			progress.

						STANTZ
				(not cheered)
			Do you know what a patent clerk makes?  I
			liked the University.  They gave us money,
			they gave us the facilities and we didn't
			have to produce anything!  I've worked in
			the private sector.  They expect results.
			You've never been out of college.  You don't
			know what it's like out there.

						VENKMAN
				(with visionary zeal)
			Let me tell you, Ray, everything in life
			happens for a reason.  Call it fate, call
			it luck, Karma, whatever.  I think we were
			destined to get kicked out of there.

						STANTZ
			For what purpose?

						VENKMAN
				(with real conviction)
			To go into business for ourselves.

Stantz is immediately intrigued by the idea but voices his reservations.

						STANTZ
			I don't know.  That costs money.  And the
			ecto-containment system we have in mind will
			require a load of bread to capitalize.
			Where would we get the money?

EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY

EXT. AVENUE OF THE AMERICAS -- DAY

Venkman, Stantz and Spengler emerge from the Irving Trust headquarters,
all neatly dressed in suits.

						VENKMAN
			You'll never regret this, Ray.

						STANTZ
				(perturbed)
			My parents left me that house, I was born
			there.

						VENKMAN
			You're not going to lose the house.
			Everybody has three mortgages these days.

						STANTZ
			But at nineteen percent interest!  You didn't
			even bargain with the guy.

						SPENGLER
			(calculating)
			Just for your information, Ray, the interest
			payments alone for the first five years come
			to over $75,000.

						VENKMAN
			Will you guys relax?  We are on the
			threshold of establishing the indispensable
			defense science of the next decade -
			Professional Paranormal Investigations and
			Eliminations.  The franchise rights alone
			will make us wealthy beyond your wildest
			dreams.

						STANTZ
			But most people are afraid to even report
			these things.

						VENKMAN
			Maybe.  But no one ever advertised before.

Stantz and Spengler exchange doubtful looks.

EXT. FIREHALL -- DAY

An abandoned brick, four-story fire station built by the city around the
turn of the century.  It bears a coat of faded red paint and legend above
the garage door in chipped gilt letters:  Engine Company #93.  The garage
doors open revealing Venkman standing in the white-tiled garage bay with a
middle aged REAL ESTATE WOMAN wearing a blazer.

INT. GARAGE BAY -- DAY

Venkman is looking around.

						R/E WOMAN
			Besides this, you've got another substantial
			work area on the ground floor, office space,
			sleeping quarters and showers on the next
			floor, and you have your full kitchen on the
			top level.  It's 10,000 square feet total.

SPENGLER

He comes out of the office area with a pocket calculator.

						SPENGLER
			It's 9,642.55 square feet.

The Realtor frowns at Spengler.

						R/E WOMAN
			What is he -- your accountant?

STANTZ

He is looking at the shiny brass fire pole.

						STANTZ
				(shouts, loving it)
			Wow!  Does this pole still work?

						VENKMAN
				(considering but not
				wanting to appear too
				eager)
			This might do ... I don't know ... it just
			seems kind of "pricey" for a fixer-upper,
			don't you think?  We're trying to keep our
			costs down.  You know how it is when you're
			starting a new company.

						R/E WOMAN
			Yes, I know.  What are you calling your
			business?

						STANTZ
			Ghostbusters.

						R/E WOMAN
			Oh, well, this place is perfect for it.

EXT. UPPER WEST SIDE -- DAY

A high panoramic view of the city shows heavy traffic moving up and down
Central Park West on a beautiful sunny day.

EXT. 78th AND CENTRAL PARK WEST -- DAY

An unusual pre-war Gothic high-rise towers over the neighborhood
buildings.  The top of the building includes an elaborate decorative
temple, complete with altar, stairs and Babylonian columns.  The late
afternoon sun gives the structure an oddly menacing quality.  The camera
PANS slowly down to the street as DANA BARRETT, an attractive woman in her
late twenties, comes walking up to the building carrying a cello case and
a shopping bag full of groceries.  Guys on the street check her out as she
enters, but she coolly ignores them.

INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY

Dana crosses the lobby and gets into the elevator.

INT. THIRTY FIFTH FLOOR -- DAY

Dana gets off the elevator and goes to the door of her apartment.  As she
unlocks it, the door to the next apartment opens and Dana's neighbor,
LOUIS TULLY, peeks his head out the door. Louis is a shy nerd, hopelessly
in love with Dana.

						LOUIS
			Oh, Dana, it's you ...

						DANA
				(she's seen this before)
			Hi, Louis.

						LOUIS
			... I thought it was the drug store.

						DANA
			Are you sick, Louis?

Louis has broken the ice. He confidently exits his apartment and
approaches Dana.  His door slams behind him as he leaves.

						LOUIS
			Oh, no, I feel great.  I just ordered some
			more vitamins.  I see you were exercising.
			So was I.  I taped "20 Minute Workout" and
			played it back at high speed so it only took
			ten minutes and I got a really good workout.
			You wanna have a mineral water with me?

						DANA
			No thanks, Louis.  I'm really tired.  I've
			been rehearsing all morning.

						LOUIS
			Okay.  I'll take a raincheck.  I always have
			plenty of mineral water and other nutritious
			health foods, but you know that.  Listen,
			that reminds me, I'm having a party for all
			my clients.  It's gonna be my fourth
			anniversary as an accountant.  I know you
			fill out your own tax return, but I'd like
			you to come being that you're my next door
			neighbor and all ...

						DANA
			Oh, that's nice, Louis.  I'll stop by if
			I'm around.

						LOUIS
			You know you shouldn't leave your TV on so
			loud when you go out.  That creep down the
			hall phoned the manager.

						DANA
			I thought I turned it off.
				(she listens and hears
				loud sound coming from
				inside)
			I guess I forgot.

Dana begins unlocking her door.

						LOUIS
			I climbed on the window ledge to see if I
			could disconnect the cable but I couldn't
			reach so I turned up the sound on my TV real
			loud so they'd think there was something
			wrong with everybody's TV.  You know, you
			and I should really have keys to each
			other's apartment ...

Her door closes leaving Louis stranded.  He walks back to his apartment
muttering to himself.

						LOUIS (CONT'D)
			... in case of emergencies ...
				(he discovers he has
				locked himself out of his
				apartment)
			... like this one.

DANA' S APARTMENT -- DAY

A roomy, two-bedroom flat with a great view of the park.

She leaves the cello in the entrance hall, grabs the bag of groceries and
goes through the living room toward the kitchen.

Remembering Louis, she stops at the TV set to turn it off, but a strange
image on the screen catches her attention.

TV SCREEN
INT. CHILDREN'S BEDROOM -- NIGHT

Two children, a BOY and a GIRL, are asleep in bed when suddenly they are
awakened by supernatural moaning and groaning.

THE CHILDREN

They scream and jump out of bed.

THE DOOR

Their MOTHER and FATHER, rush in to find the children cowering against the
wall.

						FATHER
			What is it?  What's wrong?

						THE KIDS
			Look!

They point at the closet.

						MOTHER
				(to Father)
			Oh, dear.  It's that darn ghost again.
			Can't you do something about it.

						FATHER
				(helpless)
			I've tried everything, honey!  I guess we'll
			just have to move.

The mother and the kids look at him with disappointment.

						MOTHER
			Gee, there must be a better way.

Stantz steps into the foreground.

						STANTZ
			Are you troubled by strange noises in the
			night?  Do you experience feelings of dread
			in your basement or attic?  Have you or your
			family actually seen a spook, specter or
			ghost?  If the answer is yes, then don't
			wait another minute.  Just pick up the phone
			and call the professionals -- Ghostbusters.

EXT. FIREHALL

Venkman, Stantz and Spengler are standing in front of the Ghostbusters'
sign.  Spengler steps forward.

						SPENGLER
				(to camera)
			Our courteous and efficient staff is on call
			24 hours a day to serve all your supernatural
			elimination needs.

INT. RECEPTION AREA

Janine is seen answering the telephone with a big fake smile on her face.

						JANINE
				(cheery)
			Ghostbusters.  We'll be right there.

INT. CHILDREN'S BEDROOM

Spengler is taking PKE readings along the baseboards.  Stantz pops up from
under the bed.

						STANTZ
				(smiling proudly)
			Got him!  I don't think you'll have any more
			trouble with that ghost.

FATHER, MOTHER AND VENKMAN

They all look as pleased as punch as Venkman hands the Father a bill.

						FATHER
				(looks at the total)
			And it's economical, too!

						MOTHER
			How can we ever thank you?

						VENKMAN
				(big, cheesy smile)
			All in a day's work, ma'am. After all ...
				(to camera)
			... We're Ghostbusters.
				(he winks)

EXT. FRONT DOOR

Mother, Father and Kids wave goodbye to the Ghostbusters.

						THE FAMILY
				(sings)
			If you have a ghost,
			But you don't want to play host,
			You can't sleep at all,
			So who do you call ...
			Ghostbusters - Ghostbusters.

VENKMAN, STANTZ AND SPENGLER

They smile at the camera as a phone number is supered on the screen.

						GHOSTBUSTERS
				(in unison)
			We're ready to believe you,

Dana turns off the TV set and goes into the kitchen.

INT. KITCHEN

Dana switches on the radio and starts unpacking groceries.  She sets a
loaf of bread and a carton of eggs on the counter and begins putting other
items away in the pantry.

THE EGGS

The top of the carton pops open.  Then, one by one, the eggs erupt and
spill over onto the counter.  As the liquid contents hit the countertop
they sizzle.  The eggs begin to fry on the formica surface.

DANA

She hears the sizzle, turns and sees the eggs frying.  She gasps, then
recovers and inspects the mess.  She touches the counter gingerly, but
it's not at all hot. Deeply perplexed, she stands there trying to think of
an explanation.  Then a strange new sound attracts her attention and she
turns around to see where it's coming from.

Dana hears the sound of muffled chanting coming from the fridge.  She
pulls the door open and gets the shock of her life.  The inside of the
fridge has been transformed into the Gateway to another Realm -- a fiery
path leading to a temple door.  On each side of the door is a strange,
snarling creature that could best be described as a TERROR DOG.  Their
front claws are raised toward each other in a symbolic pose.  The
incredible vision is accompanied by the unearthly chanting.

DANA

She stands there transfixed by horror, the flames reflecting in her eyes.

THE FRIDGE

The chanting gets more frenetic and ominous as the temple doors slowly
begin to open.

DANA

She is paralyzed.

THE TEMPLE DOORS

They continue to open.  We feel a terrible presence within.

						THE PRESENCE
				(whispers loudly and
				hoarsely)
			ZUUL!!!

DANA

She screams and slams the refrigerator door.  Instantly, everything is
normal again.  She looks around the room.

THE EGGS

They are back in the carton, unbroken.

DANA

Fighting her fear, she turns back to the fridge and very slowly reaches
for the handle.  Then summoning all her courage, she yanks open the door.
Ketchup, mustard, bottles of vitamins and other food items fall out of the
rack on the inside of the refrigerator door.  Dana sighs with relief as
she sees nothing but the cool white porcelain interior of the fridge.  She
closes the door and stands there for a moment still shaken by the vision.
Then she shakes her head and leaves the kitchen.

EXT. FIREHALL -- DAY

The garage bay door is open.  Two painters on scaffolding are completing a
paint job on the front of the structure in flat black paint.  A carpenter
finishes hanging a sign over the door.  It reads:  GHOSTBUSTERS.

Then Stantz comes driving up in a very long, gold 1959 Cadillac ambulance
and turns into the garage bay of the firehall. The car has a battered look
to it and rumbles noisily due to a broken muffler.

INT. GARAGE BAY -- DAY

Stantz hits the siren and flashes the emergency lights as he drives in.
Venkman crosses to the car as Stantz jumps out enthusiastically.

						STANTZ
			Everybody can relax.  I found the car.  How
			do you like it?

						VENKMAN
				(not terribly pleased)
			Do you think it's wide enough?  How much?

						STANTZ
			Fourteen hundred.

Venkman steps on the front bumper and rocks it.  It wallows badly.

						STANTZ
			Just needs a little suspension work ... And
			a muffler ... And maybe brakes.

RECEPTION AREA -- DAY

A bored-looking red-headed young woman, JANINE MELNITZ, sits in a swivel
chair behind the reception desk, putting another coat of red polish on her
heavily lacquered nails.  Spengler is on his hands and knees wiring up the
telephone system.

						JANINE
				(with a definitive Queens
				accent)
			You're very handy, I can tell.  I bet you
			like to read a lot, too.

						SPENGLER
				(looks up)
			Print is dead.

						JANINE
			That's very fascinating to me.  I read a
			lot myself.  Some people think I'm too
			intellectual.  But I think reading is a
			fabulous way to spend your spare time.
				(he doesn't answer)
			I also play racketball.  Do you ever play?

						SPENGLER
			Is that a game?

						JANINE
			It's a great game!  You should play
			sometime.  I bet you'd be good.  You seem
			very athletic.  Do you have any hobbies?

						SPENGLER
			I collect spores, molds and fungus.

						JANINE
			Oh, that's very - unusual.

						SPENGLER
			I think it's the food of the future.

						JANINE
			Remind me not to go to lunch with you.

THE DOOR

Dana Barrett enters ance looks around hesitantly,

VENKMAN

He springs into action.

						VENKMAN
				(all charm)
			Hello.  I'm Peter Venkman.  May I help you?

						DANA
			Yes ... well ... I'm not sure.  What I have
			to say may sound a little ... unusual.

						VENKMAN
			We're all professionals here, Miss ...

						DANA
			Barrett.  Dana Barrett.

They walk toward the inner office.

						VENKMAN
			Why don't you step into the office and we'll
			talk about it.
				(to Janine)
			Hold all my calls, Janine.

						JANINE
			What calls?

Venkman frowns and exits with Dana.

INSERT -- TV MONITOR -- LATER

Dana is seen in close-up on a TV screen as she finishes telling about her
experience.

						DANA
			... and then I opened the door again but it
			was gone.  There was nothing there.

						VENKMAN
				(off-camera)
			So what do you think it was?

INT. OFFICE -- SAME TIME

Dana is hooked up to a lie detector.  Spengler is monitoring the readout
and videotaping the interview.  Venkman and Stantz are listening intently,
waiting for Dana's assessment of her experience.

						DANA
				(after a long pause)
			I think something in my refrigerator is
			trying to get me.

Venkman stares at her, trying to make sense of her last statement.

						VENKMAN
			Generally, you don't see that kind of
			behavior in a major appliance.  What do you
			think, Egon?

						SPENGLER
				(checking the polygraph)
			She's telling the truth -- or at least she
			thinks she is.

						DANA
				(defensive)
			Why would anyone make up a thing like that?

						VENKMAN
			Some people like the attention.  Some people
			are just crazy.

						STANTZ
				(muses)
			You know, Peter, this could be a past life
			experience intruding on the present.

						SPENGLER
			Or even a race memory, stored in the
			collective unconscious.  And I wouldn't rule
			out clairvoyance or telepathic contact either.

Dana starts laughing.  They all regard her curiously.

						DANA
				(trying to be serious)
			I'm sorry.  It's just that I don't believe
			in any of these things.  I don't even know
			my sign.

						SPENGLER
				(checks his notes)
			You're a Scorpio with your moon in Leo and
			Aquarius rising.

						DANA
			Is that good?

						VENKMAN
			It means you're bright, ambitious, outgoing
			and very, very sexy,

Dana looks at Venkman, flattered by the remark but more than a little
suspicious of his motives.

						DANA
			Is that your professional opinion?

						VENKMAN
			It's in the stars.

						STANTZ
			Why don't I check out the building?  It may
			have a history of psychic turbulence.

						VENKMAN
			Good idea.
				(to Dana)
			Were any other words spoken that you
			remember?

						DANA
			No, just that one word -- Zuul -- but I have
			no idea what it means.

						VENKMAN
			Spengler,  see if you can find the word
			"Zuul" in any of the literature.  I'll take
			Miss Barrett home and check out her apartment.

INT. DANA'S APARTMENT -- LATER THAT AFTERNOON

The door opens and Dana enters the darkened flat with Venkman. She
switches on the light and leads him to the living room.

						VENKMAN
			Have you ever thought of moving out -- at
			least until this disturbance blows over?

						DANA
			No.  If I moved out now I'd be acknowledging
			that what happened was real.  I'm not ready
			to do that.

Venkman sees the cello leaning up against the wall.

						VENKMAN
			You play the cello!  It's my favorite
			instrument.

						DANA
			Really?  Do you have a favorite piece?

						VENKMAN
				(thinks)
			I'd have to say Prokofiev's third concerto.

						DANA
			That's a violin concerto.

						VENKMAN
			Yeah, but it's got a great cello break.

He grabs the cello and starts playing it like a stand-up base.  Dana takes
the instrument out of his hands and gently puts it back in the case.

						DANA
			You really don't act like a scientist.

						VENKMAN
			No?  What do I act like?

						DANA
			Like a used car salesman.

						VENKMAN
			Thanks.
				(he gets down to business
				and starts looking around
				the apartment)
			What's in there?

He points to a door.

						DANA
			That's the bedroom, but nothing ever
			happened in there.

She takes off her jacket.

						VENKMAN
				(noticing her body)
			That's too bad.

						DANA
			What?

						VENKMAN
			Nothing.  Is that the kitchen?

He points to another door.

						DANA
				(nods)
			Uh-huh.

						VENKMAN
			Well, let's check it out.

						DANA
			I'll wait here if you don't mind.

He enters the kitchen.

INT. THE KITCHEN -- DAY

The room is a real mess.  Utensils are lying all over the floor.  The
cabinets and walls are splattered with food.

						VENKMAN
				(calls out)
			You're quite a housekeeper.

						DANA
				(off-camera)
			I told you, I ...

						VENKMAN
			I know.  It happened by itself.

He scans the room with his monitoring device.

						VENKMAN (CONT'D)
			Nothing.

He looks in a couple of cabinets, then confronts the refrigerator.  With
mild trepidation he grasps the door handle, then suddenly jerks it open.
The handle comes off in his hand.

						VENKMAN (CONT'D)
			Damn!

						DANA
				(off-camera)
			Are you all right?

						VENKMAN
			Yeah, yeah.

He grips the side of the fridge door and pulls it open.

INT. LIVING ROOM - DAY

Dana stands there nervously watching the kitchen door.  Finally, it opens
and Venkman comes out munching an apple.

						VENKMAN
			There's nothing there now and I don't get
			any significant readings.

						DANA
			This is terrible.  Either there's a monster
			in my kitchen or I'm completely crazy.

						VENKMAN
			If it's any comfort to you, I don't think
			you're crazy.

						DANA
				(laughs ironically)
			Thanks.  Coming from you that really means
			a lot to me.

						VENKMAN
			I'm a qualified psychologist.  I've got a
			degree and everything.  I believe that
			something happened here and I want to do
			something about it.

						DANA
			All right.  What do you want to do?

						VENKMAN
			I think I should spend the night here.

						DANA
				(she's had enough)
			That's it.  Get out.

						VENKMAN
			On a purely scientific basis.

						DANA
			Out!

						VENKMAN
			I want to help you.

						DANA
			I'll scream.

						VENKMAN
			Don't scream.

						DANA
				(urging him to the door)
			Then leave.

						VENKMAN
			Okay, okay.  But if anything else happens,
			you have to promise you'll call me.

						DANA
				(opening the door)
			All right.

						VENKMAN
			Okay.  Then I'll go.

						DANA
			Goodbye.

						VENKMAN
				(in the hall)
			No kiss?

She closes the door in his face and triple locks it.

EXT. HALLWAY -- DAY

Venkman stands there with his nose flattened against Dana's door.  He
starts to leave just as Louis Tully pokes his head out the door hoping to
see Dana.  He jealously eyes Venkman.  Venkman ignores Louis and gets on
the elevator.

Louis spots his newspaper lying on the floor across the hall.  Holding the
door open with one foot, he reaches for the paper but can't quite stretch
far enough.  Trying another approach, he swings the door open, leaps for
the paper and darts back to the door just as it slams shut in his face,
locking him out again.

INT. FIREHALL KITCHEN -- NIGHT

Stantz and Spengler are eating Chinese food from several take-out
containers.  Venkman enters.

						STANTZ
			How was your date?

						VENKMAN
			It wasn't a date.  It was an investigation.

						SPENGLER
			Did you see anything?

						VENKMAN
			Didn't see anything,  Didn't get anything.
			Nice girl - no ghost.  I'm starting to
			worry.  You said your graph was pointing to
			something big.  You told me things were
			going to start popping.

						STANTZ
			They will.

						VENKMAN
			Do you know when that might be?  We're on
			the brink of a very serious cash-flow problem.

He plucks a garlic shrimp from one of the Chinese food cartons and walks
off disconsolately.

EXT. HOTEL SEDGEWICK -- NIGHT

Two uniformed DOORMEN help people in and out of taxis and limos under the
hotel's elegant awning.

INT. HOTEL -- NIGHT

A "DO NOT DISTURB"  sign hangs on the doorknob of Room 1210.  Soft music
is heard coming from the room.

INT. ROOM 1210 -- NIGHT

The room is dark but we can hear the sighs and heavy breathing of a man
and woman making love on the bed.  The camera PANS across the floor
following a trail of dropped clothing -- a  tuxedo jacket and cummerbund,
white satin high heels, a lacy wedding gown, striped tuxedo trousers,
satin ladies underpants, stockings and garters.

						BRIDE (V.O.)
			Aren't you glad we waited?

						GROOM (V.O.)
			I don't know.  It probably would've been the
			same.

						BRIDE (V.O.)
				(indignant)
			Well, thanks a lot.

THE BED

The Groom turns his back to the Bride and pulls the sheet up to his neck.

						BRIDE
			What are you doing?  Are you just going to
			roll over and go to sleep?
				(he doesn't respond)
			I don't believe this.

She switches on the lamp on the nightstand and picks up a magazine.

THE AIR VENT

There is a throbbing shudder as if something powerful was rushing through
the air duct.  A hint of yellowy vapor wafts through the grating and into
the room.

THE NIGHTSTAND

The travel clock reads 9:45 P.M.  Suddenly there is an audible hiss, then
the glass clockface cracks down the middle with a snap.

THE BRIDE

Startled, she looks at the clock and picks it up to examine it.

						BRIDE
			Roy?  Your clock broke.

						GROOM
			Nice going, honey.  It was brand new.

						BRIDE
			I didn't break your precious clock, Roy!

He gets up and heads for the bathroom.

						BRIDE (CONT'D)
			Now where are you going?

						GROOM
			To the bathroom, where do you think?

						BRIDE
				(to herself)
			Have I done the right thing?

The Groom enters the bathroom and closes the door behind him.  The sound
of water running in the sink is heard.  Then the Bride hears a sound like
the noise a cat makes when trying to dislodge a hairball from its throat.

						BRIDE
				(calls out)
			Roy?  Are you all right?

The noise increases to the level of ten cats with hairballs.

						BRIDE
				(disgusted)
			Hey, sweetheart, will you CUT THAT OUT!!!

						GROOM (O.S.)
			Uuuuuuugh!!

						BRIDE
				(getting quite nervous)
			What's the matter, dear?

She gets out of bed just as he comes charging out, stuttering in stunned
horror.  She goes into the bathroom.

						BRIDE (V.O.)
			What did you do in here?  It smells awful!!
			OH ... Oh, no ... Oh, my God.

The Bride runs out of the bathroom into the arms of her husband who is on
the telephone.

						GROOM
			... right ... It's smelling up the whole
			suite ... I don't know ... It's just hanging
			off the ceiling ... I've never seen anything
			like this ... 1210 ... Quick ...

INT. FIREHALL OFFICE -- NIGHT

Janine turns off the light at her desk.  She packs up her purse and puts
on her coat.  The phone rings.  Janine answers it unenthusiastically.

						JANINE
			Ghostbusters ... Yes, it is ... Yes, of
			course they're serious.  You do!  You have!
			Yes, sir.  Well, they're out on another case
			now, but if you'll give me the address ...
			Don't worry, they'll be totally discreet.

She hits an alarm button and a loud bell starts ringing frantically.

INT. KITCHEN - NIGHT

The alarm sounds and everyone jumps up, scattering takeout cartons.

INT. DORM -- NIGHT

The alarm continues.  Everyone enters in haste and scrambles into
jumpsuits.  There is much hopping on one leg and bumping into one another.

BRASS POLE

Fully suited, Venkman jumps on and slides down followed quickly by
Spengler.  Then Stantz jumps at it but hits it at the wrong angle.  He
slowly slides down out of sight with a stunned look on his face.

INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT

Everyone pulls throwers, traps, packs and harnesses off the wall.

EXT. FIREHALL -- NIGHT

The garage door slides up and in a blaze of light and screeching tires,
the ambulance squeals out and makes a right turn. The vehicle  has been
painted flat black and has been fitted with communication wafers and
antennae.  All the original lights have been replaced with purple and
white strobes and the siren has been altered to emit a low, unearthly
moaning  The purple and white strobe bars give the car a strange
ultraviolet aura.  It rounds the corner and heads up the West Side
Highway.

EXT. HOTEL -- FRONT DOOR -- NIGHT

The black ambulance screeches up to the main entrance, siren blaring.
Emblazoned on the door is the Ghostbusters' new logo.  It's the
international symbol of prohibition, a red circle with a diagonal red
stroke across a ghost.  The DOORMAN steps forward as Venkman, Stantz and
Spengler leap out of the car.  They open up the rear door and remove their
equipment.  People on the street stop and gawk.

INT. HOTEL LOBBY -- NIGHT

As the Ghostbusters enter, people turn and stare at their strange
appearance.  They all wear matching blue futuristic jumpsuits with proton
packs strapped to their backs.  They also wear brushed-metal, flip-down
ecto-visors worn on the head like a welder's mask.  Knee and elbow pads
complete their strange outfits.

VENKMAN

He looks ill-at-ease and embarrassed by their outlandish getups as the
HOTEL MANAGER descends on them accompanied by a Slavic MAINTENANCE MAN and
a worried BELL CAPTAIN.

						MANAGER
				(agitated)
			Thank you for coming so quickly.  The guests
			are starting to ask questions and I'm running
			out of excuses.

						STANTZ
			Has this ever happened before?

						MANAGER
			Well, most of the original staff knows about
			the twelfth floor ... The disturbances, I
			mean ... But it's been quiet for years ...
			Up until two weeks ago ... It was never ever
			this bad, though.

						STANTZ
			Did you ever report it to anyone?

						MANAGER
			Heavens, no!  The owners don't like us to
			even talk about it.  I hoped we could take
			care of this quietly tonight.

						STANTZ
			Yes, sir.  Don't worry.  We handle this kind
			of thing all the time.

They cross the lobby to the elevators, attracting lots of curious interest
from the hotel guests.

VENKMAN

A GUEST accosts him while they wait for an elevator.

						GUEST
			What are you supposed to be?

						VENKMAN
			Me?  We're ... uh ... the exterminators.
			Somebody saw a cockroach on the twelfth floor.

The Guest looks at Venkman, noting the heavy proton pack on his back, the
odd-looking particle thrower and flipdown ecto-visor.

						GUEST
			That's gotta be some cockroach,

						VENKMAN
			Well, you can't be too careful with those
			babies.

The elevator arrives and he gets on with the others.

INT. THE ELEVATOR -- NIGHT

The Ghostbusters look nervous as they ride up the elevator.

						STANTZ
			I just realized something.  We've never had
			a completely successful test with any of the
			equipment.

						SPENGLER
			I blame myself.

						VENKMAN
			So do I.

						STANTZ
			No sense worrying about it now.

						VENKMAN
				(doubtful)
			Sure.  Each of us is wearing an unlicensed
			nuclear accelerator on our back.  No problem.

The elevator stops at the Twelfth Floor.

INT. TWELFTH FLOOR CORRIDOR -- NIGHT

The elevator doors open and Venkman peeks out into the hall.  He steps out
cautiously, followed by the others.

THE END OF THE HALL

A BELLBOY comes around the corner behind them, pushing a room service cart
loaded with dirty dishes.

STANTZ

He hears the rattle of the dishes behind him, whirls and fires a stream of
protons from his wand.  Spengler is so keyed up, he too spins and fires
wildly.

THE BELLBOY

He ducks as the particle streams blow the dishes off the cart and scorch
holes in the wall behind him.

						VENKMAN
				(shouts)
			Cease fire!

The Bellboy peeks out from behind the cart.

THE GHOSTBUSTERS

They breathe a sigh of relief.

						STANTZ
				(to the Bellboy)
			Sorry, Buddy!

						SPENGLER
			We'd better adjust our streams.

He leads them down the hall to Room 1210.

INT. ROOM 1210 -- NIGHT

The Ghostbusters enter trepidatiously and start taking readings.

						SPENGLER
				(looking at his meters)
			Something was definitely here.

						VENKMAN
			Yeah, I can smell it.

						STANTZ
			I'm getting high readings near the air
			vents.  It must be using the duct system to
			get around.  See, I told you we'd get
			something.

						VENKMAN
			So far all we got is a shit smell on the
			twelfth floor and we almost fried a Puerto
			Rican bellboy.

						STANTZ
			All right.  Let's cool the negative vibes.
			These things can sense them.

They exit the room.

INT. A CORRIDOR -- NIGHT

Spengler makes his way down the hall reading valences at the door to each
room.  He knocks on one of the doors, then passes his sensor over the top
of the door and down the jambs.  Then he gets on his knees to read the
crack at the bottom of the door.  Suddenly the door opens and he looks up
to see a really stunning woman wrapped in a bath towel with another towel
twisted turban-style around her wet hair.

						WOMAN
				(noting his unusual attire)
			Yes?

						SPENGLER
				(stands up)
			Were you recently in the bathroom?

						WOMAN
				(sarcastic)
			What on earth gave you that idea?

						SPENGLER
				(seriously)
			The wet towels, residual moisture on your
			lower limbs and hair, the redness in your
			cheeks indicating ...

						WOMAN
				(cutting him off)
			You're a regular Sherlock Holmes.  Now what
			do you want?

						SPENGLER
			When you were in the bathroom, did you
			notice anything that was yellow and
			unusually smelly?

She slams the door in his face.  Spengler shrugs and moves on.

INT. ANOTHER CORRIDOR -- SAME TIME

Stantz moves down the hall checking PKE valences.

HIS PKE METER

The needle jumps into the red.

STANTZ

He alerts Spengler through the walkie-talkie headset he wears.

						STANTZ
				(hushed)
			Egon!  I got something.  I'm moving in.

Slowly and cautiously, he turns the corner at the end of the hall.
Suddenly, he sees the object of their search and freezes.

						STANTZ
				(frightened)
			Yaaaaaaaaah!

STANTZ' POV

The vapor is hunched over a room service cart loaded with dirty dishes.
It hangs there, translucent, foul, yellow, feeding off table scraps and
leftover beverages, knocking dishes off the cart and scattering refuse.
It looks like a misshapen potato with a pushed-in face and spindly arms.

						SPENGLER
				(over the walkie-talkie)
			Ray!  Where are you?  Are you all right?

						STANTZ
				(amazed)
			God, it's ugly!

THE VAPOR

It raises a half-empty bottle of wine to its gaping maw and chugs down the
liquid.  The wine is visible as it pours down his gullet and passes
through his system, finally spilling through his body onto the floor.

STANTZ

He edges closer.

						STANTZ
				(whispers into his head
				set)
			I'm moving in.  I don't think it's seen me
			yet.

THE VAPOR

It crams some leftovers into its mouth and belches loudly.

STANTZ

He is growing increasingly more disgusted as the initial fear leaves him.

						STANTZ
			Ugh!  What a slob!  I'm going to take him.
				(shouts at the vapor)
			Freeze, Potato-Face!

He fires his particle thrower at the vapor.

THE VAPOR

It dodges Stantz' first shot and the ion stream tears away fifty feet of
wallpaper in a searing ricochet.  Then the vapor flies off down the hall,
pulling the room service cart along in its wake.

STANTZ

He chases it down the hall, shouting into his headset.

						STANTZ
			He's getting away!

THE VAPOR

It reaches the end of the corridor but instead of turning, it passes right
through the solid wall.  The room service cart crashes into the wall,
smashing dishes and sending the debris flying.

INT. A HOTEL ROOM -- NIGHT

A MAN is just pulling the plastic bag off his recently dry-cleaned white
dinner jacket when the noxious vapor comes shooting through the wall.  It
blows right over him with a great rush of stinking wind and exits through
the air vent.

THE MAN

He looks at the air vent then back at his dinner jacket which has turned
several shades of sickly yellow and brown.

INT. A CORRIDOR -- NIGHT

Venkman is alone in a long hallway.  He leans against the wall, clearly
not taking any of this seriously.  He hauls on a cigarette and mutters to
himself.

						VENKMAN
			This bites it.  I actually work for a
			company called Ghostbusters.

Suddenly from the end of the hallway comes the sound of rattling dishes
and silverware, accompanied by footsteps.  Venkman's PKE meter beeps and a
red light winks on.

						VENKMAN (CONT'D)
				(into the walkie-talkie)
			Ray -- Something's here.

						STANTZ (O.S.)
				(crackling over the
				communicator)
			Where are you, Pete?

						VENKMAN
				(backing away)
			Third floor.  Get down here,

						STANTZ
			Sit tight.  I'm on my way.

						VENKMAN
			Well, hurry up.
				(checks his meter)
			The needle's going wild.

VENKMAN'S POV

A room service cart sails past along a perpendicular hallway and rolls out
of sight.  Then immediately behind it comes a reeking yellow haze.  It is
the vapor.  It doesn't follow the cart but instead makes the turn at the
end of the hall and hovers there, apparently looking at Venkman.

VENKMAN

He's scared now.

						VENKMAN
				(into his head set)
			It's here, Ray.  It's looking at me.

						STANTZ
				(on the radio)
			Don't move.  It won't hurt you.

						VENKMAN
			How do you know?

						STANTZ
			I don't know.  I'm just guessing.

Venkman sees the vapor start down the hall toward him.

						VENKMAN
				(panicking)
			Well, I think you guessed wrong.  Here he
			comes!

THE VAPOR

It flies down the hall toward Venkman.

INT. STAIRWELL -- SAME TIME

Stantz runs downstairs taking them three at a time as Venkman is heard
screaming over the radio.

						VENKMAN
				(screaming)
			Veeaaaaaahh!

INT. THIRD FLOOR

Stantz comes running around the corner and sees Venkman flat on his back,
flailing his arms and legs frantically,  Sickening, yellow-green ectofluid
covers his head and chest.

						VENKMAN
			Aagghh -- aaaggghh -- uhh -- uhh -- It slimed
			me!  It slimed me!

Suddenly Spengler's voice crackles over the communicator.

						SPENGLER (V.O.)
			Ray!  It's here!  It just went into the
			Banquet Room on the third floor.

Stantz helps Venkman to his feet and they rush off.

INT. BANQUET ROOM -- NIGHT

The Ghostbusters enter a large dark room with a high, ornately-corniced
ceiling and a crystal chandelier hanging in the center.

						STANTZ
			Visors down.  Full stream.

They flip down their visors and scan the room.

STANTZ

He peruses the room but sees nothing.  He looks up and scans the ceiling.
A form flits behind a carved beam.

						STANTZ
			There!  On the ceiling!
				(the others look)
			Come on down here, you slug!

Stantz drops to one knee and fires at the vapor.

THE CEILING

The vapor dodges as the beam blasts a sizable chunk of plaster out of the
ceiling and destroys half the crystal chandelier.

VENKMAN

He fires at it, too, wasting the rest of the chandelier but the vapor
dodges away.  They are both ready to start blazing away again when
Spengler stops them.

						SPENGLER
				(urgently)
			Wait!  Wait!  There's something I forgot to
			tell you.

						VENKMAN
			What?

						SPENGLER
				(emphatic)
			Don't cross the beams.

						VENKMAN
			Why not?

						SPENGLER
			Trust me.  It will be bad.

						VENKMAN
			What do you mean "bad?"

						SPENGLER
			It's hard to explain, but try to imagine
			all life as you know it stopping
			instantaneously and finding yourself
			confined forever in another dimension.

Venkman considers his own safety and decides to take charge.

						VENKMAN
				(with military authority)
			That's it!  I'm taking charge.  You guys
			are dangerous.

They yield command to him.

						VENKMAN (CONT'D)
			Now nobody does anything unless I order you
			to, okay?

STANTZ AND SPENGLER

They nod obediently and glance nervously at the vapor, still hovering near
the ceiling.

						VENKMAN
			Let's do it.  This thing's not going to hang
			around all day waiting for us.  Ray, give me
			one stream wide right of it. I'll go wide
			left.  Now!

STANTZ AND VENKMAN

They trigger their throwers and two streams are emitted, shooting off to
either side of the entity.  The entity swirls but stays between the beams.

						VENKMAN
				(talking them through it)
			Good ... Good ... Nice and wide ... Move
			with him ... Easy.  Hold steady.

THE VAPOR

It bobs and weaves, trying to slip past the visible lines of light, but
Venkman and Stantz manage to keep it boxed in.

						VENKMAN
				(speaking clearly)
			Now, very slowly, Ray, let's tighten it up.
			You hold steady.  I'm coming down.

They start closing the distance between their ion streams.

						SPENGLER
				(cautious)
			Don't cross them!  Watch it!

STANTZ

The vapor is trying to get around his streams, causing him to waver as
Venkman's stream gets closer and closer.

						VENKMAN
			Spengler! A little help!  Cut him off.

THE VAPOR

It slips past Stantz and races for the air vent.

SPENGLER

He fires with such poor marksmanship that he comes only centimeters from
crossing Venkman's stream. Venkman jerks away to avoid crossing Spengler's
erratic bursts and maneuvers.  Together they do extensive damage to the
walls.

INT. CORRIDOR -- SAME TIME

The Hotel Manager and the Maintenance Man look nervously at each other as
they hear the sound of heavy property damage coming from the banquet room.

INT. BANQUET ROOM - NIGHT

Stantz has the thing cornered to some extent.

						STANTZ
				(to Venkman)
			I'll nudge it out of the corner.  You cut
			off the left side.

Stantz moves closer to the wall and Venkman counters to trap the vapor
again.

						VENKMAN
				(encouragingly)
			You got it!  That's good.  Easy now.

They manage to guide the vapor out into the center of the room, all the
time closing the figurative box around it.

						STANTZ
			It's working!

						SPENGLER
			Easy ... Easy ... I'm going to throw in my
			trap now.

Spengler jerks his leg up, triggering a release on his equipment belt.  A
cord and foot pedal fall to the floor.  At the end of the cord there is a
long, flat black metal box two feet long, four inches wide and two high.
He kicks the box under the apparition and toes the foot pedal into
position. The apparition blasts them with a flatulent gust.  They recoil
but hold the configuration.

						STANTZ
			Easy ... Easy ... Open the trap now!!

Spengler stomps on the foot pedal and with a loud electronic snap the long
metal box on the floor sprays up a fixed multidimensional inverted pyramid
of bright, beaded white light.

Stantz and Venkman herd the vapor to the top of the trap.

						VENKMAN
			Watch it ... Watch it ... Now!

Spengler stomps the foot pedal again.

Suddenly there is a loud double electronic snap and a blinding flash of
pink light. Wisps of brown smoke and carbonized particles rise to the
ceiling in a large residual puff. The Ghostbusters stand there for a long
moment not quite sure the battle is over.

SPENGLER

He cautiously approaches the trap end looks at the valence indicator on
it.

						SPENGLER
				(confirms it)
			He's in here.

STANTZ AND VENKMAN

They whoop in triumph -- and considerable relief.

						STANTZ
				(pulling off his slimy
				visor)
			Well!  That wasn't so bad, was it?

Venkman looks askance at him.

						VENKMAN
			Are you kidding?  That was like trying to
			push smoke into a bottle with a baseball
			bat.  Now what do we do with it?

He looks at Stantz.

STANTZ

He looks at Spengler.

SPENGLER

He shrugs.

						VENKMAN (CONT'D)
				(not pleased)
			We'll have to work on that.
				(to Stantz)
			Grab that, would you, Ray?

They exit, leaving Stantz to deal with the trap.

INT. LOBBY -- NIGHT

The elevator opens and the Ghostbusters emerge.  Stantz holds the trap by
it's foot pedal.  He dangles it away from his body as if it is something
putrid.  The Hotel Manager approaches them.

						HOTEL MANAGER
			What happened?  Did you see it?  What is it?

Stantz removes his infra visor and wipes some slime off his face.  He is
beaming,

						STANTZ
			We got it!

He holds up the trap.

						HOTEL MANAGER
			What was it?  Will there be any more of them?

						STANTZ
			Sir, what you had there was what we refer
			to as a focused, non-terminal repeating
			phantasm or a Class Five Full Roaming Vapor
			... A real nasty one, too.

						VENKMAN
				(starts writing a bill)
			That'll be $4,000 for the entrapment plus
			$1,000 for proton recharge and storage.

						HOTEL MANAGER
				(shocked)
			Five thousand dollars!  I won't pay it.  I
			had no idea it would be so much.

						VENKMAN
			Fine.  We'll let it go again.
				(calls out)
			Ray!  Bring it back.

						HOTEL MANAGER
			No!  All right.  Anything.

EXT. HOTEL SEDGEWICK -- NIGHT

The Ghostbusters come through the revolving doors and see a real mob scene
on the street.  A large crowd has gathered around the Ectomobile and the
police have put up a barricade to hold them back.  Photographers are
taking pictures of it and several reporters are there waiting for them.
As the Ghostbusters cross to the vehicle, people in the crowd cheer and
the reporters start firing questions at them.

						REPORTER #1
			Nate Cohen.  I'm with the Post.  What
			happened in there?

						REPORTER #2
			Did you really see a ghost?

						REPORTER #3
			Is this some kind of a stunt?

						STANTZ
				(holding up the trap;
				loudly to the crowd)
			We got one!

						REPORTER #1
			Can we see it?

						STANTZ
			Uh...I'm afraid not.

						VENKMAN
			This is not a sideshow!  We're serious
			scientists.

						REPORTER #4
			What proof do you have that what you saw
			was real?

						STANTZ
			Proof?  Well, the manager of the Sedgewick
			just paid us five big ones to get something
			out of there.  Is that real enough for you?

						REPORTER #2
			Are you saying that ghosts really exist?

						VENKMAN
				(pitching)
			Not only do they exist, they're all over
			the place!  And that's why we're offering
			this vitally important service to people in
			the whole tri-state area.  We're available
			twenty-four hours a day, seven days a week.
			We have the tools and we have the talent.
			No job too small, no fee too big.  We're
			ready for anything.

SPENGLER

He's confused by all the commotion and the barrage of questions from the
press. A STREET PUNK in the crowd behind the police barricades keeps
hissing at him.

						STREET PUNK
			Mister!  Hey, Mister!  Come here!  Mister.

He finally gets Spengler's attention and waves him over.

						STREET PUNK (CONT'D)
			Hey, Mister!  Can I see those guns?

						SPENGLER
			They're not guns.  They're particle throwers.

						STREET PUNK
			Yeah, yeah.  I just want to see 'em.

						SPENGLER
			I couldn't do that.  You might hurt someone.

He turns away.

						STREET PUNK
			Wait!  Wait!  Let me ask you something.  If
			you like shot Superman with those guns, would
			he feel it or what?

						SPENGLER
				(with authority)
			On Earth -- no.  But on Krypton we could
			slice him up like Oscar Mayer Bologna.

						STREET PUNK
			Wow!

VENKMAN AND STANTZ

They are in high spirits as they continue to field questions.  A minicam
is videotaping them.

						MINICAM REPORTER
			Sing the song from your commercial.

						STANTZ
				(reluctant)
			No, we have to get back and ...

						MINICAM REPORTER
				(wheedling)
			Come on.  It's free advertising.

						VENKMAN
			There's a thought.  Hit it, Ray.

Stantz shrugs and starts singing the Ghostbusters song with embarrassed
restraint.

						STANTZ
				(singing)
			Ghostbusters ... If you have a ghost
			But you don't want to play host ...

Venkman joins in with a harmony and they continue with more confidence.

						STANTZ & VENKMAN
				(singing)
			They can be bad houseguests
			And all-night pests ...
			You can't sleep at all
			So who do you call?

Spengler joins them for the big finish with no perceivable sense of melody
or rhythm.

						ALL TOGETHER
				(singing)
			Ghostbusters ... Ghostbusters.

At the moment a flashbulb goes off freezing the Ghostbusters in a
still-frame that becomes a front-page news photo.

FRONT PAGE

The New York Post carries the picture with a big headline reading:
GHOSTBUSTERS?

The Ghostbusters' song really starts to cook with full production now as a
MONTAGE begins.

TELETYPE MACHINES

A bank of whirring, clicking teleprinters spits reams of hard copy and
wire service photos depicting the team at work.

						ANNOUNCER (V.O.)
			Hello, America.  This is Ronald Gwynne
			reporting from United Press International
			in New York.  Throughout my entire career
			as a journalist I have never reported
			anything as exciting and incredible as the
			trapping of an actual supernatural entity
			by a team of men based in this city who call
			themselves Ghostbusters.

INT. FIREHALL

The team hears the alarm buzzer.  They leap from their beds and slide down
the pole.

						ANNOUNCER (V.O.) (CONT'D)
			Now, most of us have never even heard of a
			floating, slime-like substance called
			ectoplasm, but these gentlemen claim we will
			be seeing a lot more of it than ever before.

EXT. YANKEE STADIUM -- DAY

The Ectomobile is parked at home plate.  The Ghostbusters enter the Yankee
dugout as a concerned Groundskeeper looks on.

EXT. TIMES SQUARE -- NIGHT

The electronic Seiko sign flashes the news: Ghostbusters Nab Phantom Bat
Boy at Yankee Stadium.

FULL SCREEN VIDEO OF ROGER GRIMSBY

						ROGER GRIMSBY
			Good morning.  Today the entire Eastern
			Seaboard is alive with talk of hundreds of
			reported incidents involving multiple
			sightings in what can only be described as
			extreme events of paranormal extraphenomenical
			proportions.  It seems everybody is willing
			to bring their old ghosts and skeletons out
			of the closet.  Roy Brady reports from New
			York.

EXT. IN FRONT OF FIREHALL

Minicam set up in street.

						ROY BRADY
			Thank you, Roger.  Everybody's heard ghost
			stories around the campfire.  Heck, my
			grandma used to spin yarns about a spectral
			locomotive that used to rocket past the farm
			where she grew up.  Now, as if some unseen
			authority had suddenly given permission,
			thousands of people here are talking about
			encounters they claim to have had with ghosts.

Music and Teleclicker up.

EXT. TUDOR CITY -- DAY

The Ectomobile pulls up to a Gothic apartment building in the complex. The
Ghostbusters jump out, end hurry into the lobby.

A POLICEMAN

He notices that the Ectomobile is illegally parked and walks over to gawk
at the odd vehicle.

THE ECTOMOBILE

As the Policeman approaches, a set of double antennae on the roof are
automatically activated.  They rotate and tilt to point at the Policeman.
The Policeman is a little unnerved by the antennae and starts to walk
around the car, but the antennae follow him with unerring accuracy.

THE POLICEMAN

Eager to get away from the vehicle, he quickly writes a parking ticket and
sticks it under the windshield wiper.

THE WINDSHIELD

As the Policeman withdraws his hand, the ticket heats up, bursts into
flame and burns up.

THE POLICEMAN

He stares at the ashes for a moment then slowly backs away from the car.

INT. ECTOMOBILE -- NIGHT

Stantz is driving.  Spengler and Venkman are asleep.  They all look
completely exhausted.

THE JOE FRANKLIN SHOW -- ON CAMERA

						JOE FRANKLIN
			Ray, every time I hear about your company,
			I can't help thinking about the old Bob Hope
			movie.

						STANTZ
			Actually, Joe, the title of that film was
			"Ghostbreakers," and Olsen and Johnson did
			one called "Ghost Catchers" and the Bowery
			Boys did "Ghost Chasers," "Hold That Ghost,"
			"Spooks Run Wild," "Spook Busters," and
			"Spook Chasers."

						JOE FRANKLIN
			Well, in any case, I guess there's one big
			question on everybody's mind and you're
			certainly in a position to answer it for us:
			Have you seen Elvis and how is he?

INT. RADIO STUDIO

LARRY KING is doing his phone-in talk show.

						LARRY KING
			Our phone-in topic today: Ghosts and
			Ghostbusting.  The controversy builds as more
			sightings are reported and some maintain that
			these professional paranormal eliminators in
			New York are the cause of it all.  Why did
			everything start just when these guys went
			into business?

EXT. LINCOLN CENTER -- DAY

Larry King continues voice-over as members of the New York Philharmonic
come out the stage door of Avery Fisher Hall.

						LARRY KING (V.O.)
			Should they be allowed to carry around
			unlicensed proton mass drivers?  And what's
			wrong with ghosts anyway?  Call us ... All
			our lines are open.  Hello, Larry King.

Dana is walking with another man, a VIOLINIST, when she sees Venkman
sitting on the edge of the fountain in the center of the plaza.  She asks
the Violinist to wait and crosses to Venkman.

						FEMALE CALLER (V.O.)
			Hello, Larry?  I think what Dr. Spengler
			said in his interview with you last night
			was true.  The world is in for a "psychic
			shock" 'cause like my aunt reads coffee
			grounds and she ...
				(fade out)

VENKMAN AND DANA
She is surprised and a little bit pleased to see him.

						VENKMAN
			Great rehearsal.

						DANA
			You heard it?

						VENKMAN
			You're the best one in your row.

						DANA
				(skeptical)
			Most people can't hear me with the whole
			orchestra playing.  You're good.

						VENKMAN
			I don't have to take abuse from you.  I have
			other people dying to give it to me.

						DANA
			I know.  You're quite a celebrity these
			days.  Are you here because you have info
			... about my case?

						VENKMAN
				(looks at the Violinist
				who appears to be getting
				impatient)
			Who's the stiff?

						DANA
			The "stiff?"  He happens to be one of the
			finest musicians in the world and a wonderful
			man.

						VENKMAN
			Is he dying or something?

They glance at the Violinist.

THE VIOLINIST

He takes a hit of nasal spray in each nostril.

DANA AND VENKMAN

She looks at him trying to decide whether she likes him or not.

						DANA
			He is a very close friend.  Do you have some
			explanation of what happened in my apartment?

						VENKMAN
			Yes, but I have to tell you in private at a
			fine restaurant.

						DANA
			Can't you tell me now?

						VENKMAN
			I'll cancel the reservation,  I found the
			name "Zuul" in ...
				(reading)
			The Roylance Guide to Secret Societies and
			Sects.  I don't suppose you've  read it.

						DANA
			You must have gotten the last copy.

						VENKMAN
			Well, the name Zuul refers to a demi-god
			worshipped around 6000 B.C. by the ...
			What's that say?

						DANA
			Hittites,  the Mesopotamians and the
			Sumerians.  "Zuul was the Minion of Gozer."

						VENKMAN
			"Gozer" -- he was very big in the Sumerian
			religion.  One of their gods.

						DANA
			What's he doing in my refrigerator.

						VENKMAN
			I'm checking on that.  I think we should
			meet Thursday night at nine to talk about
			it.

						DANA
			I don't think so.  I'm busy Thursday night.

						VENKMAN
				(persists)
			You think I enjoy giving up my evenings to
			spend time with clients?  I'm making an
			exception because I respect you as an artist
			and as a dresser.

						DANA
				(laughs)
			All right.  Since you put it that way.

						VENKMAN
			I'll pick you up at your place.  I'll bring
			along the Roylance Guide -- we can read
			after we eat.

						DANA
			I've got to go now.

She walks toward the Violinist.  Venkman shouts after her.

						VENKMAN
			Remember.  I'm the only one standing between
			you and a heavy Hittite.

She starts walking away.

						VENKMAN (CONT'D)
				(calls after her)
			I'll pick you up at your place.

DANA

She waves goodbye and rejoins the Violinist,

VIOLINIST AND DANA

						VIOLINIST
				(jealous)
			Who was that?

						DANA
			Oh, he's an old professor of mine.

						VIOLINIST
				(doubtful)
			Really?

						DANA
			Yes.  He's smarter than he looks.

They walk off.

INT. RECEPTION AREA -- DAY

Janine is handling a steady barrage of phone calls, switching from one
line to the other.  WINSTON ZEDDEMORE, a large, impressive-looking black
man sits across from her filling out a job application.

						JANINE
				(answering a call)
			GHOSTBUSTERS -- please hold.
				(switches)
			Good afternoon, GHOSTBUSTERS -- please hold.
				(switches back)
			Yes, can I help you?
				(pause)
			Yes ... yes,  Is it just a mist or does it
			have arms and legs ...?  Uh-huh ... Well,
			the soonest we could possibly get to you
			would be a week from Friday ... I'm sorry,
			but we're completely booked until then ...
			Uh-huh ... Well, all I can suggest is that
			you stay out of your house until we can get
			to you.  Thank you.

She hangs up.

						WINSTON
			Let me ask you something.  The ad in the
			paper just said "Help Wanted."  What's the
			job?

						JANINE
			I really don't know, Mr. Zeddemore.  They
			just told me to take applications and ask
			you these questions.
				(she reads from a
				questionnaire as if for
				the hundredth time)
			Do you believe in U.F.O.'s, astral
			projection, mental telepathy, ESP,
			clairvoyance, spirit photography,
			full-trance mediums, telekinetic movement,
			black and/or white magic, pyramidology, the
			theory of Atlantis, the Loch Ness Monster,
			or in general in spooks, spectres, wraiths,
			geists and ghosts?

						WINSTON
			Not really.  However, if there's a
			semi-regular paycheck in it I'll believe
			anything you say.

EXT. FIREHALL -- SAME TIME

A gaggle of autograph hounds is waiting on the street as Ecto One pulls
in.  The front of the building now bears a big neon sign with the
Ghostbusters logo on it.

INT. GARAGE BAY -- DAY

Venkman and Stantz disembark.  They carry a couple of traps apiece.  Their
jumpsuits are covered with smoldering ecto-slime.  The Ectomobile looks
like it's been through a war.

						STANTZ
				(exhausted)
			Boy, that was a rough one.

						VENKMAN
			I can't take much more of this.  The pace
			is killing me.

RECEPTION AREA - DAY

Venkman enters with Stantz, crosses to Janine and drops a paid invoice on
her desk.

						VENKMAN
			Here's the paper on the Brooklyn job.  She
			paid with a Visa card.

						JANINE
				(hands a sheaf of work
				orders to Stantz)
			Here are tonight's calls.

						STANTZ
				(shuffles through them)
			Oh, no.  Two more free-roaming repeaters.

						JANINE
			And this is Winston Zeddemore.  He came
			about the job.

						STANTZ
			Hi.  Ray Stantz.  Pete Venkman.

They shake hands.

						JANINE
				(to Venkman)
			And someone from the EPA is here to see you.

						VENKMAN
			The EPA?  What's he want?

						JANINE
			I didn't ask him.  All I know is that I
			haven't had a break in two weeks and you
			promised you'd hire more help.

						VENKMAN
				(surly)
			Janine, I'm sure a woman with your
			qualifications would have no trouble finding
			a top flight job in the housekeeping or food
			service industry.

						JANINE
			Oh, really?  Well, I've quit better jobs
			than this one, believe me.

He exits.

STANTZ

He scans Winston's resume, ignoring the flare-up between Janine and
Venkman.  They start downstairs to the storage facility.

						STANTZ
			Very impressive resume.  Electronic
			countermeasures, Strategic Air Command ...
			Black belt in Karate ... Small arms expert
			... Mr. Zeddemore, as you may have heard,
			we locate ghosts and spirits, trap them with
			streams of concentrated quantum energy and
			remove them from people's homes, offices and
			places of worship.

						WINSTON
			Yeah, I heard that.  Now tell me what you
			really do.

INT. THE OFFICE -- SAME TIME

The walls are plastered with newspaper and magazine stories on
Ghostbusters.  WALTER PECK, junior E.P.A. administrator, is reading one of
the articles when Venkman walks in.

						VENKMAN
			Can I help you?

						PECK
				(turns all business)
			I'm Walter Peck.  I represent the
			Environmental Protection Agency, Third
			District.

						VENKMAN
				(not impressed)
			Great!  How's it going?

						PECK
			Are you Peter Venkman?

						VENKMAN
			Yes, I'm Doctor Venkman.

Peck looks at Venkman's soiled jumpsuit.

						PECK
			Exactly what are you a doctor of, Mr.
			Venkman?

						VENKMAN
			I have Ph.D's in psychology and
			parapsychology.

						PECK
			I see.  And now you catch ghosts?

						VENKMAN
			You could say that.

						PECK
			And how many ghosts have you caught, Mr.
			Venkman?

						VENKMAN
			I'm not at liberty to say.

						PECK
			And where do you put these ghosts once you
			catch them?

						VENKMAN
			In a storage facility.

						PECK
			And would this storage facility be located
			on these premises?

						VENKMAN
			Yes, it would.

						PECK
			And may I see this storage facility?

						VENKMAN
			No, you may not.

						PECK
			And why not, Mr. Venkman?

						VENKMAN
			Because you didn't say the magic word.

						PECK
				(sighs)
			And what is the magic word, Mr. Venkman?

						VENKMAN
			The magic word is "please."

Peck laughs nervously.

						PECK
			May I please see the storage facility?

						VENKMAN
			Why do you want to see it?

						PECK
			Well, because I'm curious.  I want to know
			more about what you do here.  Frankly, there
			have been a lot of wild stories in the media
			and we want to assess any possible
			environmental impact from your operation.
			For instance, the storage of noxious,
			possibly hazardous waste materials in your
			basement.  Now either you show me what's down
			there or I come back with a court order.

						VENKMAN
				(he's had it)
			Go ahead!  Get a court order.  Then I'm
			gonna sue your ass off for wrongful
			prosecution.

						PECK
				(exiting)
			Have it your way, Mr. Venkman.

						VENKMAN
				(shouts after him)
			Hey!  Make yourself useful!  Go save a tree!

INT. FIREHALL BASEMENT -- SAME TIME

Spengler is at the work bench repairing a damaged proton pack. The place
is a mess with equipment, work orders, parts, catalogs and old lunches
piled everywhere. Half the room has been sealed off from floor to ceiling
with concrete blocks to form a storage facility for captured spirits.
Winston is standing at a viewing slit staring into the storage facility.

STANTZ

He inserts a trap into a metal-lined slot in the wall of the storage
facility.  Spengler crosses to a control console to assist him.

						STANTZ
				(pushing buttons)
			Set entry grid.

						SPENGLER
			Neutronize.  System shut.

He pushes more buttons and the slot lights up.  Several grating electronic
snaps are heard, like the sound of bugs being fried on an outdoor insect
light.  Then Stantz withdraws the trap and tosses it into a bin marked:
FOR RECHARGE.

						SPENGLER (CONT'D)
			I've got to sleep.

						STANTZ
			I need two new purge valves.  How's the grid
			around the storage facility holding up?

						SPENGLER
			I'm worried, Ray.  It's getting crowded in
			there.  And all my recent data points to
			something big on the bottom.

						WINSTON
				(concerned)
			What do you mean "big?"

Spengler picks up a Hostess Twinkie from the workbench.

						SPENGLER
			Well, let's say this Twinkie represents the
			normal amount of psychokinetic energy in the
			New York area.  According to this morning's
			PKE sample, the current level in the city
			would be a Twinkie 35 feet long weighing
			approximately six hundred pounds.

						WINSTON
			That's a big Twinkie.

						STANTZ
			We could be on the verge of a fourfold
			crossover ... or worse.  If what we're
			seeing indicates a massive PKE surge, we
			could experience an actual rip.

Spengler nods gravely. Venkman enters looking very concerned.

						VENKMAN
			Egon, how's the grid around the storage
			facility holding up?

						STANTZ
			It's not good, Pete.

						WINSTON
			Tell him about the Twinkie.

Venkman lets that remark go and crosses to a TV monitor linked to a camera
inside the storage facility.

						VENKMAN
				(peering)
			I can't look anymore.  It's too depressing.

THE MONITOR.

We zoom in on the monitor and get our first real look inside the storage
facility.  It is a bleak repository for souls of many species.  Strange
lights, mists and spectral shapes waft about aimlessly.  Human-like
figures lean against the walls in despairing convict poses.  Others flit
and hang on the ceiling.  It is a sad and frightening limbo and a most
unholy makeshift asylum.

EXT. MANHATTAN SKYLINE -- NIGHT

A mysterious cloud takes shape and hovers over Dana's apartment building.
Then a strange glow starts to radiate from the temple-like structure on
the roof.

EXT. THE TEMPLE -- NIGHT

The moon shines through the odd cloud configuration, illuminating the
ornate temple door with its two stone Terror Dogs posed rampant on either
side of the portal.

TERROR DOG

Its hideous stone features are bathed in moonlight.  The camera PANS down
its grotesque body to one of its claws.  Suddenly there is a hiss and an
audible crack of disintegrating mortar as one of its stone talons comes to
life.

ITS HEAD

The stone figure opens its eyes, revealing glowing red pupils beneath the
scaly lids.

INT. HALLWAY -- NIGHT

Dana gets off the elevator and immediately hears loud music blasting from
Louis' apartment as his party hits full swing.  She tiptoes past his door
but despite the loudness of the music, Louis somehow senses her presence
and comes rushing out into the hall.

						LOUIS
			Oh, Dana, it's you.

						DANA
			Hi, Louis.

						LOUIS
			Hey, it's crazy in here.  You're missing a
			classic party.

						DANA
			Well, actually Louis I have a friend coming
			by.

						LOUIS
			Great!  Bring her, too.  But you better
			hurry.  I made nachos with non-fat cheese
			and they're almost gone.  I'll make some
			more though.

						DANA
				(entering her apartment)
			Fine, Louis.  We'll stop in for a drink.

						LOUIS
			I got the Twister game for later ...

Dana closes the door leaving Louis alone in the hall, once again locked
out of his own apartment.

						LOUIS (CONT'D)
				(knocking on his door)
			Hey.  Lemme in ...

INT. DANA'S APARTMENT -- NIGHT

She enters and takes off her coat.  She's wearing dance clothes and
appears to be really tired.  She sits down in an overstuffed chair and
takes off her leg warmers.  Then leans back and closes her eyes.  It is
very quiet.  Something dreadful is about to happen. Then it happens. The
phone rings so loudly it makes Dana jump.  She picks it up.

						DANA
			Hello ... Oh, hi Mom.  Yes ... yes.
			Everything's fine.  No ... nothing.  Just
			that one time ... I am ... I will ... I
			won't ... Mother!  I'm all right.  I told
			you.  Everything's fine ...!  All right.
			I'll talk to you tomorrow ... I promise.
			'Bye.

She hangs up the phone, leans her head back and closes her eyes again.  We
hold on her for a long beat.

INT. THE KITCHEN DOOR   NIGHT

An eerie light is seen coming through the cracks around the door.

DANA

She sits up in surprise and looks at the kitchen door.

						DANA
			Oh, shit!

She starts to get up but suddenly a pair of scaly, inhuman hands rip out
of the chair cushion on either side of her and clutch her around the
waist.  She screams and tries to break their grip, but another pair of
claws tears through the upholstery and grabs her around the chest and
neck, pinning her to the chair.

THE CHAIR

As if drawn by a powerful force, the chair with Dana in it slides across
the living room floor toward the kitchen door.

THE KITCHEN DOOR

The whole door is now pulsing.

DANA

She is horrified.

THE KITCHEN DOOR

It swings open, revealing a fiery chamber where the kitchen used to be.
One of the Terror Dog creatures seen earlier in the fridge is standing
there waiting for Dana with outstretched claws.

DANA

She screams as the chair propels her into the kitchen.  Then the door
swings shut behind her.

EXT. DANA'S ROOFTOP -- NIGHT

A bright flash shoots out from the center of the pyramid, lighting up the
roof of Dana's building.

ROOF TEMPLE

All is as before except that both stone Terror Dogs are ominously missing
from the structure.

INT. LOUIS' APARTMENT -- SAME TIME

Louis is playing the perfect host to his clients, a general cross-section
of nerds and nerdettes,  The music is much too loud and the guests are
scattered about the living room in small groups making dull conversation.

LOUIS

He is emptying ashtrays and cleaning them with Windex.  A TALL WOMAN
approaches him.

						TALL WOMAN
			Louis, do you have any Excedrin or Extra
			Strength Tylenol?

						LOUIS
			I have acetacylasilic acid but generic from
			Walgreens cause I can get 600 tables for 35%
			less than the cost of 300 name brand.  Is it
			a headache?

The woman moves away.

THE BUFFET TABLE

Two stiff men are helping themselves. One is about to bite into some lox
when Louis joins them.

						LOUIS
			That's Nova Scotia salmon.  The real thing.
			It costs $24.95 a pound but really $12.48 a
			pound net after tax.  I'm writing this whole
			party off as a promotional expense.  That's
			why I invited clients instead of friends.
			Try that Brie, it's dynamite at room
			temperature.  Maybe I should turn the heat
			up a bit ...

A SECOND WOMAN moves up to Louis.

						WOMAN #2
			C'mon Louis, maybe if we dance other people
			will start.

They start to dance.

The doorbell rings.  Louis bolts for the door hoping if's Dana. It's
another couple. Louis escorts them in and take, their coats.

						LOUIS
			Everybody, this is Ted and Annette Fleming.
			Ted has a small carpet cleaning business in
			receivership, but Annette is drawing a
			salary from a deferred bonus from two years
			ago and the house has $15,000 left at eight
			percent.

He goes to the bedroom door with their coats and opens it.

INT. BEDROOM -- NIGHT

On the bed, standing up on all four legs, is a bristling, panting, live
Terror Dog.  Too preoccupied to notice it, Louis reflexively tosses the
coats onto the bed. They both land on the Terror Dog's head.

INT. LIVING ROOM -- NIGHT

Louis comes out of the bedroom and closes the door.  Then from within
there issues forth a tremendous roar that freezes the quest.

						LOUIS
			Okay.  Who brought the dog?

BEDROOM DOOR

An instant later, the Terror Dog bursts right through the door.  Wood
chips and splinters shower the guests.

THE GUESTS

They drop their drinks and canapes as the Terror Dog lands in the center
of the room, snarling hellishly.

It quickly scans the room, looking for Louis.

LOUIS

He yelps and runs for the door.

TERROR DOG

He lunges after Louis, but Louis gets out just in time and slams the door
behind him.

INT. HALLWAY -- NIGHT

Louis tears off down the hall, bellowing. The Terror Dog bursts through
the door, lands in the hall and runs after him.

Louis ducks into the elevator.

EXT, DANA'S BUILDING NIGHT

A DOORMAN stands at his post near the revolving door,  Two elegantly
dressed visitors wait as he phones to announce them to one of the building
residents. Suddenly Louis comes running out of the door.

						LOUIS
			Help! Help!  There's a bear loose in my
			apartment.

He runs across the street and disappears in the park.

THE DOORMAN

						DOORMAN
				(mutters)
			How he's got animals up there.

The Doorman turns just in time to see the Terror Dog before it runs right
over him and bounds across the street.

EXT. CENTRAL PARK

TWO BUMS stroll casually along discussing current events.

						FIRST BUM
			I think you're right about Central America
			but I completely disagree about the other
			thing.  A good heavyweight boxer could take
			a Karate guy every time.

Louis runs by them, almost knocking them over.

						LOUIS
				(screaming)
			Run!  Run!

They turn to watch him go.

						SECOND BUM
				(shaking his head)
			Rush, rush, rush.

They turn back just as the Terror Dog streaks past them in hot pursuit.
They recoil in fear and watch as the creature sprints after Louis.

						SECOND BUM (CONT'D)
			That is one speedy mutt.

						FIRST BUM
			He's a big one.  You don't want to mess with
			that particular breed.

						SECOND BUM
			Definitely some sort of fighting Spaniel, I
			think.

EXT. CENTRAL PARK - NIGHT

Louis runs for his life, afraid to look back.  He races through a tunnel
then sees the twinkling lights of the Tavern on the Green restaurant and
heads straight for it.

EXT. TAVERN ON THE GREEN -- NIGHT

Louis comes tearing into the courtyard of the restaurant.  Through the
large picture windows he can see well-dressed people sitting in the
elegant dining room.  He goes for a door into the dining room but finds it
locked. Then he tries another door but it, too, is locked.  Suddenly, he
hears a low rumbling growl from the bushes. Desperate now, he starts
pounding on the glass.

INT. TAVERN ON THE GREEN -- SAME TIME

The wealthy patrons look up and see Louis pounding on the glass, screaming
unintelligibly.

						LOUIS
				(muffled)
			Help!  Help!

They ignore his pleas and return to their salmon croute.

EXT. COURTYARD -- NIGHT

Louis' heart is pounding, his breath coming in compulsive gasps as he
turns to face the relentless Terror Dog.

THE TERROR DOG

It stands there silhouetted in the dark.  Then it starts advancing toward
Louis, casting giant shadows on the walls.

LOUIS

He is paralyzed with fear.

						LOUIS
				(trembling)
			Nice doggie.  Nice.

THE TERROR DOG

It pounces with a tremendous roar.

INT. TAVERN ON THE GREEN -- NIGHT

The roar echoes through the restaurant.  There is the sound of a violent
struggle, then all is quiet.  Nobody notices.

COLUMBUS CIRCLE   LATER

Louis walks out of the park, walking stiffly with a glazed look in his
eyes.  He sees a horse and carriage parked at the curb.  He goes right up
to the horse and speaks to it, obviously possessed by the Terror Dog.

						LOUIS
				(to the horse)
			I am Vinz Clortho.  Keymaster of Gozer,
			Volguus Zildrohar, Lord of the Sebouillia.
			Are you the Gatekeeper?

The COACHMAN sees Louis talking to his horse.

						COACHMAN
			Hey!  He pulls the wagon.  I make the deals.
			You wanna ride?

						LOUIS
				(to Coachman)
			Are you the Gatekeeper?

						COACHMAN
			No, I'm the Governor of New Jersey.  Now get
			outta here.

Louis glares at the Coachman. His eyes begin to glow, magically.

						LOUIS
				(to Coachman)
			You will perish in flames, subcreature!
			Gozer will destroy you and your kind!
				(he whispers to the horse)
			Wait for the sign.  Then all prisoners will
			be released.

Louis lopes off across the street.  The cars come screeching to a halt to
avoid hitting him.

THE STREET

TWO MOUNTED POLICEMEN notice his strange behavior and follow him down the
street.

EXT. DANA'S APARTMENT BUILDING -- NIGHT

Venkman enters dressed neatly in a suit, holding a bouquet of flowers for
Dana. He sees two COPS talking to dishevelled party guests.  He sidles up
to one of the cops.

						VENKMAN
			What's going on?

						THE COP
			Some moron brought a cougar to a party and
			it went berserk,

						VENKMAN
			Oh.

He goes to the elevators.

INT. HALLWAY -- NIGHT

Venkman walks past Louis' apartment and curiously notes the splintered
door.  Then he rings Dana's bell, waits, rings again and knocks.

						VENKMAN
				(calls out)
			Dana?

The door opens and Dana is standing there, but she has changed radically
from the woman we met earlier.   Her hair is down, flowing loosely over
her naked shoulders, her eyes are wide open, filled with a kind of
love-slave longing, her lips are parted and wet and her clothes are
seductively tattered.  She stares at Venkman.

						VENKMAN (CONT'D)
			Hi.
				(he notes the change in
				her)
			What happened to you? The cop downstairs
			said an animal got loose up here.  What's
			the story?  Are you all right?

She stares at him as if she hasn't heard a word he said.

						DANA
			Are you the Keymaster?

Venkman realizes that something bizarre has happened.

						VENKMAN
			Not that I know of.

She starts to close the door but Venkman slides past her into the
apartment.

						VENKMAN (CONT'D)
				(worried now)
			Hey, Dana.  What is it?  What happened?

						DANA
			I am Zuul.  I am the Gatekeeper.

He looks around the apartment and notices the holes ripped in the chair.
Then he sees the kitchen doorframe charred and blackened with soot.

						VENKMAN
			I think we better get out of here.

DANA

She crosses to the window and gazes at the sky as if waiting for
something.

						DANA
			We must prepare for the coming of Gozer.

						VENKMAN
				(humoring her)
			Okay, I'll help you.  Should we make some
			dip or something?

						DANA
			He is the Destructor.

						VENKMAN
			Really?  Can't wait to meet him.
				(he has an idea)
			As long as we're waiting for him, I'd really
			like to try something with you -- in the
			bedroom.

He takes her hand and she yields.  They enter the bedroom.

INT. DANA'S BEDROOM -- NIGHT

They enter and Venkman steers her onto the bed.

						DANA
				(wantonly)
			Do you want this body?

						VENKMAN
				(taking her pulse)
			Well, I'll just use it for a while and get
			it right back to you.

						DANA
			Take me now.

He checks her pupil dilation with a penlight.

						VENKMAN
			Well, I make it a rule never to sleep with
			possessed people.

She pulls him down on top of her and kisses him with supernatural lust.

						VENKMAN
				(coming up for air)
			Actually, it's more of a policy than a rule.

						DANA
				(stroking him)
			I want you inside me.

						VENKMAN
				(reluctant)
			I don't know.  You've got two people in
			there already.  It could get a little
			crowded.
				(he gently pushes her back
				down on the bed)
			I want you to close your eyes and relax.
				(she complies)
			Now I'm going to speak to Dana and I want
			Dana to answer.

						DANA
			I am Zuul.  I am ...

						VENKMAN
			Right ... You're the Gatekeeper.  But I want
			Dana.  Dana, speak to me ...

						DANA
				(in a low, horrible
				unearthly voice)
			There is no Dana.  I am Zuul.

						VENKMAN
				(recoils)
			Whoa!! Nice voice.

She starts to sit up, but he restrains her with a light touch on the
shoulder.

						VENKMAN (CONT'D)
				(trying another approach)
			All right -- Zuul.  Listen carefully.  I
			don't know where you came from or why, but
			I want you to get out of here and leave Dana
			alone.  I'm going to count to ten and when
			I'm finished, you better be gone.  Okay?
			Here goes.  One ... Two ... Three ...

A shudder runs through Dana's body, then she slowly starts to levitate,
rising a full three feet off the bed.

						VENKMAN (CONT'D)
				(aghast)
			Wow!

He stands up and circles around the bed looking for some sort of
explanation.  He passes his hands over her, then under her, looking for
wires or a force field.  Then he makes a few theatrical moves like a cheap
magician.

EXT. HUDSON PARKWAY -- SAME NIGHT

Ecto One speeds northward, strobes lit.

INT. ECTOMOBILE -- NIGHT

Winston is at the wheel.  Stantz pops open a beer and lights a smoke. They
both look completely wasted. Stantz is looking over some blueprints.

						WINSTON
			Hey man.  What is it you're so involved with
			there?

						STANTZ
			Uh ... Oh these are blueprints of the
			structural ironwork in Dana Barrett's
			apartment building ... And they're most
			unusual.

						WINSTON
				(changing the subject)
			Are you a Christian, Ray?

						STANTZ
				(examining documents)
			Mmmhmmm.

						WINSTON
			Me, too.

						STANTZ
				(reacting to something in
				the blueprint)
			Boy!  Solid cores of shielded Selenium .325.

						WINSTON
			Do you believe in God?

						STANTZ
			No.  But I liked Jesus' style.

						WINSTON
			Me, too. Parts of the Bible are great.

						STANTZ
				(hardly listening)
			The whole roof cap was fabricated with a
			magnesium-tungsten alloy.

						WINSTON
			Ray, do you remember something in the Bible
			about a day when the dead would rise up from
			their graves?

						STANTZ
				(still absorbed by the
				blueprint)
			And the seas would boil ...

						WINSTON
			Right.  And the sky would fall ...

						STANTZ
			Judgement Day ...

						WINSTON
			Yeah, Judgement Day.

						STANTZ
			Every ancient religion had its own myth
			about the end of the world.

						WINSTON
			Well, has it ever occurred to you that the
			reason you've been so busy lately is because
			the dead have been rising from their graves?

They exchange a look of puzzlement and concern.

EXT.. FORT DETMERRING -- NIGHT -- SAME TIME

Ecto One pulls up to a pair of massive parapets and a hewn timber gate set
in a thick redoubt on an escarpment high above the river. Two figures
approach them from the shadows.  As they draw closer, Stantz and Winston
see their Stetson hats and uniforms.

						PARK RANGER
			Evening.  We've had a problem here for quite
			some time.  I called your outfit a couple of
			weeks ago.

						WINSTON
			Busy time of year.

						PARK RANGER
			Nobody likes to talk about this sort of thing.

						STANTZ
			You don't have to worry about that with us,
			sir.

						WINSTON
			Right.  We'll believe anything.

INT. FORT -- GUNNER'S CORRIDOR -- NIGHT

Stantz and Winston walk past a long line of cannon.  Their visors are
down.  They wear the usual equipment.

						STANTZ
			You check the armory.  I'll go down to the
			officers' barracks.

They split up. Winston takes a long, low passageway. Stantz descends a set
of stone stairs.  They both leave frame.  The sound of their separate
footsteps fades O.S.

EXT. FIREHALL -- NIGHT -- SAME TIME

A police van pulls up, the garage door opens and Spengler comes out of the
building.  He meets a POLICE SERGEANT.  They walk around to the back door
of the van.

						SERGEANT
			We picked up this guy and now we don't know
			what to do with him, Bellevue doesn't want
			him and I'm afraid to put him in the
			lock-up.  I'm telling you, there's something
			weird about him.  And I know you guys are
			into this stuff so we figured we'd check
			with you.

The Sergeant unlocks the door and pulls it open.

INT. THE POLICE VAN -- NIGHT

Louis is on the floor wearing a strait jacket.  He is tied to the bench
with leather restraint straps and ankle cuffs.

						LOUIS
				(forlorn)
			Are you the Gatekeeper?

Spengler notes the strange glow in Louis' eyes,

						SPENGLER
			Bring him inside, Officer.

INT. BASEMENT -- LATER

Louis is hooked up to a variety of strange contraptions including
something on his head that looks like an aluminum mixing bowl wired with
hundreds of electrodes.  Spengler monitors Louis' reactions as he
questions him. Janine watches.

						LOUIS
			I am Vinz Clortho - Keymaster of Gozer.

						SPENGLER
				(reacts to the name Gozer)
			I am Egon Spengler, Creature of Earth,
			Doctor of Physics, Graduate of M.I.T.

						JANINE
				(looking through Louis'
				wallet)
			According to this his name is Louis Tully.

						LOUIS
			Oh, no.  Tully is the fleshbag I'm using.
			I must wait inside for the sign.

						JANINE
			Do you want some coffee while you're waiting?

						LOUIS
				(to Spengler)
			Do I?

						SPENGLER
			Yes, have some.
				(Janine goes to the table
				and puts some water up to
				boil)
			Vinz, what sign are you waiting for?

						LOUIS
			Gozer the Traveller will come in one of the
			pre-chosen forms.  During the rectification
			of the Vuldronaii the Traveller came as a
			very large and moving Torb.  Then of course
			in the third reconciliation of the last of
			the Meketrex supplicants they chose a new
			form for him, that of a Sloar.  Many Shubs
			and Zuuls knew what it was to be roasted in
			the depths of the Sloar that day I can tell
			you.

Spengler stares at Louis for a moment then looks over at Janine.

JANINE

She rolls her eyes at Spengler and mimes the traditional sign for lunacy
by pointing to her temple and tracing a circle with her index finger.
Then the phone rings and Spengler answers it.

						SPENGLER
			Hello?

INT. DANA'S BEDROOM -- SAME TIME

Venkman is lying on the bed with the phone.  Dana is asleep next to him,
still floating three feet in the air with a blanket over her.

						VENKMAN
			It's Peter, Egon.  I've got a problem.

INTERCUT SPENGLER AND VENKMAN

						SPENGLER
			What is it?

						VENKMAN
			I'm with Dana Barrett and she's floating
			three feet off the bed.

						SPENGLER
			Does she want to be?

						VENKMAN
			I don't think so.  It's more of that Gozer
			thing.  She says she's the Gatekeeper.  Does
			that make any sense to you?

						SPENGLER
			Some.  I just met the Keymaster.  He's here
			with me now.
				(there's a long silence
				on the other end)
			Venkman?  Are you there?

						VENKMAN
			Yeah, yeah.  I was just thinking.  It
			probably wouldn't be a good idea for them
			to get together at this point.

						SPENGLER
			I agree.

						VENKMAN
			You have to keep him there.  Do whatever you
			have to, but don't let him leave,  He could
			be very dangerous.

SPENGLER

He looks nervously at Louis.

LOUIS

He pours some instant coffee crystals into his mouth and chews them up,
then he drinks a beaker of boiling water that's been heating over a Bunsen
Burner.

						SPENGLER
				(into the phone)
			All right.  I'll try.

						VENKMAN
			I'll spend the night here and get back first
			thing in the morning.

						SPENGLER
			All right, Peter.  Good night.

They hang up.

JANINE

She crosses to Spengler.

						JANINE
				(worried)
			Egon, there's something very strange about
			that man.
				(she indicates Louis)
			I'm very psychic usually and right now I
			have this terrible feeling that something
			awful is going to happen to you.  I'm afraid
			you're going to die.

						SPENGLER
			Die in what sense?

						JANINE
			In the physical sense.

						SPENGLER
			I don't care.  I see us as tiny parts of a
			vast organism, like two bacteria living on
			a rotting speck of dust floating in an
			infinite void.

						JANINE
			That's so romantic.

She hugs him, Spengler responds awkwardly, not sure where to put his
hands.

						SPENGLER
				(nervous)
			You have nice clavicles.
				(he gulps)
			I wonder where Stantz is.  I think we're
			going to need him.

INT. FORT DETMERRING -- SINGLE OFFICERS' QUARTERS -- NIGHT

Stantz is in a painstakingly restored period room with a four poster bed,
writing table and wardrobe hung with uniforms.  His own jumpsuit and
backpack lie in a heap beside the bed.  He fingers an officer's uniform
then tries it on. He steps to a full-length mirror and models it, striking
a few heroic poses. He shrugs, sits on the bed, bouncing the mattress and
squeezing it.  He then lies down full length and tests it, hands behind
his head.

STANTZ

He yawns.  His eyes droop, blink and finally close.  His head lolls
sideways, his mouth drops open slightly and he drops off to sleep,
exhausted.

INT. WARDROBE -- NIGHT

A uniform sleeve moves slightly. A sabre in its sheath begins to tap
lightly against the open doorsash.  A phosphorescent light streaks out in
between gaps in the clothing, casting patterns over the room.

STANTZ' PACK AND WANDS

A panel light winks on.  The needle on his PKE meter jumps into the red.

STANTZ

He rolls over.  From inside the wardrobe a shimmering pink mist rises up
and begins to take form on the ceiling.

MIST

The vaguest remnants of a human form take shape.  It hovers and shifts as
if appraising Stantz,

STANTZ

He tosses and rolls onto his back, still deeply asleep.

BED CANOPY

The mist slithers in through the curtains and takes a position above him.
It begins to descend slowly.

STANTZ

The mist widens and elongates and sprawls in suspension over his body. He
wakes. The apparition is inches above his face.  He gasps but can't move,
totally transfixed with fear.

STANTZ' POV

He is face-to-face with a lost soul.  It is a beautiful feminine face. It
presses in closer. He sucks in his breath.  Is he being smothered?  The
gaunt figure then slides slowly away from his face and down to a spot
below his waist.

STANTZ

He props himself up on his elbows and looks down.  Suddenly the apparition
vanishes.  Then his belt comes undone as if pulled by an invisible hand
and his zipper slowly opens.

CLOSE-UP -- STANTZ' FACE

His look changes from fear to confusion to pleasure.  He closes his eyes
and submits.

INT. BARRACKS CORRIDOR -- NIGHT

Winston is smoking a cigarette, ambling down the barracks corridor.  He
hears voices and walks to the door of the barracks.

						WINSTON
			Stantz?  You okay in there?

						STANTZ
				(from inside)
			LATER, MAN!!

Winston shrugs and slinks out.

EXT. FIREHALL -- MORNING

Two cars pull up out front, a New York City Police car and a lime green
K-car with U.S. Government plates.  They are followed by a Con Edison
utilities van and a County Sheriff's car. Peck gets out of the government
car.  Two COPS step out and flank him.   A POLICE CAPTAIN joins them and
they all enter the firehall.

INT. FIREHALL -- RECEPTION AREA

Janine is at her desk when the law enters and walks right past her.

						PECK
				(heading for the basement)
			This way, Captain.

						JANINE
				(rushes over to block
				their way)
			I beg your pardon!  Just where do you think
			you're going?

						PECK
			Step aside, Miss, or I'll have you arrested
			for interfering with a police officer.

						JANINE
				(not moving)
			Who do you think you're talking to, Mister?
			Do I look like a child?  You can't come in
			here without some kind of warrant or writ or
			something.

Peck hands her the court orders.

						PECK
				(naming them)
			Cease and desist all commerce order, seizure
			of premises and chattels, ban on the use of
			public utilities for non-licensed waste
			handlers and a Federal Entry and Inspection
			Order.

						JANINE
				(steps aside)
			This is just like Poland.

Peck brushes past her and leads his cohorts toward the basement.

INT. BASEMENT -- LATER

Spengler is arguing with Peck.  Louis is sitting quietly in the corner,
watching the argument with interest.

						PECK
				(high-handed)
			I want to see what's in there.  Now either
			you shut off those "beams" or we'll shut
			them off for you.

						SPENGLER
				(calmly)
			You can see what's inside through the
			monitor if you wish.

He switches it on.

						PECK
				(ignores it)
			I'm not interested in TV right now.

EXT. FIREHALL

Venkman arrives in a taxi, sees the police cars parked outside and dashes
in.

INT. BASEMENT

The argument is still going on when Venkman enters and asserts himself.

						VENKMAN
				(to Policemen)
			At ease, Officers.  I'm Peter Venkman.  I
			think there's been some kind of
			misunderstanding here and I want to cooperate
			in every way I can.

						PECK
				(turns on him immediately)
			Forget it, Venkman.  You had your chance to
			cooperate but you thought it was more fun to
			insult me.  Now it's my turn, smart-ass.

						SPENGLER
				(excited)
			He wants to shut down the storage grid.

						VENKMAN
			If you turn that thing off we won't be
			responsible for the consequences.

						PECK
			On the contrary!  You will be held
			completely responsible.
				(to the Con-Ed Man)
			Turn it off.

The CON-ED MAN steps to the control panel and looks at the switches,
meters and chasing lights.

						VENKMAN
				(to the Con-Ed Man)
			Don't do it!  I'm warning you.

THE CON-ED MAN

He looks nervously at the Police Captain.

						CON-ED MAN
			I've never seen anything like this before.
			I don't know ...

						PECK
				(enraged)
			Just do it, fella.  Nobody asked for your
			opinion.

The Con-Ed Man reaches for a switch but Venkman grabs him from behind.

						VENKMAN
				(to the Con-Ed Man)
			Don't be a jerk!

The Cops grab Venkman and drag him off the Con-Ed Man.

						PECK
			If he tries that again, shoot him.

The Captain looks at Peck with contempt.

						CAPTAIN
				(to Peck)
			You do your job, pencil-neck.  Don't tell
			us how to do ours.

						VENKMAN
			Thank you, Officer.

						PECK
				(to Con-Ed Man)
			Now turn it off.

The Cops slacken their hold on Venkman. He looks at Spengler, worried.

SPENGLER

He mimes an explosion with his hands.

VENKMAN

He nods and backs towards the door.  Spengler gets the same thought.

LOUIS

He sees Spengler backing away and starts to do the same.

CONTROL PANEL

The Con-Ed Man turns all the switches to the OFF position.  The panel
lights go out.

POWER METER

The needle indicator drops to zero.

PECK

He feels the floor start to shake.

VENKMAN, SPENGLER AND LOUIS

They run like crazy for the stairs. Spengler grabs Janine on the way out.

THE STORAGE FACILITY

A strange light starts to leak through the cracks between the concrete
blocks.  Suddenly one of the blocks is blown across the room.

EXT. THE FIREHALL

Everyone comes running out as the storage facility explodes.  A powerful
geyser of irridescent energy shoots out the top of the building like a
phenomenal Roman Candle reaching a hundred feet in the air.

INT. DANA'S BEDROOM -- THAT INSTANT

As the explosion rumbles in the distance, Dana's eyes pop open as if cued
by the blast.

EXT. FIREHALL -- SAME TIME

Venkman, Spengler and the others are dodging and ducking a shower of
debris.

LOUIS

He stands there oblivious to the danger, looking up at the glowing geyser
of energy.  Janine is beside him.

						LOUIS
			It is time.  This is the sign.

						JANINE
			It's a sign, all right ... "Going Out Of
			Business."

Louis walks off down the street as if in the grip of some powerful psychic
compulsion.  The others are too busy to notice his departure.

EXT. LOWER MANHATTAN

A wide shot of the island shows the glistening geyser spurting high into
the air.  The irridescent cloud, generated by the geyser starts moving
across Manhattan toward Dana's building. Sirens are screaming all over
town as police cars, fire trucks and emergency vehicles race to the scene.

EXT. FIREHALL -- LATER

Firetrucks, police cars, Con-Ed trucks and a general mob are assembled,
watching the roof of the building which is spurting a translucent blue
substance. It looks like a massive natural gas flame. Bits of ecto
material rain down on the on-lookers.

SPENGLER

Flanked by police, he tries to answer questions from fire department
officials and a hazardous chemical EXPERT in a bulky decontamination suit.

						GUY IN SUIT
			... does it contain TCE, PCB or tailings
			from styrene esters or any polyfluoric
			groups...?

						FIRE CAPTAIN
			What are the pink particles?  What will
			happen if we use water?

Spengler just shakes his head.

						SPENGLER
			No ... no water.  There's nothing you can do.

						FIRE CAPTAIN
			Did you have any kind of solvents or any
			concentrated sulphurs of any kind?

Ecto One pulls up. Winston and Stantz jump out. Stantz finds Venkman and
Spengler.

						STANTZ
			What happened??!!!?

						SPENGLER
			The storage facility blew.  This one ...
				(indicates Peck)
			... shut off the protection grid.

VENKMAN

Suddenly remembers another problem.

						VENKMAN
				(to Spengler)
			Where's the Keymaster?

						SPENGLER
				(looks for Louis)
			Oh, shit!

						STANTZ
				(at a loss)
			Who's the Keymaster?

Spengler looks at Venkman.  They both tear off to find Louis but Peck
intervenes.

						PECK
				(to a Cop)
			Stop them!  I want them arrested, Captain.
			These men have been acting in criminal
			violation of the Environmental Protection
			Act and this explosion was a direct result.

The Police Captain restrains Venkman from leaving.

						VENKMAN
				(shouts at Peck)
			You turned off the power!
				(to Captain)
			Look, there was another man here ... You
			have to find him and bring him back.  A
			short determined-looking guy with the eyes
			of a happy zombie.

						PECK
				(to the Cop)
			See!  They are using drugs.

Spengler turns on Peck with uncharacteristic fury.

						SPENGLER
			If you don't shut up I'm going to rip out
			your septum.

Peck backs off.

						POLICE CAPTAIN
				(exasperated)
			I don't know what's going on here but I'm
			going to have to arrest you all.  You can
			discuss it with the judge.  I'm going to
			read you your rights now, so please listen
			carefully ...

EXT. THE BOWERY

Louis walks briskly and purposefully uptown, gazing at the symmetrical
lights in the sky.

SUBWAY ENTRANCE

As Louis walks by, a huge crowd of people descends the stairs into the
subway.  The last of them disappears around the corner.  Then echoing
screams are heard and the whole crowd comes charging back up the stairs
pursued by a strange apparition.

INT. DANA'S APARTMENT

She is standing at the open bedroom window gazing down into the streets
below.

EXT. SEDGEWICK HOTEL -- SAME TIME

A Sabrett HOT DOG VENDOR is dispensing pretzels and hot dogs from his
pushcart.

THE VENDOR

He opens the top of the bin and reaches in to get a bun.  He feels around
inside, knowing the cart should be loaded with food.  Then he peers inside
and yanks his arm out with a shout.  He falls back in fear.

THE CART

The gluttonous Onion-Headed Vapor rises out of the pushcart stuffed with
hot dogs, buns and pretzels.  It belches loudly at the gaping spectators,
then flits down the street with the pushcart following under its own
power.

EXT. EXXON BUILDING -- SAME TIME

A well-dressed BUSINESSMAN comes rushing out and jumps into a cab parked
at the curb.

INT.. THE BACK SEAT

The Businessman leans close to the safety partition and shouts his
destination.

						BUSINESSMAN
			Gulf and Western Building!  And I'm in a
			hurry so let's not dawdle.

THE FRONT SEAT

Through the windshield we see that the driver is a badly decomposed corpse
in a leather jacket and snap-brim cap.

THE PASSENGER

Through the partition he sees a skeletal hand reach out and start the
meter.

EXT. THE STREET

The cab peels away from the curb at tremendous speed and turns the wrong
way up a one-way street.

INT. AN OFFICE - SAME TIME

It's the accounts department of a major corporation.  Young men and women
are working at typewriters and computer terminals in the sterile, modern
office.

A PROGRAMMER

She bends over at the file cabinets and something gooses her.  She looks
around, miffed, but sees no one.  She goes back to her desk.  Her skirt
hikes up suddenly.  She yanks it back down. Then she feels a strange, not
unpleasant tickling under her. She squirms. Her skirt goes up again. The
tickling gets unbearable, forcing her to stand. She walks briskly between
the rows of desks, trying to get to the ladies room, fighting to keep her
skirt down.  Her co-workers begin to notice and laugh.

A TYPIST

She stands up to look and her blouse pops open.

THE OFFICE

All the women begin to scream and squirm as the invisible molester runs
wild in the office.

EXT. CENTRAL PARK -- SAME TIME

Louis enters a long dark pedestrian tunnel.

INSIDE THE TUNNEL

A gang of MUGGERS is smoking something in a weird pipelike device. One of
them sees the approaching silhouette of Louis and hisses to his cohorts.
The others all look and slowly begin to fan out across the width of the
tunnel.

LOUIS

He is staring straight ahead and entirely focused on his destination as
the muggers approach and confront him.  He stops.  They are deliberately
blocking his path.

						MUGGER
				(to Louis)
			Okay ... give me.

Louis blinks stupidly.

						LOUIS
			Are you the Gatekeeper?

						MUGGER
			Come on.  You want me to stick you?  Come
			on.

						VINZ
			I am Vinz Clortho.  I am the Keymaster.  Do
			you bar my way?

						MUGGER #2
			Are you crazy, man?  You don't give, Jino's
			gonna rip you, man.  Nobody gets by Jino.

						LOUIS
				(repeats)
			Do you bar my way?

						MUGGER
			Yeah.  We bar your way.

LOUIS

His eyes widen, he inhales deeply, then opens his mouth and roars.
Irridescent lights pour out of his mouth.

THE MUGGERS

They scream and run, horrified and disgusted by Louis' unearthly display.

EXT. STREET

The cab driven by the corpse weaves through traffic at breakneck speed.
Cars are forced up on the curb. Pedestrians run for safety.

INT. THE BACK SEAT

The Businessman is reading the Wall Street Journal, oblivious to the whole
situation.

EXT. ST. MARKS PLAYHOUSE -- DAY

A worn, graffiti-spattered $1.99 triple bill movie house in the New Wave
district near Second Avenue.  The bill reads:

			ALL NIGHT ALL DAY HORROR SHOW IN 3-D

INT. THEATER

The house is packed with hooting, jeering, beer-drinking potsmoking
downtowners, all wearing cardboard 3-D glasses. They are wildly razzing
and throwing things at the screen on which is running a bad sixties
British horror indie pic.  The film breaks. The sound crackles off and the
lights come on. There is a storm of protest and abuse hurled at the
projectionist.  Then from all around them there starts a thin whistling
whine.  It builds above the shouts and jeers in the theater until everyone
stops to hear what it is. It is like no other sound ever heard -- a
piercing, all-permeating shrill whistle like the fan blades of some
massive unseen turbine beginning to rotate.

The lights in the theater flicker. The musty ancient curtains on either
side of the screen are picked up in an unseen wind which lifts them,
spreading dust and ripped old fabric about the house.  There are shouts
and sounds and noises from deep beyond the recesses of the backstage.  The
curtains are now flying in a serious wind.  All the lights in the theater
go out except that from the projection booth.  From a point in the center
of the screen, a searing bolt of phosphorescent light rips back along the
projection beam into the booth.  The beam evolves into an etheric strand
of unified glistening particles.  The wind dies down.  People in the house
are hushed.  They gaze transfixed as a procession of phantasms emerge in
single file through the illuminated screen.  As if suspended on a
clothesline, they weave and bounce along the length of the pulsating beam,
and pass through the hole in the projection booth.  The apparition is
gone. All is quiet.  Then the audience bursts into wildly enthusiastic
applause.

INT. NYPD LOCK-UP

Winston is staring out through the bars talking to himself.

						WINSTON
				(depressed)
			We're gonna get five years for this.  Plus
			they're gonna make us retrap all those
			spooks.  I knew I shouldn't have taken this
			job.

He bangs on the bars and crosses to Venkman, Stantz and Spengler who are
huddled together looking at blueprints of Dana's building.

						STANTZ
				(intense)
			Look at the structure of the roof cap.  It
			looks exactly like the kind of telemetry
			tracker NASA uses to identify dead pulsars
			in other galaxies.

						SPENGLER
			And look at this, Peter
				(indicates another diagram)
			Cold-riveted girders with selenium cores.

Venkman leans in to look but suddenly notices that they have an audience.

THE CELL

The Ghostbusters are surrounded by a motley assortment of BUMS, PUNKS,
HOODS and a particularly mean-looking gang of BIKERS, all listening
intently to their discussion.

						VENKMAN
				(to their cellmates)
			Everybody with us so far?

The other prisoners mutter and scratch their heads, then drift off.

						STANTZ
				(back to his point)
			The ironwork extends down through fifty feet
			of bedrock and touches the water table!

He looks at Venkman who doesn't see the significance.

						VENKMAN
				(shrugs)
			I guess they don't build them like they used
			to, huh?

						STANTZ
			No!  Nobody ever built them like this!  The
			architect was either an authentic whacko or
			a certified genius.  The whole building is
			like a huge antenna for pulling in and
			concentrating psychokinetic energy.

						VENKMAN
			Who was the architect?

						STANTZ
			He's listed on the blueprints as I. Shandor.

						SPENGLER
				(exclaims)
			Of course!
				(the others turn and look
				at him)
			Ivo Shandor,  I saw his name in Tobin's
			SPIRIT GUIDE.  He started a secret society
			in 1920.

						VENKMAN
				(putting it all together)
			Let me guess -- Gozer Worshippers.

						SPENGLER
			Yes.  After the First World War Shandor
			decided that society was too sick to
			survive.  And he wasn't alone.  He had close
			to a thousand followers when he died.  They
			conducted rituals, bizarre rituals, intended
			to bring about the end of the world.

						VENKMAN
				(now very worried about
				Dana)
			She said he was "the Destructor."

						SPENGLER
			Who?

						VENKMAN
			Gozer.

						SPENGLER
				(confused)
			You talked to Gozer?

						VENKMAN
			Get a grip on yourself, Egon.  I talked to
			Dana Barrett and she referred to Gozer as
			the Destructor.

						STANTZ
				(proud)
			See?  I told you something big was about to
			happen.

Winston has heard enough.

						WINSTON
			This is insane!  You actually believe that
			some moldy Babylonian God is going to drop
			in at 78th and Central Park West and start
			tearing up the city?

						SPENGLER
				(corrects him)
			Sumarian -- not Babylonian,

Winston just shakes his head. Then a uniformed GUARD appears with a
high-ranking POLICE OFFICIAL and unlocks the cell door.

						POLICE OFFICIAL
			Are you the Ghostbusters?

						VENKMAN
			What about it?

						POLICE OFFICIAL
			The  mayor wants to see you -- right away.
			The whole island is going crazy.  Let's go.

They exit.

EXT. CITY HALL

The official cars arrive and the Ghostbusters are hustled past a mob of
reporters, all shouting questions at once.

						REPORTERS
				(as babble)
			Are you under arrest?  Did you have a bomb
			factory in the basement?  What are you going
			to do about all these ghosts?

INT. MAYOR'S OFFICE

Secretaries and aides scurry about in a chaos of telephones and waiting
city officials.  As the Ghostbusters are led through the outer offices,
everyone stops what they're doing to stare at them.

INT. OFFICE OF THE MAYOR OF NEW YORK CITY

The Ghostbusters enter and see a very concerned group of leaders arguing
like crazy. The Police and Fire Commissioners, State and City Police
Commandants, the Archbishop of the New York Diocese, the Regional Director
of the Environmental Protection Agency, the Governor of the State of New
York, and various other high-ranking officials.

						THE AIDE
				(entering with the
				Ghostbusters)
			The Ghostbusters are here, Mr. Mayor.

At once, the group turns and instantly regains perfect decorum.

THE MAYOR

He is a likeable Democrat and a man of the people -- particularly the
Irish, Italian and Jewish people.

						MAYOR
				(looking them over)
			Okay, the Ghostbusters.  And who's Peck?

Peck shoulders his way forward.

						PECK
				(adrenalin pumping)
			I'm Walter Peck, sir.  And I'm prepared to
			make a full report.
				(holds up dossier)
			These men are complete snowball artists.
			They use nerve and sense gases to induce
			hallucinations.  The people think they're
			seeing ghosts and call these bozos, who
			conveniently show up to get rid of the
			problem with a fake electronic light show.

						MAYOR
				(to Venkman)
			You using nerve gas?

						VENKMAN
			The man is a psychopath, Your Honor.

						PECK
			Probably a mixture of gases, no doubt stolen
			from the Army ...

						STANTZ
			Bullshit!!!

						PECK
			... improperly stored and touched off with
			those high-voltage laser beams they use in
			their light show.  They caused an explosion.

The Mayor looks for help from the assembled leaders,

						FIRE COMMISSIONER
			All I know is, that wasn't a light show we
			saw this morning.  I've seen every form of
			combustion known to man, but this beats me.

						POLICE COMMISSIONER
			And nobody's using nerve gas on all the
			people that have seen those ... things ...
			all over the city.  The walls were bleeding
			at the 53rd Precinct.  How do you explain
			that?

He looks to the Archbishop.  Everybody focuses on the ornately attired
Prelate.

						ARCHBISHOP
			Officially, the Church will not take a
			position on the religious implications of
			these ... phenomena.  However, since they
			started, people have been lining up at every
			church in the city to confess and take
			communion.  We've had to put on extra
			priests.  Personally, I think it's a sign
			from God but don't quote me on that.

						MAYOR
				(shaking his head)
			I can't call a press conference and tell
			everyone to start praying.

WINSTON

He steps forward.

						WINSTON
			I'm Winston Zeddemore, Your Honor.  I've
			only been with the company for a couple of
			weeks, but I gotta tell you -- these things
			are real.  Since I joined these men I have
			seen shit that would turn you white.

THE MAYOR

He rubs his eyes wearily.

						MAYOR
				(to Venkman)
			So what do I do now?

VENKMAN

He seizes the moment.

						VENKMAN
			Mr. Mayor, it's a pretty simple choice.
			You can believe Mr. Pecker here ...

						PECK
				(snaps)
			That's "Peck!"

						VENKMAN
				(ignores him)
			... or you can accept the fact that this
			city is heading for a disaster of really
			Biblical proportions.

						MAYOR
			What do you mean "Biblical?"

						VENKMAN
			Old Testament, Mr. Mayor.  "Wrath of
			God"-type stuff.  The seas could boil, fire
			and brimstone falling from the sky ...

						STANTZ
				(chimes in)
			... forty years of darkness, earthquakes,
			mass hysteria, human sacrifice ...

						MAYOR
			Enough!  I get the point.
				(really torn)
			But what if you're wrong?

						VENKMAN
			If I'm wrong then nothing happens and you
			toss us in the can.  But if I'm right, and
			if we can stop this thing ... well, let's
			just say that you could save the lives of a
			lot of registered voters.

The Mayor starts nodding affirmatively, clearly convinced by Venkman's
rational assessment.

						PECK
				(furious)
			I don't believe you're seriously considering
			listening to these men!

The Mayor takes a long look at Peck.

						MAYOR
			Get him out of here.
				(Peck looks stricken)
			We've got work to do.  What do you need
			from me?

EXT. DANA'S APARTMENT BUILDING - SAME TIME

Louis arrives in front of the building and looks up, Strange lights are
beginning to flash from the windows,  He enters the building and a moment
later a huge tremor shakes the structure.

INT. DANA'S FLOOR

The elevator doors open and Louis gets out. A crowd of tenants rushes onto
the elevator clutching their most prized possessions. He gets through the
panicked tenants and walks down the hall.

MRS. BLUM, a neighbor, comes out of her apartment carrying an armload of
small appliances.

						MRS. BLUM
			Louis!  What are you doing standing there
			... get out of the building ... don't you
			know it's an earthquake or something?

						LOUIS
			The Traveller is coming.

						MRS. BLUM
			Don't be crazy.  Nobody is going to come and
			visit you with all this commotion going on.

She rushes off leaving Louis alone in the hall.  He goes to Dana's door
and mechanically knocks three times.  His knocking echoes thunderously
throughout the building.

THE DOOR

It opens and Louis sees Dana standing there.  A tremendous thunderclap
rattles the building.

						LOUIS
				(his eyes light up)
			Are you the Gatekeeper?

						DANA
				(nods)
			I am Zuul.

Hearing that, Louis grabs Dana with a passion that's been building in his
unconscious for 8000 years.  He kisses her with savage lust and pulls her
to the floor out of frame as an explosive force blows through the
apartment.

INT. CITY HALL CORRIDOR

Venkman, Stantz and the Mayor walk briskly toward the vehicle dock at the
back of the building.  Aides scurry along behind  them, awaiting
instructions.

						MAYOR
			I don't understand it,  Why here?   Why now?

						VENKMAN
			What goes around, comes around, Mr. Mayor.
			The big Lazy Susan of Karma just keeps
			turning and sometimes we get the short end
			of the stick.

						STANTZ
			This may be Nature's way of telling us to
			slow down.  You have to admit it's kind of
			humbling, isn't it?

						MAYOR
				(shouts after them)
			We're humble already!  Hasn't this city
			suffered enough?

They come out onto the loading dock.

EXT. LOADING DOCK

The Ectomobile is parked there.  Winston and Spengler are charging all the
packs off the building current.  There's a lot of police activity around
them as orders are dispatched.

A POLICE CAPTAIN reports to Venkman.

						CAPTAIN
			We've cleared the whole building and
			cordonned off the street.  I'm massing our
			own special tactics squad and the National
			Guard is on standby.

						AIDE
			I better alert the Red Cross, too.

SPENGLER

He looks up and sees Janine standing on the dock. She crosses to him.

						JANINE
				(a little teary)
			I want you to have this.
				(she hands him a coin)

						SPENGLER
			What is it?

						JANINE
			It's a souvenir from the 1964 World's Fair
			at Flushing Meadow.  It's my lucky coin.

						SPENGLER
			I don't believe in luck.

						JANINE
			Keep it anyway.  I have another one at home.

						SPENGLER
			Thank you.

They hug.

THE ECTOMOBILE

Stantz, Venkman and Winston get in. Spengler rushes over and joins them.

INT. ECTOMOBILE

Venkman turns around and looks at his friends.

						VENKMAN
			Okay.  Just remember, whatever happens out
			there, we are total professionals.  Not
			only are we the best Ghostbusters around,
			we're the only Ghostbusters around.  It's
			up to us.

They all shake hands.  Then Venkman sticks his hand out the window and
signals like a cavalry officer.

						VENKMAN (CONT'D)
				(shouts)
			Move 'em out!

EXT. REAR OF CITY HALL

A pair of police motorcycles comes roaring up the driveway followed by the
Ectomobile and two police cruisers.  The motorcade turns up the street and
heads uptown at high speed. They pass a column of National Guard trucks.

EXT. DANA'S APARTMENT BUILDING

The street has been blocked off with police barricades but a huge crowd
has gathered nonetheless to watch the strange lights and flashes emanating
from the upper floors of the building.

THE CROWD

The news media are out in front filming and taping everything.  A
contingent of Doomsday freaks is gathered with signs proclaiming "REPENT
FOR THE END IS AT HAND!"  A few Catholic priests are kneeling, performing
rites of exorcism.

THE CROWD

A gang of punks is hanging around hoping for a disaster.  A handful of
Hassidic Jews behind them are wailing in earnest.  The police work to
restrain the crowd.

THE STREET

The screaming of sirens turns the attention of the crowd as the motorcade
arrives.  As the Ectomobile rounds the corner a huge cheer goes up from
the crowd.

THE CROWD

The punks cheer. The Hassidic Jews wave their black hats and start dancing
for joy.

THE ECTOMOBILE

It pulls up in front of the building. The doors fly open and the
Ghostbusters all jump out at once.  The crowd roars.

THE PRIESTS

They leap to their feet and give each other "high fives."

VENKMAN

He raises both fists like a victorious boxer.

						VENKMAN
				(shouts to the crowd)
			Ghostbusters!

The crowd thunders its approval.

THE GHOSTBUSTERS

They quickly finish suiting up at the rear of the Ectomobile.

						VENKMAN
				(keyed up)
			Are we all together on this now?

						WINSTON
				(in earnest)
			I think we should get on a plane right now
			and go to Australia or Indonesia until this
			blows over.

						VENKMAN
			I'm going to make a note of your suggestion
			and possibly bring it up later if this thing
			really gets out of hand.  Now let's move.

They start heading for the lobby entrance to the building,

						VOICE IN CROWD (MAN)
			Get 'em!

						VOICE IN CROWD (GIRL)
			All right, Ghostbusters!

The crowd applauds as the Ghostbusters approach the entrance.

THE GHOSTBUSTERS

They stop in front of the building and look up at the roof.

THEIR POV

A blinding flash of light shoots from the rooftop temple.

THE BUILDING ENTRANCE

The whole building seems to groan as if under enormous pressure. Then
suddenly the concrete facade cracks open and the pavement in front of the
building collapses dropping the Ghostbusters and a police car into the
enormous sinkhole.  The crowd gasps.

THE SINKHOLE

There is a tense moment of silence, then the Ghostbusters pop up and climb
out of the pit.

						VENKMAN
			I've heard of underground parking but this
			is ridiculous.

They flash the "okay" sign to the crowd and enter the building.

EXT. THE ROOFTOP -- SAME TIME

Dana and Louis emerge from the stairwell, approach the Temple and mount
the pedestals once occupied by the Terror Dogs.

THE TEMPLE

The walls begin to vibrate in response.

EXT. THE STREET BELOW

Blinding beams of light flash from all the windows.

INT. STAIRWELL

The Ghostbusters trudge up thirty-five flights of stairs.

INT. THIRTY-FIFTH FLOOR HALLWAY

The stairwell door opens and the Ghostbusters stagger into the hallway,
completely exhausted.

						VENKMAN
				(gasping and spitting)
			I'm glad we took the stairs.

INT. DANA'S DOOR

The Ghostbusters arrive. The door frame is charred and blackened by soot.
Venkman rings the doorbell.  DING-DONG.

						VENKMAN
			Dana?

						WINSTON
			Maybe we should go downstairs and call first?

Venkman knocks on the door and the door simply falls off its hinges and
crashes to the floor.  The Ghostbusters gape at the damage to the
apartment.

INT. DANA'S APARTMENT

The exterior building wall is completely gone providing an unobstructed
view of the Hudson and New Jersey.  All the furniture is overturned and
the other walls are cracked.  A powerful wind blows through the apartment
fluttering the shredded curtains.

						WINSTON
				(ready to leave)
			Well, she's not here.  Let's go.

						VENKMAN
			No!  The kitchen!

INT. THE KITCHEN

The team enters and sees that the refrigerator has been blown away
revealing a hole in the wall and the entrance to a stone staircase behind
it.

VENKMAN

He looks at the forbidding portal and turns to Stantz.

						VENKMAN
				(slaps his shoulder)
			Go!

Stantz realizes that Venkman expects him to go first. He leads the charge
up the stairs.

EXT. THE ROOF

Dana and Louis stare at the Temple, then begin a miraculous and horrible
transformation into the hideous forms of the Terror Dogs.

THE TEMPLE

The solid stone walls rumble ominously and start to separate.

THE GHOSTBUSTERS

They come running out onto the roof and gape at the scene.

THE TEMPLE

The walls open completely revealing the secret architecture of the Temple:
A stone staircase leading to a set of monumental doors, and beyond them a
massive pyramid that appears to be suspended in mid-air with no visible
means of support.

LOUIS AND DANA

They complete their transformation into the Terror Dogs, which now turn
and snarl menacingly at the Ghostbusters.

THE GHOSTBUSTERS

They can't believe their eyes.

						VENKMAN
				(aghast)
			Shit!  I've been out with some real dogs,
			but this is ridiculous!

The heavy rumbling of moving stone draws their attention back to the
temple.

THE TEMPLE

The Terror Dogs have now taken ritual positions on the staircase. The
heavy stone gates begin to open and a bright white light starts to emerge.
As the light descends the stairs a human form slowly materializes.

THE FORM

It is a thin, hollow-cheeked, distinguished looking man in his early
sixties. His eyes are burning red pin-holes, He looks around at the
spectacular rooftop view, then acknowledges the two Terror Dogs and starts
stroking them like house pets.

THE GHOSTBUSTERS

They stare at the apparition,

						SPENGLER
				(recognizes him)
			It's Shandor - the architect!

						WINSTON
			I thought he died!

						VENKMAN
			It doesn't seem to have slowed him down any.

						STANTZ
			I don't think it's Shandor.

He gets to his feet and speaks sharply to Gozer.

						STANTZ (CONT'D)
			Gozer the Gozerian?

GOZER

He looks up and seems to notice the Ghostbusters for the first time.

STANTZ

He 'busts' Gozer.

						STANTZ
				(forceful)
			As a duly-constituted representative of the
			City of New York, and on behalf of the
			County and State of New York, the United
			States of America, the Planet Earth and all
			its inhabitants, I hereby order you to cease
			and desist any and all supernatural activity
			and return at once to your place of origin
			or next parallel dimension.

						VENKMAN
				(to Stantz)
			Well, that ought to do it.

GOZER

He stands up to his full height and regards Stantz curiously.

						GOZER
			Are you a god?

						STANTZ
				(compulsively honest)
			No.

						GOZER
			Then die!

He raises his arms and blows away the Ghostbusters with searing bolts of
energy.

THE GHOSTBUSTERS

Momentarily stunned, they tumble all the way down the stairs and almost
fall off the edge of the roof.

						WINSTON
				(to Stantz)
			You should've said "yes!"  He might have
			been willing to negotiate.

Venkman gets to his feet first, really mad now.

						VENKMAN
				(setting his wands)
			Okay.  That's it!  I'm gonna turn this guy
			into toast.

The Ghostbusters leap into action.  One by one they activate their Proton
packs and take up positions for an entrapment.

GOZER

He braces for the onslaught.

VENKMAN

He shoots a particle stream at Gozer.

GOZER

He leaps out of the way with superhuman agility and executes a perfect
double-flip with a half-twisting round-off at the end.

VENKMAN

He can't believe his eyes.

						VENKMAN
			Agile bastard, isn't he?

						STANTZ
			Forget the trapping!  Just blast him!

The others adjust their units and they all blaze away at Gozer.

GOZER

He stands there calmly and absorbs the force of the streams.  There is a
brilliant pink flash and Gozer disappears.

THE GHOSTBUSTERS

They stare for a long moment, finding it hard to believe that they won.
Then Winston lets out a triumphant whoop.

SPENGLER

He scans the temple with his PKE meter, not at all convinced the danger
has passed.

STANTZ

He bounds up the stairs.

						STANTZ
				(jubilant)
			We neutronized him!  The guy's a molecular
			nonentity.

VENKMAN AND SPENGLER

He wants to believe it but sees the doubt on Spengler's face.

						SPENGLER
				(reading the meter)
			Not necessarily.

There is a deep seismic rumble and the entire building begins to vibrate.
The Ghostbusters look around nervously as the entire building starts to
sway.

EXT. THE EAVES

Cement carvings and moldings around the edge of the roof crack and break
off.

EXT. THE STREET

The crowd screams and runs as cement debris rains down the side of the
building and crashes on the sidewalk.

THE GHOSTBUSTERS

They look up at the sky waiting for the big blow.  An incredibly loud
thunderclap rocks the rooftop.

THE SKY

A bolt of lightning crackles from the swirling dark cloud and strikes the
rooftop.

The Ghostbusters stand there facing their new God like Moses on Mount
Sinai.  And then Gozer speaks to them in a voice that can be heard
throughout Metropolitan New York and parts of New Jersey.

						GOZER
			SUBCREATURES!  GOZER THE GOZERIAN, GOZER
			THE DESTRUCTOR, VOLGUUS ZILDROHAR, THE
			TRAVELLER HAS COME.  CHOOSE AND PERISH.

						VENKMAN
				(shouting to be heard)
			Is he talking to us?

						WINSTON
			What's he talking about?  Choose what?

						STANTZ
				(to the heavens)
			What do you mean "choose?"  We don't
			understand.

						GOZER
			CHOOSE!!

						SPENGLER
			I think he's saying that since we're about
			to be sacrificed anyway, we get to choose
			the form we want him to take.

						STANTZ
			You mean if I stand here and concentrate on
			the image of Roberto Clemente, Gozer will
			appear as Roberto Clemente and wipe us out?

						SPENGLER
			That appears to be the case.

						VENKMAN
				(quickly)
			Don't think of anything yet.  Clear your
			minds.  We only get one crack at this.

						GOZER
			The choice is made.  The Traveller has come.

						VENKMAN
				(in a panic)
			We didn't choose anything!
				(to the others)
			I didn't think of an image, did you?

						SPENGLER
			No.

They look at Winston.

						WINSTON
			My mind's a total void!

They all look at Stantz.

						STANTZ
				(guilty)
			I couldn't help it!  It just popped in
			there!

						VENKMAN
				(desperately)
			What?  What popped in there?

						STANTZ
				(pointing)
			Look!

They all turn and look to the south.

GHOSTBUSTERS POV

Looking south past Columbus Circle, they see part of something big and
white moving between the buildings accompanied by thunderous footsteps of
almost seismic proportions.

VENKMAN

He doesn't know what it is yet, but he knows it's coming.

						VENKMAN
				(desperately)
			What is it?  Ray, what did you think of?

BROADWAY AND 55TH

The massive white shape passes behind some buildings, offering a glimpse
of what appears to be a fat, white arm.

STANTZ

He's about to go into shock.

						STANTZ
				(babbling)
			It can't be!  It can't be!

COLUMBUS CIRCLE

The thundering footsteps continue to plod as the thing starts to emerge
from behind the buildings.  Now we can see part of a blue garment covering
its enormous chest.

STANTZ

He recognizes the monster.

						STANTZ
			It's ... It's ... It's the STAY-PUFT
			MARSHMALLOW MAN.

Winston, Venkman and Spengler gape.

THEIR POV

They look across the roof tops and see a large, square, white, bobbing,
laughing head atop a massive body of similar puffed white squares.  The
being is dressed in a tiny sailor's hat, red bosun's whistle and lanyard
and a little blue vest with a button undone in the middle revealing a
little white belly. It is the cute, quintessential American brand symbol,
looming as large as Godzilla.

						STANTZ (V.O.)
				(desperately apologizing)
			I tried to think of the most harmless thing
			... something that could never destroy us
			... something I loved from my childhood.

THE GHOSTBUSTERS

They watch the Marshmallow Man plodding toward them.

						VENKMAN
			AND YOU CAME UP WITH THAT?

						STANTZ
			The Stay-Puft Marshmallow Man!  He was on
			all the packages we used to buy when I was
			a kid.  We used to roast Stay-Puft
			marshmallows at Camp Waconda!

						VENKMAN
			Great!  The marshmallows are about to get
			their revenge.

THE STAY-PUFT MAN

He plods relentlessly uptown toward the Ghostbusters' rooftop vantage
point.  The ground rumbles as his big, soft feet come down on the
pavement.

THE STREET

People are fleeing in panic as the marshmallow feet pad along kicking over
lampposts and mail boxes.

A CAR

The driver jumps out just before an enormous white marshmallow foot comes
down and flattens his automobile.

THE GHOSTBUSTERS

They stand there helplessly watching the laughing bobbing head of the
Stay-Puft Man as he comes toward them.

						VENKMAN
			What now?

						SPENGLER
				(adjusting his thrower)
			Full-stream with strogon pulse.

Venkman looks at Stantz.  Stantz shrugs.

						VENKMAN
				(decides)
			I guess that's all we've got.

They step to the edge of the roof, moving like warriors now ready to face
the consequences.

EXT. THE STREET

Peck comes running up to the front of the apartment building.  People are
fleeing the oncoming monster.  Peck grabs a COP who is just about to flee
himself.

						PECK
				(in a rage)
			Are the Ghostbusters up there?

						COP
				(desperate to get away)
			Yeah!

						PECK
			I want you to go up on the roof and arrest
			them.  This time they've gone too far.

The Cop looks at Peck like he's insane, then sees the Stay-Puft Man
looming up at the end of the block.

						COP
				(knocking Peck's hands
				away)
			You arrest them, numb nuts!  I'm getting out
			of here.

He runs off.  Peck turns to face the monster.

THE STAY PUFT MAN

The ground shakes with every step as he reaches the building. Then, using
the church next door as a stepping stone, he begins climbing the wall.

THE GHOSTBUSTERS

They look over the edge of the roof as the Marshmallow Man climbs higher
and higher.

						VENKMAN
				(shouts)
			Hit him!

They each fire point blank at the Stay-Puft Man.

THE STAY-PUFT MAN

He bellows with pain and rage as the beams strike him right in the chest
and set his skin on fire.  He begins to burn with a blue flame that
spreads quickly across his torso and down his arms.  The Stay-Puft Man
bellows even louder, flailing its huge arms in response to the searing
flames that are starting to engulf him.

THE GHOSTBUSTERS

They stare at the horrible conflagration.

						WINSTON
			Good.  Now we made him mad.

THE STAY-PUFT MAN

Carbonous, flaming hunks of melting marshmallow are flying from his arms
as he waves them in wild rage.

THE STREET

Peck stands there paralyzed with fear.  A mass of flaming marshmallow
falls and flattens a news stand nearby.  Then a huge glob of sticky
toasted marshmallow comes zipping down from above and lands right on him,
burying him up to his neck in melted sucrose.

THE STAY-PUFT MAN

The flaming monster keeps coming intent on their destruction.  Most of his
chest has melted away revealing horrid musculature and a skeletal rib
cage.

THE GHOSTBUSTERS

They square off and face him for the last time, their weapons poised.

						VENKMAN
				(calmly)
			We're going to be killed by a hundred-foot
			marshmallow.

THE STAY-PUFT MAN

He is almost on them now, fully engulfed in flames, reaching for them,
ready to swat them with his burning fist.

						VENKMAN
				(to the others)
			On the count of three!  One ... Two ...

						SPENGLER
				(he has the best idea of
				his life)
			No!  Them!  Shoot them!
				(he points at the Terror
				Dogs)
			Cross the beams.

THE TERROR DOGS

They stand beside the portal literally petrified.

VENKMAN

He hesitates.

						VENKMAN
				(protesting)
			No!  You said crossing the beams would be
			BAD.  It'll kill her!  And us!

						SPENGLER
			Life is just a state of mind.

						VENKMAN
			But it's my favorite state.

						STANTZ
			Either way we're history.

THE STAY-PUFT MAN

His burning fist is starting to descend on the Ghostbusters.

VENKMAN

He chooses the only way out.

						VENKMAN
				(shouts)
			Now!!

THE GHOSTBUSTERS

They turn and fire at the two petrified Terror Dogs and blow them to
oblivion. The entire front of the temple is obliterated along with the
door.

THE STAY-PUFT MAN

With the destruction of his earthly portal, the flaming monster is
suddenly engulfed in a cyclonic wind that begins to swirl around him like
a fire-storm.  The flames are whipped higher and higher as the tornado
begins to pick up rotational speed. Then the Marshmallow Man seems to
explode from deep inside creating a flaming air burst high above the
rooftops.

THE ROOFTOP

The Ghostbusters are blasted off their feet.

THE SKY

The fireball reaches its maximum explosive force, then a sudden jet of air
pressure occurs like a titanic vacuum cleaner in the sky and sucks the
flaming mass of gasses and ash up through our atmosphere and right out of
our dimension.  The dark clouds disappear with it, leaving a beautiful
clear blue sky over the whole area.

THE TEMPLE

It now looks like an ancient ruin.

THE GHOSTBUSTERS

They are lying at the foot of the stairs. Everything is still.  One by one
they get slowly to their feet and look around to see that the crisis has
passed.

						STANTZ
			Everybody okay?

Venkman looks up at the portal.

THE TERROR DOGS

They are still on the pedestals but charred almost beyond recognition.
Venkman mounts the stairs and gazes sadly at the remains.

THE PEDESTAL

Venkman stands there mourning, then a slight movement under the blackened
skin of the Terror Dog catches his eye.  The movement gets stronger, then
suddenly a human hand pokes through the carbonous coating.

VENKMAN

Hope surges in him and he starts frantically tearing away the black
coating, finally revealing Dana alive and well under the burnt skin of the
Terror Dog.

STANTZ AND SPENGLER

They peel the charred coating off Louis and help him to his feet.

LOUIS

He looks around wondering how he ended up on the roof of a wrecked
high-rise. He looks at his scorched and ripped suit crusted with the
still-smoking gobs of melted marshmallow.

						LOUIS
				(amazed)
			Jeez!  Somebody must have spiked the egg
			salad.

VENKMAN

He helps Dana to her feet.

						VENKMAN
			Are you all right?

She looks around at the incredible scene.

						DANA
				(totally confused)
			Oh, sure.  I'm getting used to this.

						LOUIS
				(seeing Dana for the first
				time)
			I'm innocent!  Honest, Dana.  I never
			touched you.  Not that I remember anyway.

						DANA
				(getting annoyed)
			All right, what happened to me?

						VENKMAN
			Nothing!  We just got rid of that thing in
			your kitchen.

						DANA
			Really!  Is it gone?

						VENKMAN
			Yeah, along with most of your furniture and
			a lot of your personal possessions.  This
			one took some work.

						DANA
				(noting the wrecked temple)
			Thank you.  Next time I want to break a
			lease I'll know who to call.

She hugs him.

						VENKMAN
			This is going to cost you, you know.  Our
			fees are ridiculously high.

						DANA
			Talk to my accountant.
				(she indicates Louis)

						LOUIS
			Oh, great!  I bet we could write off all the
			damage as an Act of God.

THE GHOSTBUSTERS

They look at each other and nod.

						STANTZ
			I'll go along with that.

EXT. STREET - NEAR THE APARTMENT - NIGHT THE TWO BUMS

They hear the cheering down the street as they cautiously inspect a
massive mound of cooling sucrose.

						FIRST BUM
			Well, that definitely looks like marshmallow
			to me.

						SECOND BUM
				(sniffing it)
			Yeah, it's some kind of mallow-type
			substance - that's for sure.

						FIRST BUM
			You have to wonder why anybody would dump a
			marshmallow that size right in the middle of
			the street.

						SECOND BUM
			I wonder if there might not be a very large
			cup of hot chocolate somewhere in the area.

						FIRST BUM
			That would definitely explain it.

EXT. THE STREET   NIGHT

A happy throng of jubilant citizens is gathered outside the lobby entrance
to the apartment building.

THE ENTRANCE

The battered but victorious Ghostbusters emerge from the lobby.  Venkman
and Dana are holding hands.  The crowd roars with unrestrained joy and
gratitude,  Janine runs over and hugs Spengler enthusiastically.  The
Ghostbusters wave and head for the Ectomobile parked at the curb.

THE GHOSTBUSTERS

They get into the Ectomobile and drive off with lights flashing and sirens
screaming as the crowd cheers wildly.

						THE END
