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2021-04-15 11:31:59 -07:00
THE REAL GHOSTBUSTERS
"KNOCK, KNOCK"
.HE 076001 / REV. 3/4/86 #
FADE IN:
EXT STREET - ROW OF HOUSES
Nothing unusual about them. We just keep hearing this
CRASHING and BANGING from somewhere OS. PAN from the row of
houses back across the street. A CROWD (seen more or less in
silhouette) stands outside wooden barricades, looking at
something we can't yet see. PUSH IN as the SOUNDS grow.
CLOSE - BARRICADE
And there, painted dead-center on the sawhorse-type
barricade, is The Symbol of the Ghostbusters. At the sound
of a particularly nasty CRASH from somewhere OS, a fist slams
suddenly INTO FRAME, bashing the sawhorse.
MORELLI (OS)
(agonizing)
What are they doing in there?
ANGLE - MORELLI, VICTOR
MORELLI, a paunchy older man, stands with his son VICTOR, a
few members of the CROWD visible in BG. They stand on the
other side of the barricade, looking with anguish at the
source of the disturbance. SFX CONTINUE.
VICTOR
It'll be all right, dad. I'm sure the
Ghostbusters know what they're doing.
OVERSHOULDER SHOT - MORELLI, VICTOR, BOWLING ALLEY
A giant bowling-ball pin tops the building, keying us to its
nature. Victor pats his father's shoulder as we PUSH IN to
increased sounds of detestation from within the bowling alley.
VENKMAN (VO)
That's it -- we've got 'em now.
INT BOWLING ALLEY - WIDE ANGLE
Where our four intrepid Ghostbusters - VENKMAN, STANTZ,
SPENGLER and ZEDDMORE stand amid the debris, particle-beam
throwers in-hand, an impressive sight. They'd be a lot more
impressive if they weren't surrounded by about thirty or so
floating bowling balls hovering just below the ceiling,
circling them, looking ready to do severe damage to the
Ghostbusters.
VENKMAN
(to the unseen ghosts)
Okay, guys, give it up. You've had
your fun, scared a few folks, but we
don't scare. We eat ghosts like you
for breakfast.
UPSHOT - STANTZ
Summoning up his bravado, the circling bowling balls visible
overhead in BG.
STANTZ
Peter's right! You haven't got a
chance! So go ahead -- take your best
shot!
ANGLE - VENKMAN, SPENGLER, ZEDDMORE
Who, as one, wince at this.
SPENGLER/ZEDDMORE/VENKMAN
(as one)
Oh, no . . . .
GHOST VOICES
(chorus, heavy reverb)
If you insist!
(maniacal laughter)
UPSHOT - BOWLING BALLS
Shooting down TOWARD CAMERA.
ANGLE - TABLE
Under which the Ghostbusters dive en_masse to avoid the
hailstorm of bowling balls raining down all around them to
TREMENDOUS CRASHES AND BANGS.
UNDER TABLE - MEDIUM
Where the four huddle, some holding their ears. CRASH!
BASH! SMASH! Venkman gives Stantz a withering look.
VENKMAN
(forced pleasantness)
Good thinking, Ray. I like that. But
somehow, I don't think you'll get
a gold star beside your name this week.
EXT BOWLING ALLEY - CROWD
Where Morelli and Victor stand with the crowd in BG as we
HEAR more CRASHING AND BASHING from OS.
MORELLI
What noise! You think we should go in
and help?
Then: an OS CRASH OF BREAKING GLASS. An instant later, a
BOWLING BALL rockets THROUGH FRAME, hitting a tree so hard it
goes right THROUGH IT, before hitting the ground so hard it
buries itself in the cement. Vincent looks to Morelli.
VINCENT
In a word . . . no.
ANGLE - SPENGLER
Huddled under the table, BASHES all around, as he pulls out
the PKE meter. Its wings rise, it FLASHES and BEEPS rapidly.
SPENGLER
This is it! Energy level approaching
maximum. We should get a visible force
five manifestation any -- second -- NOW!
UPSHOT - CEILING
With a FLASH! there appear five or six GHOSTS -- various
grotesque forms floating around in the air. They are not
critical to the remainder of the story, so they can be just
about any design. They cavort, spin, whirl, and zoom.
GHOST CHORUS
(whoops, cackles, etc.)
(heavy reverb)
ZEDDMORE (OS)
Now's our chance! Let's get 'em!
WIDE - INCLUDES CEILING, TABLE
As the Ghostbusters emerge from cover, raise their particle
beam throwers, and FIRE! Particle beams SHOOT OUT toward the
circling ghosts.
MEDIUM - GHOSTS
As they are ensnared in the four-pointed pyramid of particle-
beams that hit and HOLD them in a field of sheer energy.
STANTZ (OS)
That's it! Careful now! Easy! Easy!
WIDE - INCLUDES GHOSTBUSTERS
As the trapped ghosts are lowered toward the ecto-trap.
ZEDDMORE
Okay, they're in position! Opening the
trap -- NOW!
DOWNSHOT - THE TRAP
The small doors open, and a beam of incandescent brilliance
shoots out.
WIDEN - INCLUDES ALL
The beam from the trap catches the ghosts, and in a whirlwind
of EFX, yanks them into the trap. Its doors close. All quiet.
TWO-SHOT - SPENGLER, VENKMAN
As Venkman brushes some dust from his lapel, eminently pleased.
VENKMAN
Hey, piece of cake! Told you this'd be
an easy one!
WIDEN
PULLING BACK as the Ghostbusters head out of the bowling
alley, REVEALING that the place is an utter shambles.
EXT BOWLING ALLEY
As the Ghostbusters emerge, triumphant, to the SHOUTS of
approbation from the CROWD. A smiling Zeddmore nudges Egon.
ZEDDMORE
I think they like us!
Spengler eyes the crowd with cool scientific aplomb.
SPENGLER
I don't know -- it could be a trap.
Zeddmore, rolling his eyes at the ever-cautious Spengler,
grabs his hand and holds it up with his own two, waving to
the crowd, taking it all in. Spengler looks like he wishes
he were somewhere else.
SMASH CUT TO:
CLOSE - ECTO 1 FLASHING BEACON
PULL BACK from the strobing light to reveal the Ecto 1 racing
its way through busy streets, traffic parting before it like
the Red Sea. The Ghostbusters are inside, Stantz driving.
STANTZ (VO)
Boy, will I be glad to get home. I'm exhausted.
REVERSE ANGLE
As the Ecto 1 races AWAY FROM CAMERA OVER:
ZEDDMORE (VO)
Yeah! Home -- to some peace and quiet.
CUT TO:
INT GHOSTBUSTERS HQ - BLACK SCREEN
Nothing. Darkness. HOLD for a BEAT, under a CRUNCHING
noise. Then the garage door angles open. The Ghostbusters
stand silhouetted against the bright light outside.
VENKMAN
Peace and quiet, eh?
REVERSE - GARAGE/OFFICES
Where a line of partly-eaten food extends the length of the
HQ, to where Slimer sits, munching. A frazzled looking
JANINE stands nearby, arms folded, unhappy. Slimer, on the
other hand, only looks up for a moment, then keeps on eating.
JANINE
(frustrated)
I tried to stop him. You guys don't
need a receptionist, you need a baby
sitter! A whole platoon of 'em!
ON VENKMAN
Not looking at all happy.
VENKMAN
(end of his rope)
Slimer . . . !
ON SLIMER
Who REACTS with trepidation and leaps into the air, doing a
double-somersault before diving through a crack in the floor
boards and disappearing.
ANGLE - VENKMAN, STANTZ, SPENGLER, ZEDDMORE
As they survey the damage.
VENKMAN
Just let me blast him. Once. Is that
really so much to ask?
SPENGLER
Not yet. We haven't finished testing
him yet. He's the only ghost who'll
sit still for us -- we can't let the
opportunity for science pass us by.
ON STANTZ
Who smiles in that way of his.
STANTZ
Besides -- I'm teaching him how to fetch!
ANGLE - FLOORBOARDS
As Slimer's hand comes back through the floorboards and tries
to drag a chicken leg through after him -- without success.
Venkman's FEET stomp THROUGH SCENE.
VENKMAN (VO)
Science -- I love it. Well, come on,
let's get these little nasties put
away.
PLOOP! The chicken leg is yanked through the floorboards.
INT - BASEMENT
Where the Ghostbusters come down the stairs into the basement
area where the containment unit squats, big and impressive.
ANGLE - WALL CONTAIMNEMT UNIT
As the Ghostbusters ENTER FRAME and stop in front of the unit.
ON VENKMAN, ZEDDMORE
Venkman holds up the trap. It RATTLES, and there are SNARLS
and GRUMBLES from within it. He pushes it toward Zeddmore.
VENKMAN
Okay, Winston, it's your turn.
ZEDDMORE
My turn? It's your turn. I did dishes
Tuesday, remember? We traded.
ANOTHER ANGLE
As Spengler sighs and comes between them, taking the trap.
SPENGLER
(a sigh)
Never mind, I'll do it.
CLOSE - VENKMAN, ZEDDMORE
They lean toward one another conspiratorially.
VENKMAN
Works every time.
ON SPENGLER
As he opens the containment unit door, inserting the trap.
SPENGLER
I don't understand what you're afraid
of. Just because it blew up once
doesn't mean it'll blow up again, right?
WIDEN TO INCLUDE ALL
As, behind Spengler, they all take one big step backward kind
of like a Busby Berkeley chorus line, saying:
ZEDDMORE/VENKMAN/STANTZ
Right.
Spengler pulls the lever that moves the ghosts into the
containment unit. The others plug their ears, fearing the worst.
ON SPENGLER
Nodding, satisfied, as the containment unit does its thing.
SPENGLER
There. Now that they're safely inside
the containment unit, they won't be
bothering anybody for a long, long time.
WIDEN TO INCLUDE ALL
Stantz, Zeddmore and Venkman step, smiling, back to where
they had been a moment earlier, and Spengler turns to face
them.
SPENGLER
Now we can get some rest.
WIPE TO:
INT SUBWAY TUNNEL
Still under construction. PAN the length of it. At the
largest, most complete end, there are tracks freshly laid.
Further on, it's a little more primitive, wires and metal
sticking out at odd angles. PAN into the darkness of the far
end of the tunnel and PUSH INTO the darkness . . . .
INT END OF TUNNEL
Where some WORKMEN dig with digging machines and pick-axes.
CAMERA LINGERS and PUSHES IN on two WORKMEN, each examining a
layout of the growing tunnel. Then:
THIRD WORKMAN (OS)
Hey, Bob! Come take a look at this!
Holding up a finger to mark his place in the discussion, the
First Workman heads off toward the sound of the voice,
picking up a lantern as he enters
NEW DIG AREA
Where freshly-dug dirt has been just pushed away to REVEAL,
in the glow of hanging lanterns, what looks suspiciously like
a door. A very, very old door, with strange markings and an
odd, mouth-like arperture surrounded by weird hieroglyphics.
FIRST WORKMAN
What is it?
CLOSE - MARKINGS, ARPERTURE
Looking very strange, very Lovecraftian in the half-light.
FIRST WORKMAN (OVER)
Beats me. Hey, lookit all that weird
writing. What d'you think it means?
TWO-SHOT - FIRST, THIRD WORKMAN
And neither of them says the following:
DOOR VOICE (OS)
DO -- NOT -- OPEN -- UNTIL -- DOOMSDAY!
FIRST WORKMAN
Hey, good guess. How do you know?
THIRD WORKMAN
Who, me? I didn't say anything.
They suddenly REACT (PLEASE, don't overdo it!) to the sight
CLOSE - THE DOOR - ARPERTURE
The mouth-like arperture is moving, shaping the words:
DOOR VOICE
DO -- NOT -- OPEN -- UNTIL -- DOOMSDAY.
WIDEN TO INCLUDE ALL
As the Third Workman backpedals a step or two.
THIRD WORKMAN
Maybe -- maybe we ought to do like it says.
FIRST WORKMAN
Are you nuts? We've got a subway
tunnel to dig. We're not gonna stop
just 'cause some nut door says so!
(calling)
Okay, move those drillers in! Let's go!
Together, the two head OS as drilling machines ENTER FRAME and
start toward the stone door.
REVERSE ANGLE
As the First and Second Workmen head AWAY FROM CAMERA.
FIRST WORKMAN
There, see? You just hafta learn how
to take charge, how to give orders.
Then, suddenly, from where they just left, there's a
tremendous BLAST! They spin around to see
WIDE - THE DOOR
Knocked off its hinges -- and from within, there's a swirling
miasma of light and mist and glittering hellfire that churns
out, getting bigger and bigger by the second, filling the
tunnel like a horizontal tornado, throwing the drilling
machines back the way they came. Grinning fireballs -- the
loosed spirits, creatures, and so on -- come shooting out.
ON FIRST, SECOND WORKMAN
Ducking the onslaught of energy, fury, and grinning fireballs
that rush all around them, heading out into the tunnels.
FIRST WORKMAN
. . . oops. RUN FOR IT!!!
They do.
WIDE - TUNNEL
The entire complement of Workmen scatter everywhichway as the
tunnel is filled with the escaping spirits.
WORKMEN
(general panic & confusion)
ANGLE - SUBWAY TRAIN TRACKS
As two fireballs hit either rail, shoot a link between them,
and skate rapidly up the line, heading into the other
tunnels. Other fireballs do the same.
WIDE - JUNCTION
Where the rails of several lines meet. The Fireballs ENTER
FRAME riding one set of rails, and as they arrive at the
junction, split off, each following a different line.
INT SUBWAY STATION
Where a few COMMUTERS stand beside a stationary subway train,
taking on the last of its passengers. ANGLE DOWN to the
tracks. A skating fireball zips TOWARD the train, and HITS!
ANGLE - THE TRAIN - FRONT
Momentarily glows with energy that crackles along its metal
skin. Then, for a BEAT, nothing happens. Then the front
windows of the train alter shape slightly -- become like
eyes. It seems to smile -- and it's not a pretty sight.
ANGLE - SUBWAY PLATFORM
A MAN and WOMAN race toward the train, which has begun to MOVE.
MAN
Wait! Wait for us!
ON SUBWAY TRAIN - DOORS
The MAN AND WOMAN barely manage to dive in through the still
open doors, smiling in relief.
MAN
Made it! Boy, are we lucky!
SLAM! The doors close -- and they look suspiciously like a
huge maw (or fist) closing.
THE TRAIN
Peels away from the station -- its graffiti markings
shimmering and becoming like animal markings. And the sound
it makes is like a scream.
ANGLE - FRONT OF TRAIN
Heading straight FOR CAMERA, grinning maniacally, as wisps of
spirit-trails begin to surround it. Just as it seems about
to pulverize the CAMERA we
CUT TO:
EXT SUBWAY ENTRANCE
Where some COMMUTERS come barrelling out of the entrance to
the subway, chased by any number of four, six, and eight
legged ghosties.
COMMUTERS
(screams & shouts)
CAMERA ANGLES UP -- and there, in the distance, is
Ghostbuster HQ.
INT GHOSTBUSTER FIRE STATION
Where Venkman lays back on his bunk, looking content.
VENKMAN
(contented sigh)
Now -- to get some rest!
INT JANINE'S STATION
She hangs up the phone and slams her hand down on the alarm.
JANINE
Okay, let's ROLL!
SIRENS blare! CLAXONS sound! RED LIGHTS glare!
UPSHOT - FIRE POLE
Lickety-split, Stantz, Zeddmore, and Spengler slide down the
pole. PAN QUICKLY UP.
ANGLE - VENKMAN'S BUNK
As Venkman crawls with utter despair out of his bunk.
VENKMAN
It's a conspiracy. I know it.
EXT FIRE STATION
As the door slides up, and Ecto 1 races out and away from the
Ghostbusters HQ.
WIPE TO:
INT SUBWAY ENTRANCE
The bottom of the steps, where -- throwers in hand -- Stantz,
Venkman and Zeddmore move cautiously to the bottom. PULL
BACK TO REVEAL that the station has changed -- a lot. Layers
of ectoplasmic slime drip from everything in sight, jagged
stalactmites and stalagmites jut out from odd angles, and a
thin mist hangs over everything. In a very short while, this
place has gone all to heck. The Ghostbusters look around,
taking this all in.
VENKMAN
Very nice. Looks a little like
your room, Ray.
ANGLE - STANTZ, ZEDDMORE, VENKMAN
Looking up as HYSTERICAL LAUGHTER fills the station. They
look around nervously. The laughter stops. Then, suddenly
Stantz stops, holds up a hand.
STANTZ
Listen! Do you hear -- footsteps?
A BEAT. Yeah, there are footsteps, all right. Suddenly,
Spengler ENTERS FRAME behind them.
SPENGLER
Hi, guys.
VENKMAN/STANTZ/ZEDDMORE
YAAAAAGGGHHHHH!
WIDEN
As the others spin toward Spengler, weapons drawn, then relax.
ZEDDMORE
Geez, Egon -- how many times do we have
to tell you -- don't do that!
STANTZ
So what's up? What did you find out?
ON SPENGLER
Consulting his PKE meter, scanning with it as he speaks.
SPENGLER
I spoke with the situation officer. He
says that whatever's happening, it's
spreading throughout the subway system.
If it isn't stopped soon, the whole
city will be in chaos.
ANGLE - VENKMAN, STANTZ, ZEDDMORE
Stantz is amazed, fascinated by this. Venkman, DURING THE
FOLLOWING, notices something OS that gets his attention.
STANTZ
That's amazing! I mean, we're not just
talking simple haunting here. This is
classic transformation. It's like the
whole place itself is becoming evil,
coming alive. Boy, this is great!
ZEDDMORE
I love a man who enjoys his work. But
now what? Maybe we ought to . . . .
On this, Venkman slips away, heading toward what's been
taking up his attention.
OVERSHOULDER SHOT - VENKMAN
Heading toward a figure in the mist: from behind, it seems to
be a very attractive, well-dressed blonde woman. She stands
at the edge of the subway platform as Venkman comes from behind.
VENKMAN
Ah, excuse me, miss?
ANOTHER ANGLE
As Venkman comes up behind the figure, her back still to CAMERA.
VENKMAN (cont'd)
(a come-on)
I hate to bother you, but maybe you'd
better let me escort you outside. It's
not safe in here. Nasty, nasty stuff.
So what do you say we --
Suddenly, the figure turns -- and we SEE that this is a
skeleton, not a person, dressed to the nines. The skull-face
widens in a HYSTERICAL LAUGH. If the thing expects this to
have any effect on Venkman, it doesn't. He leans forward,
looks at the thing's teeth.
VENKMAN
(just a tad nervously)
Say, now, ah . . when was the last
time you saw your dentist? Hmm?
With a ROAR, the thing disappears, fades out, the clothes and
wig dropping, empty, to the ground. Suddenly, he looks OS to
an approaching, clanking ROAR from somewhere down the line.
WIDEN TO INCLUDE ALL
As the other Ghostbusters join him at the platform's edge, a
SUBWAY TRAIN, looking fairly normal, if slimed, makes its
appearance. It pulls up, slowing to a stop before them UNDER:
ZEDDMORE
It's a train.
STANTZ
Looks like it.
SPENGLER
But I thought the trains had stopped running.
VENKMAN
Hey, this is New York! Nothing stops
this town! I love this place.
WHOOSH! The doors open up right in front of them. They
ENTER. The doors slide shut again. And the seam where the
doors join . . . disappears.
INT SUBWAY TRAIN
As it begins moving again. The place is amazingly dreary
looking -- dark, oppressive. Spengler pulls a map out of his
jacket pocket and examines it.
SPENGLER
This could be very helpful. From what
I've been able to figure out, the
center of the disturbance is ten miles
down the line. This should take us
there in minutes.
VENKMAN
Terrific! Listen, I'm going to get
some coffee, anybody want some?
Venkman goes to one of the doors separating compartments and
pushes the button.
ANGLE - VENKMAN, DOOR
The door opens -- and the other compartment is filled with
walking skeletons, nasties, ghosts of all sorts. They cram
into the door, standing, not moving, implying that the other
car is filled with them. Venkman takes it all in for a BEAT,
then looks over his shoulder at his companions.
VENKMAN
On second thought, maybe we should send
out for coffee.
EXT TRAIN - HEADING AWAY FROM CAMERA
With a tremendous ROAR, the whole train SHAKES as the battle
is joined inside. PAN UP toward the ceiling and PUSH THROUGH to:
EXT STREET
PEDESTRIANS walking along the otherwise quiet street, down
which we SEE a bunch of manhole covers in a row -- and
suddenly, one after another, they're BLOWN right off the
street and into the air as the SOUND of battle below rages,
blasts of particle-beams and ghost-wisps BLAMMING! through
the open manholes with each explosion. The Pedestrians look
on, wide-eyed, as the disturbance moves from one manhole
cover to the next, heading down the street.
INT SUBWAY STATION - FURTHER DOWN LINE
Looking very much like the one we just left, only even more
dark, slimy, deteriorated and otherwise yucked-up. Silence.
Then: a light from around the railway bend. A light. MOVE
TOWARD IT. It FILLS THE SCREEN. SFX: SUBWAY TRAIN.
ANGLE - SUBWAY TRAIN
The one the Ghostbusters entered, coming down the line. Only
now its windows are blown out, the wheels are buckled, the
whole thing looking like it's been through a war. Even the
eyes/windows of the living train are crossed. It barely
manages to make it to the platform before grinding to a
shuddering halt. No sooner do the triumphant Ghostbusters
emerge than, in a great flurry of dust and debris, the train
collapses in upon itself -- then fades away out of existence.
ANGLE - SPENGLER, STANTZ, ZEDDMORE
Going to the far edge of the platform and peering off into
the misty reaches of the tunnel. Here it is filled with a
strange, swirling mist that glitters and sparks -- shades of
red, and black, and purple slide just under the surface of
the mist -- looking half-alive, half-unknown. Spengler holds
the PKE meter in his hand --
CLOSE - PKE METER
The wands raising up, lights flashing, beeping like nuts.
SPENGLER (OS)
This is it. End of the line.
TWO-SHOT - SPENGLER, STANTZ
Looking from the PKE meter to the tunnel.
SPENGLER
The source of the disturbance is about
one mile further on. It's sending out
enormous amounts of poltergeist energy,
changing the nature of everything it touches.
ANGLE - ZEDDMORE
Looking over the edge of the platform, he sees something at
its base.
ZEDDMORE
Hey, what's that? That doesn't belong here.
And with a hop, he jumps off the platform edge down to where
the tracks run.
UPSHOT - PAST ZEDDMORE
Who crouches beside a large stone slab jutting out of the
ground. Above him, on the platform, the rest of the
Ghostbusters appear, looking down at him.
STANTZ
What is it, Winston? What'd you find?
ZEDDMORE
I don't know, but it looks important.
Take a look for yourself.
The Ghostbusters look to each other, shrug, then leap in
after Zeddmore.
WIDE - STONE SLAB - INCLUDES GHOSTBUSTERS
As they congregate around the stone slab. And now we can SEE
that there is writing in some strange language graven into
the stone. This is clearly something very, very old. (Note:
this is not the door we saw earlier.)
STANTZ
(whistles)
Whatever it is, it's been been buried
for ages. Looks like it came out of
the ground all by itself, maybe drawn
up by all the excess psychic energy
around here.
TWO-SHOT - ZEDDMORE, SPENGLER
Kneeling down beside the stone slab, Stantz's feet visible
behind them as they examine the artifact. Zeddmore gestures
toward the hieroglyphics.
ZEDDMORE
Can you read what it says?
SPENGLER
It's Sumerian.
ZEDDMORE
Can you read Sumerian?
ON SPENGLER
Raising his head, amazed that the question would even be asked.
SPENGLER
In my sleep, underwater, and with the
lights off. Of course I can read Sumerian.
It'll -- just -- take me a while.
With that, he bends down to begin work.
WIPE TO:
INT SUBWAY TUNNEL - LATER
Where Venkman is sitting in FG off by himself, unwrapping a
sandwich that he takes from his jacket pocket. In BG the
rest of the Ghostbusters huddle over the stone slab. They're
too far for us to hear what they're saying.
VENKMAN
Have a sandwich, Peter. Thanks, think
I will. Say, how long have we been
waiting here? Oh, a couple of hours.
Think we'll ever get out of here? Naah.
ANOTHER ANGLE
As Venkman puts his sandwich, on the wrapping, down beside
him and rummages around in another pocket -- TRUCK IN on the
sandwich, where a bony hand rises from the ground beside it,
moves slowly over the sandwich, hovers, about to grab it,
when Venkman leans suddenly INTO FRAME.
VENKMAN
Move it or lose it.
The bony fingers riffle for a moment, as if thinking it over,
then PLOOP! they dive back under the ground again as we HEAR:
STANTZ (OS)
Peter! We got it!
And it's just as Venkman turns to look back at Stantz that
the bony hand reaches out and ZAP! grabs the sandwich,
disappearing again beneath the ground. Venkman, resigned to
his fate, rises and heads OS.
ANOTHER ANGLE - INCLUDES ALL
As Venkman joins the remaining Ghostbusters around the slab.
VENKMAN
This better be worth a sandwich, Ray.
STANTZ
Good news! We finally figured out what
the stone says! The world's going to end!
ON VENKMAN
Who nods, taking this in.
VENKMAN
You have a very strange definition of
"good news."
TWO-SHOT - SPENGLER, ZEDDMORE
Rising INTO FRAME from the stone slab.
SPENGLER
According to the stone, at the far end
of this tunnel there's a doorway into
-- the nether regions.
ZEDDMORE
Translation: the place where all the
bad folks go when they've finished
living.
And Zeddmore points ominously straight down.
WIDEN TO INCLUDE ALL
The CAMERA PULLING BACK to give some idea of the immensity of
their situation, making them small against it.
SPENGLER
The door was hidden deep in the earth,
not to be opened until doomsday, the
end of the world. Only somebody opened
it early. It's like breaking open a
dam -- and it'll keep on spreading.
VENKMAN
Yeah? So?
ON STANTZ
VERY serious looking as he begins:
STANTZ
Peter -- did you ever leave some old
socks in your closet too long, and the
whole closet began to smell like your socks?
VENKMAN
(defensively)
Maybe.
WIDE - TUNNEL, GHOSTBUSTERS
As Stantz gestures to their surroundings.
STANTZ
Same thing here. Unless we do something
to stop it, soon the whole world will
look like this -- just like the nether
regions. Eternal darkness. And the
earth will be governed by ghosts.
VENKMAN
No more days at the beach?
ZEDDMORE
No more beach.
ON SPENGLER
Standing on this side of the mist, at the end of the tunnel.
SPENGLER
We've got to find the door and close it
again -- even if it means we'll never
come back ourselves.
With that, Spengler arms his particle-beam thrower, and steps
into the mist, disappearing from view.
WIDEN TO INCLUDE THE REST
Who look to one another. Zeddmore and Stantz arm their
throwers, and with determined looks, follow Spengler into the
mist. Venkman, alone, finally throws up his hands, arms his
thrower, and follows them in, saying:
VENKMAN
(resigned)
All right, all right. But if I don't
come out of this alive, I'm gonna be
real upset!
And he, too, disappears into the mist. PULL BACK SLOWLY to
reveal the mist changing shape, taking on features -- and the
side of the mist facing us looks, for all the world, like a
grinning skull. It LAUGHS, and LAUGHS, as we
FADE OUT:
END_ACT_ONE
.pa
ACT_TWO
FADE IN:
INT MISTY TUNNEL
For a BEAT, all we see is grey, swirling mist. Then, out of
it, come the Ghostbusters, weapons at the ready, eyes alert.
They stop to look at what awaits them.
VENKMAN
So let me get this straight -- if we
don't stop it, this is what the whole
world is going to look like?
Spengler nods.
THEIR POV
A scene out of Dante's_Inferno. Charred, blackened earth,
faces in the surrounding tunnel walls that watch them pass
(Note: comparable to the Gnome King's minions in Return_to
Oz.) Stunted, twisted trees that look suspiciously like they
might once have been people, bubbling pools, everything very
organic looking, but eerie, creepy. REALLY go to town on
this. (NOTE: Through this and all nether-world scenes, we
must see occasional, familiar-though-distorted things: torn
up subway tracks, signs hanging akilter, shattered doors,
twisted railings, on and on. We're NOT in another place --
this is the Same Old Place after something very nasty has
come in and messed everything up, changing its nature.)
SPENGLER (VO)
After Doomsday, the end of the world,
this was supposed replace everything.
But somehow it was released early, and
it's taking over the world now.
ANGLE - GHOSTBUSTERS
Who come to a sudden halt, listening. We, too, hear a SOUND --
a steady beating kind of noise, like oars turning in oarlocks.
STANTZ
Listen! Something's coming! Over
here, quick!
They run to some large rocks and duck behind them, weapons drawn.
OVERSHOULDER SHOT - GHOSTBUSTERS
Ready, poised . . . as from around the corner in front of
them comes, of all things, a floating boat (maybe twelve
feet long), being rowed along the air by translucent
ghost/people. They are chained to the oars, and manacled to
the boat with length upon length of chain. They MOAN AND
GROAN with frustration and dismay as a skeletal GUIDE -- at
the boat's prow -- points to the surrounding ground under:
GUIDE
Look, over there! Some more dirt! And
what's that? A plane! Oops, sorry --
more dirt.
(laughs cruelly)
1ST GHOSTLY ROWER
But that's all we've SEEN for the last
five hundred years! Dirt! Can't we
ever see something else?
ON SKELETAL GUIDE
Sneering with glee.
GUIDE
But you've only got another thousand
years to go! Then five thousand years
to look at rocks!
REVERSE ANGLE
As the boat heads AWAY FROM CAMERA.
GUIDE
Don't row so fast -- after all, we've
got all of eternity for our little tour!
And with that, they row around a corner and OUT OF SIGHT.
ANGLE - GHOSTBUSTERS
As Stantz and Zeddmore look, open-mouthed, at one another.
STANTZ
Did you see what I just saw?
ZEDDMORE
No.
Reassured, Stantz nods.
STANTZ
Me either. Let's go.
WIPE TO:
EXT SUBWAY PLATFORM
A normal one, for the moment. Two COMMUTERS stand at the
edge of the platform, facing CAMERA, each reading the
newspaper -- so their faces are effectively hidden. One of
the Commuters lowers his newspaper, and checks his watch.
1ST COMMUTER
Hmmm. The four-fifteen's running late
today. Hope there isn't a problem.
With that, he raises his newspaper. There's an OS RUMBLE.
WIDEN
As suddenly a GHOSTLY SUBWAY TRAIN comes BETWEEN CAMERA and
the Commuters. It FILLS THE SCREEN, wildly distorted, eyes
that used to be windows leering madly, goblins and an
assortment of odd creatures hanging out windows, laughing
hysterically, clinging to the top of the train, going WOGGA-
WOGGA at the camera, and generally carrying on. Then it
finally passes OUT OF FRAME . . . and the subway platform is
different. It's as gloomy, dark, forbidding and slimy as the
one we saw earlier, stalactites and stalagmites breaking
through the tiled floor and ceiling.
The clothes of the two commuters are rumpled, torn, slimed.
They lower their newspapers, revealing disheveled hair and
hats, ties thrown over shoulders, several days' worth of
beard growth on their faces. They exchange a glance.
1ST COMMUTER
Yes, I'd say there's definitely a
problem up the line.
CUT TO:
INT NETHER REGION - WALL
Stone eyes following the Ghostbusters, who we SEE only as
four shadows falling across the wall, passing THROUGH FRAME.
CLOSE - SPENGLER
TRACKING WITH Spengler as he adjusts the PKE meter, trying to
fix on the strongest waves of force. The BEEPING increases,
and the wings stick up at one point along the arc. Spengler
points that way, and nods for the rest to follow.
REVERSE ANGLE
As the Ghostbusters walk AWAY FROM CAMERA, Stantz and
Zeddmore bringing up the rear. Stantz checks his watch.
STANTZ
Oh, hey -- I just realized -- we're
missing the news! Do you think they'll
mention us?
ZEDDMORE
Nope. I think the world's got more
important things to think about than us.
And they turn a corner, disappearing around it. SUDDENLY:
STATIC EFX -- "CLICK", "CLICK" SFX
As of a television set when it's changing channels. We SEE
NEWS ANCHOR #1, at his desk, caught in mid-sentence.
NEWS ANCHOR #1
-- the question on everyone's lips:
Where are the Ghostbusters?
STATIC EFX -- "CLICK," "CLICK" SFX
Another News Anchor. A corner of the SCREEN shows a diagram
of the world -- and a black cloud is spreading, starting in
the New York area.
NEWS ANCHOR #2
-- black clouds have been reported all
over New York, and in surrounding
states. Reports coming in indicate
entire streets coming alive. Says the
Mayor of New York, "Frankly, it's a mess."
STATIC EFX -- "CLICK", "CLICK" SFX
The third, and final News Anchor, pressing his earpiece to
his ear.
NEWS ANCHOR #3
I'm being told that the Ghostbusters
entered the subway system two hours ago
and have not been seen since. The
Mayor will say only, "Everything's
under control."
STATIC EFX -- "CLICK", "CLICK" SFX
EXT SUBWAY TRAIN DEPOT
Where a couple of dozen subway trains rest, unused, waiting
to be called into service. They are under an overhang, and
on tracks, the outside world open to them on one side, the
subway tunnels available on the other side.
ANGLE - TRACKS
More of the fireballs we saw earlier skate along the tracks,
heading for the subway trains.
SERIS OF SHOTS - THE TRAINS
As, one by one, they come to sinister, evil-looking life.
PAN across them, each more nasty than the one before.
REVERSE ANGLE
As the subway trains BLAST their sirens, and horns, and
bells, and anything else that will make sound. It is like
the HOWLING of angry creatures. Then they dive en_masse into
the subway tunnels like wolves in search of prey.
INT NETHER REGION - GHOSTBUSTERS
As the Ghostbusters parade THROUGH FRAME, continuing their
search. Suddenly, Spengler stops short, holding the PKE
meter up. His outstretched arm stops the following
Ghostbusters, who group up behind him. Spengler gestures OS.
SPENGLER
We're almost to the doorway. See that?
THEIR POV
In FG there's another of those stunted sorta/kinda trees, and
in the BG there's a cliff-face -- literally. It's a
veritable stone face, it's huge mouth frozen into an "o"
shape, as if caught in surprise, or shock, or a yawn.
SPENGLER (VO/cont'd)
It's right through there. Once we get
past that, we should be able to see the
doorway -- and close it.
ON GHOSTBUSTERS
Appraising this. They take a couple of tentative steps
forward, coming near the sorta/kinda tree.
STANTZ
I don't know -- I don't like the looks
of that place.
VENKMAN
Me either. So I have a better plan.
ON VENKMAN
Who jerks a thumb in the direction they came from.
VENKMAN
Turn around, and run very, very fast
back the way we came, and never, ever
look back.
WIDEN TO INCLUDE ALL
As Spengler shakes his head, and starts toward the cliff,
passing the sorta/kinda tree.
SPENGLER
Sorry. We have to go ahead with it. I
just wish I knew what that was.
And suddenly, the sorta/kinda tree stirs, its knotted-wood
face turning toward Spengler.
SORTA/KINDA TREE
It is the Place of Lost Souls. All new
spirits must pass through there.
ANOTHER ANGLE - FAVORING ZEDDMORE
Who looks around, a little nervous.
ZEDDMORE
But we're not dead.
SORTA/KINDA TREE
(a shrug)
Nobody's perfect.
CLOSE - SORTA/KINDA TREE
Midway through the following, we RACK FOCUS on the cliff in BG.
SORTA/KINDA TREE
Which is too bad. No one still alive has
eve come out of there in one piece.
WIDE - INCLUDES ALL
As they look to one another, resigned to their fate.
VENKMAN
See? I knew I wasn't gonna like this.
Well -- come on.
They follow him OS, not looking at all happy. The
sorta/kinda tree watches them go.
SORTA/KINDA TREE
Have a nice day!
And then it goes back to its previous, non-moving stance.
ANGLE ON CLIFF - MOUTH
As the Ghostbusters momentarily stop before the mouth of the
cliff passage. Each puts a hand on the other's shoulder, a
gesture of support. Then: they enter the dark passage,
disappearing into the blackness within. PULL BACK to REVEAL
the opening closing behind them.
BLACK SCREEN
HOLD for a BEAT. Then: four sets of eyes, the Ghostbusters,
move through the pitch black. SFX: FOOTSTEPS.
STANTZ
I wonder why they call this the Place
of Lost Souls.
ZEDDMORE
Yeah, I was wondering the same thing.
Aren't they all ghosts?
Then, abruptly, one of the sets of eyes stops.
SPENGLER
Well -- maybe this is where the worst
ghosts of the lot get stuck because
they're too awful for anyone to see.
A BEAT. Then, suddenly, the darkness around them is lit with
rows and rows and rows of eyes, all different shapes,
surrounding them in the blackness.
VENKMAN
Egon . . . why do you always wait until
now to think up stuff like that?
ZIP! The four sets of eyes, the Ghostbusters, race OUT OF
FRAME, the horde of others following them OS with a ROAR.
DOWNSHOT - MAZE
Through which the Ghostbusters run, each taking a different
pathway through the winding maze.
INT - PASSAGE
Where they all come together again . . . only one's walking
on the floor of the passage, another's walking on the roof,
and the remaining two are walking along either wall, each of
them at right angles to the one nearest him. They pause for
only the barest second, then keep right on running.
EXT GORGE BETWEEN TWO CLIFFS - OTHER SIDE
Where the Ghostbusters emerge at a dead-run. They stop to
catch their breath. SFX: BREATHING HARD. Then they look
around.
STANTZ
(breathlessly)
Whew! That was some run! How long do
you think that tunnel is, anyway?
SPENGLER
I don't know. I'll find out.
An he goes over to one side of the cliff that contains the
tunnel, and looks to the other side.
ANGLE - FRONT SIDE OF CLIFF
And we can SEE Spengler's head poke out around from the back.
It looks for all the world like the tunnel can't be more than
two inches deep.
REVERSE ANGLE
As Spengler looks back at the Ghostbusters, then around the
corner again, then comes back to rejoin them.
ZEDDMORE
Well? How long is the tunnel?
SPENGLER
(very, very seriously)
You don't want to know.
ON VENKMAN
Shouldering his proton pack and heading OS.
VENKMAN
All right, I've had just about enough
of this. We've got a world to save,
and it's about time we taught these
jokers who they're messing with.
ANTHER ANGLE
As the Ghostbusters head OUT OF FRAME.
WIDE - PASSAGE
As the Ghostbusters come to a final turn in the passageway.
From around the corner, a brilliant LIGHT spears the dimness,
changing color, almost STROBING with energy and pulsations.
A tremendous WIND whips along this area, coming from the same
direction as the light -- from around the corner. The wind
whips the Ghostbusters' clothes as they approach the corner.
TIGHTEN
As the Ghostbusters huddle up against this side of the
corner, against the wind. Spengler holds up his PKE meter.
It oscillates, beeps and flashes like crazy. Zeddmore points
to the light from around the corner.
(DIALOGUE NOTE: Until indicated otherwise, all dialogue
should be spoken as if AGAINST THE WIND.)
ZEDDMORE
Is this it?
Spengler nods, wind whipping his hair, clothes. Venkman
stands, looking determined.
VENKMAN
Then let's do it.
With a shared glance, they brace themselves and head AROUND
THE CORNER and OS.
INT PASSAGE LEADING TO DOORWAY
And the wind nearly blows them off their feet. They cling to
outcropping rocks as they, and we, see:
THE DOORWAY
Now much huger than it had been. A HOWLING, TERRIBLE wind
screams out of the doorway. Flashes of spirits, living
fireballs scream out of the region beyond. The BACK-LIT
doorway is so bright we can barely look at it -- the center
of sheer, incredible power. The impression we should get is
that someone has opened the doorway to something very much
like Hell . . . and like a leak in a pressure cooker, the
contents are spilling out all over the place at high-speed.
A veritable maelstrom of surging wind and light and sound.
Scattered around are some of the tools and machines we saw
earlier, but now turned to stone, or weathered. And the
talking door is thrown back on its hinges, barely hanging on.
ZEDDMORE (VO)
Whoa! Hang on! This place is like the
eye of a hurricane!
REVERSE ANGLE - GHOSTBUSTERS
Holding onto the wall, old machines, outcroppings against the
wind. A FIREBALL shoots past them, LAUGHING.
STANTZ
I'm just glad we don't actually have to
go in there!
SPENGLER
Ray -- I'm afraid that's exactly what
we have to do.
VENKMAN/STANTZ/ZEDDMORE
What?
TIGHTEN - FAVOR SPENGLER
As the other Ghostbusters huddle closer, against the wind.
SPENGLER
Our only hope is to yank back
everything that escaped. That might be
enough to close the doors again. But
our portable packs just don't have
enough power for that.
ANGLE - STANTZ
As the light of realization goes on in his head.
STANTZ
But there's plenty of power -- in
there!
SPENGLER
Exactly. So we have to tap directly
into the center of the power-flow, and
hope it's enough to supercharge the
equiplment.
ANGLE ON DOORWAY
The light intensifying, the sound growing louder.
SPENGLER (OS)
The flow's reaching critical stage! If
we don't do it now, the breach will
soon be too powerful for us to close
it. It'll be the end of everything.
TWO-SHOT - ZEDDMORE, SPENGLER
As Zeddmore glances at the doorway in BG, then at Spengler,
concern at the realities of the situation in his eyes.
ZEDDMORE
Wait a second -- if we're inside when
the door closes . . . .
Give it a BEAT as Spengler looks down, uncomfortable, then
back at his companions.
SPENGLER
We'll be trapped, yes. With no way
home. Ever.
ANGLE - INCLUDES STANTZ, VENKMAN
As Stantz registers utter and absolute shock and dismay.
STANTZ
But -- I just got season tickets to the
Yankees! The best seat I've ever had!
VENKMAN
Egon, you kidder -- I'll bet you knew
this all along, and just didn't tell
us, am I right?
ON SPENGLER
Who reluctantly nods.
SPENGLER
It's our only chance. But I figured if
I told you the whole story, you
wouldn't want to do it.
WIDEN
As Venkman steps back, and they all stand, tilting against
the wind.
VENKMAN
That's a terrible thing to say, Egon.
You're right, of course, but it's still
a terrible thing to say.
ANGLE - VENKMAN
Stepping INTO FRAME, and looking to the doorway. RACK FOCUS
on the doorway UNDER:
VENKMAN
Well, if we're gonna go out, let's do
it in style! I've got an image to protect.
WIDE ANGLE
As the Ghostbusters form a single line across the passage,
heads bent against the wind, and the force. With the same
move, they take one step forward. Then another -- and they
are pushed even harder by the waves of force and wind from
THE DOORWAY
Through which more wind, thunder, light and wailing SOUND
screams out AT CAMERA. The force is building, putting out
more thrust. Louder. More frightening.
THE GHOSTBUSTERS
Struggling forward, inch by inch, fighting the gale intensity
winds, grabbing onto rocks, old pieces of equipment, anything,
just to drag themselves forward another few inches.
MEDIUM - SPENGLER
As his PKE meter overloads. He tosses it away seconds before
it EXPLODES, then continues on.
ANGLE - ZEDDMORE
Teeth gritted, pulling himself along the wall.
ZEDDMORE
Just a little further, Winston -- you
-- can do it!
TWO-SHOT - VENKMAN, STANTZ
Taking a second's rest against the wall. Venkman jerks a
thumb toward the doorway.
VENKMAN
(loud - breathless)
Hey, Ray! I'm -- going next door to
complain -- they're playing their
stereo too loud again! Wanna come?
TIGHTEN
And they smile, in that strange way people do when they're
sure they're about to buy the farm, but it's okay, sorta,
because they're with friends. (Note: go ahead, try to
animate THAT one!) But it's soon gone, and they press on.
ANGLE - DOORWAY
As the Ghostbusters crawl/walk/scrabble to the bottom of the
doorway, immense power surging past just overhead. With a
mutual nod, they begin to climb, hand over hand, up over the
edge of the doorway --
INT DOORWAY
SHOOTING OUT, toward the Ghostbusters, as they climb up over
the rim and pause, halfway in. Their faces go slack with
amazement and numb shock.
VENKMAN
Okay . . . I admit it. I'm impressed.
THEIR POV
Simply put: Hades. The Underworld. The Nether-Regions. A
place of swirling fireclouds, black lightning, distant shapes
moving through the void, all suffused with a supernal,
shifting light that leans toward the ultraviolet. A place of
sheer, utter desolation. Think of the outer surface of
Jupiter, and you'll have something very close to this.
STANTZ (VO)
Okay everyone, hang on -- this is it!
REVERSE ANGLE
As the four Ghostbusters take up their places: two on either
side of the now-immense doorway, clinging to the sides lest
they be hurled away by the wind. They pull out their
particle beam throwers.
SPENGLER
Arm nuclear accelerators -- now!
QUICK CUTS: THE GHOSTBUSTERS
Switching on their nuclear accelerators. They HUM to life.
CLOSE - SPENGLER
Shielding his eyes against the wind and light.
SPENGLER
Activate auxiliary power receptors --
now!
ON BACKPACKS
As the Ghostbusters each push a button. Out of the back of
each of the devices a panel swivels around, revealing a
small, dish-like antenna. ENERGY WAVES floating through the
surrounding ether are caught up on the receptors. And the
power indicators on the back of their packs GLOW brightly,
moving further and further up. POWER HUM.
ON GHOSTBUSTERS
Their particle-beam throwers vibrating and bucking. They
fight to keep hold of them.
SPENGLER
Full dispersion mode, wide angle --
fire -- NOW!
They do, immensely large waves of particle beams shooting out
of their weapons, much larger than when we saw them earlier.
STANTZ
Whooooaaaaaa!
REVERSE ANGLE
As the enormous particle beams shoot down the passage and
angle off down the intersecting passageways.
ZEDDMORE
Hold on!!!!!!!!
QUICK SERIES OF SHOTS:
EXT GHOST-TRAIN
Zooming along the tracks, when suddenly it's hit by particle
beams from behind. The beams CRACKLE and SURGE along its
surface. The whole thing freezes, ghosts caught on it.
SUBWAY PLATFORMS
Hit by the particle beams, they GLOW.
ANGLE - SUBWAY TRAIN RAILS
Particle-beam energy shooting along the railways, heading
AWAY FROM CAMERA.
EXT SUBWAY ENTRANCE
As GHOSTS make a break for the outside world, only to be
snared by the emerging beams.
INT DOORWAY
The Ghostbusters are barely able to hold onto their equipment.
SPENGLER
Okay, another second -- now! Activate
capture mode! Pull them in! PULL!
ANOTHER ANGLE
The Ghostbusters hit another switch on their weapons, and the
particle beams begin to reverse, pulling back in toward them,
as when they pull in a ghost to capture it.
INT DOORWAY PASSAGE
The whole area in front of the Ghostbusters is spiderwebbed
with energy bolts, veins of energy that FLARE and CRACKLE
like St. Elmo's Fire, or a Tesla coil.
SERIES OF SHOTS
EXT SUBWAY TRAIN
The particle beams, reversed, flow off the train, stripping
the ghosts and everything strange off the train as it goes --
the motion similar to a banana being peeled, the demarcation
is that clear.
EXT SUBWAY PLATFORM
Same thing -- stalactites and stalagmites retract, the awful
look of the place is peeled back as the particle beams
reverses.
ANGLE - SUBWAY TRAIN TRACKS
The first Fireballs we saw earlier are yanked back along the
rails, one after another, speeding TOWARD CAMERA.
EXT SUBWAY STATION
The snared ghosts strain against the particle beams like dogs
on a leash -- then are rudely YANKED BACK inside.
INT DOORWAY - GHOSTBUSTERS
Who look to one another as they hear a RUMBLING.
STANTZ
Uh, oh . . . .
THEIR POV
Everything that got loose is now headed right AT CAMERA, a
veritable horde of -- things, swirling, caught in the beams.
It's truly a nasty sight.
STANTZ (OS/cont'd)
Here_come_the_neighbors!
INT DOORWAY - GHOSTBUSTERS
Still firing their particle beams as the surging mass of
ghosts and other creatures comes pouring in through the
doorway. The WIND is surging toward them now, carrying the
things in with them. It looks like someone opened the drain
in a sewer, only all the yucky stuff is flowing horizontally.
ANGLE - FAVORING DOORS
As the doors move back on their hinges, and start to CLOSE.
SPENGLER (OS)
That's it! Let's go!
ANGLE - SPENGLER
Trying to get his footing in the terrible wind -- and he's
knocked off his feet! The wind pulls him further inside.
SPENGLER
Ohhhhhh!
ZEDDMORE
Egon!!!! Grab him!
ON GHOSTBUSTERS
Scrambling to their feet, they try to grab Spengler as he
zips past overhead, but miss -- and the wind whips them UP
AND AWAY, head over heels, flying deeper into the Nether
Region.
STANTZ/VENKMAN/ZEDDMORE/SPENGLER
Whoa! Yaaaaaghhhh! Aarrgghhh!
UPSHOT - GHOSTBUSTERS
As, carried on the wind and waves of force, they're carried
deeper within.
STANTZ
(yelling)
Just one chance! Fire! Everything
you've got! Maybe it'll push us back!
GO! GO! GO!
They do, firing their particle-beam throwers in front of
them, putting out retro-fire like waves of force.
ANGLE - THE DOORS
Closing, fast. The gap is narrowing.
ZEDDMORE
Hurry! The door's closing!
ON THE GHOSTBUSTERS
Their flight in is halted -- and they start to reverse, the
particle-beams pushing them back toward the doors, faster --
REVERSE ANGLE - SHOOTING THROUGH DOORS
As the Ghostbusters come shooting TOWARD CAMERA, barely
making it through the narrowing entranceway before the doors
close with a fantastic BOOOOOMMMMM!
GHOSTBUSTERS
Yeeooww! Heyy!! Made it! Yaahoo!
MEDIUM - GHOSTBUSTERS
Splayed on the ground, all looking as it did in the beginning
-- a normal dig in a normal tunnel.
VENKMAN
Hey, that was great. Really great.
Can we do it again?
ANGLE ON DOOR
As, once again, it intones:
VOICE OF DOOR
DO -- NOT -- OPEN -- UNTIL -- DOOMSDAY!
CLOSE - VENKMAN
Who shrugs.
VENKMAN
It was just an idea . . . .
WIPE TO:
EXT GHOSTBUSTER FIRE STATION HQ - NIGHT
PUSHING IN on the structure UNDER:
STANTZ (VO)
Boy, am I glad to be home! I think I
could sleep for a week.
INT FIRE STATION
The Ghostbusters move toward the kitchen, and open the fridge.
VENKMAN
You sleep. Me, I'm gonna raid the
fridge and eat until dawn!
Then, abruptly, they stop. Venkman looks very angry.
ZEDDMORE
Well . . . we can always get pizza.
THEIR POV
Slimer is sitting in the now-empty fridge. He's eaten
everything around him. He looks up at them, smiles.
VENKMAN (VO)
SLIMERRRRR!
ANGLE ON GHOSTBUSTERS
And they're physically restraining Venkman from doing serious
damage to Slimer.
VENKMAN
Let me at him! Let me blast him! C'mon!
ANGLE ON SLIMER
Whose smile vanishes. He looks around nervously, then PLOOP!
he dives under the floorboards again.
WIDEN
As the Ghostbusters release a very steamed Venkman. They,
however, clearly don't share his animosity.
STANTZ
Take it easy on the poor guy, Peter.
ZEDDMORE
Yeah -- just because you've had a bad
day, that's no reason to take it out on
Slimer.
ON VENKMAN
Who shakes his head vigorously.
VENKMAN
I don't care. I don't like him. I
never liked him.
WIDE - SPENGLER, KITCHEN
Who looks from the spot where Slimer was, to Venkman.
SPENGLER
Maybe that's part of the problem. Maybe
he eats because he wants to feel accepted.
CLOSE - VENKMAN
Listening . . . but not really:
SPENGLER (cont'd)
Remember -- he's a ghost living with a
bunch of guys whose job it is to bust
ghost. How would you feel?
And they all head off, leaving Venkman alone.
DISSOLVE TO:
INT BUNKROOM - NIGHT
The Ghostbusters are asleep -- except Venkman, who's sitting
up in his bunk. Thinking. Finally, he gets up, heads OS.
INT LOBBY
A door opens, spilling light on Slimer, sitting looking very
miserable in the center of the room, all alone. He turns, sees
SLIMER'S POV
Venkman towering over him. Holding a slice of pizza.
Venkman waggles a finger at him --
VENKMAN
You breathe a word of this to anybody,
and I'll deny it.
With that, he flips the slice of pizza right into Slimer's
mouth.
ON SLIMER
Slimer smiles with infinite gratitude.
VENKMAN (OS)
G'night, Slimer.
The door closes. TOTAL DARKNESS. A BEAT. Then:
SLIMER
(a huge burp)
(LAUGHS)
And on that note, we
FADE OUT:
THE_END
.pa
.he
THE REAL GHOSTBUSTERS
"KNOCK, KNOCK"
(#076001)
(SCRIPT)
Written by
J. Michael Straczynski
FIRST_DRAFT
February 26, 1986
REVISED 3/4/86
DIC_ENTERPRISES,_INC.