This is a speculative script of Ghostbusters 4, a direct follow-up to MY Ghostbusters 3 Script, so if you haven't read it yet I suggest you go there now.
This site and script are not affiliated in any way with Columbia/Sony or any branches thereof. The Ghostbusters and related characters -- Stantz, Venkman, Winston, Janine, Spengler, Louis, Slimer and Oscar -- are © Columbia Pictures 1984, 1989. The concept of Ghostbusters was created by Harold Ramis and Dan Aykroyd.
Although I must say that the character traits of Oscar were my own doing. The idea of a Ghostbusters film series named GHOSTCRASHERS and that the props are kept in Planet Hollywood (which I did not create) is my own as well. Finally, the crossover module was my own specific idea.
The characters of Garrett Miller, Roland Jackson, Kylie Griffin, and Eduardo Rivera are © Columbia Pictures 1998. I don't know specifically who created them but I know it wasn't me.
This spec script is © M. Scott 1998, along with the characters Doreen, Jake and Art, Junior, Lily, Jack, and Tazelbuul, and anyone in this script you've never heard of. Norm Gagnon, however, really exists, so no one can REALLY take credit for his creation (let's not get religious about this and just say I can't copyright the guy.)
To save this to your computer and read it offline, go up to the "File" menu, and use the "Save as..." feature to save this page to your computer as a .txt file. When it is on your computer, feel free to keep it, but make sure you don't pretend it's your own work. Feel free also to link to this site.
After you read this story, please make sure to tell me what you think via e-mail. I didn't write this without some desire to see how people react to it.
Thank you, and enjoy!
"GHOSTBUSTERS IV: FEAST OF SAMHAIN"
FADE IN:
EXT. SUBURBAN STREET -- NIGHT
It is Halloween Night. Children of all ages scamper around the street.
The sound of doors creaking open and shut and "trick-or-treat" are
everywhere.
A couple of kids draw the eye especially. One such child is dressed up
in a somewhat familiar costume. This is PETER VENKMAN, JUNIOR
(JUNIOR). He is approximately five years old. He is wearing a tan
jumpsuit with a red prohibition sign on the arm with nothing in it.
His mother made it.
On his back is strapped a cardboard box, painted black. A hose snakes
out of the bottom of the box, and comes around, taped to a flashlight.
This, he made himself.
With him is his older brother, OSCAR, age 15. Oscar loves his little
brother and has quite willingly dressed up as Junior's ghost. Junior
is trying to keep his flashlight trained on the "ghost" he has
captured, but Oscar keeps pushing the light to the ground so they can
see where they're going.
Oscar bumps into a fellow about thirteen in a pirate costume, complete
with shiny plastic sword. The boy looks at Oscar, then jumps and
screams, then blushes sheepishly.
BOY
(to Oscar)
Sorry, man. It's just that...jeez, that's a
good costume. You look like you're a real
floating ghost.
OSCAR
(a little embarassed)
Uh, thanks.
BOY
D'ya mind telling me how you did that?
Oscar pulls up his sheet to reveal a skin-tight, opaque black leotard.
In the shadows under the sheet, it does indeed blend in and become
invisible.
BOY
Wow. That's smart.
(sticks out his hand abruptly)
David Williams.
OSCAR
Uh, Oscar. Oscar Venkman. This is my brother
Junior. You live around here?
BOY (DAVID)
Yeah. Right up the street. I haven't seen you
around before.
OSCAR
We live pretty far from here. We've been
walking for a couple hours.
DAVID
Whoa. Well, let me help you out.
(points out several houses)
That house is the Seward house. Every year
someone hides in the bushes and sprays people
with hoses if they trick or treat there.
That house belongs to the Harries. They give
the king-sized bars.
That house is--
UP THE STREET, a group of PUNKS, led by a white boy who is under the
impression that he is black, jump out from behind a bush, screaming
bloody murder. A few little kids scream and drop their candy. The
boys laugh -- braying, donkey laughter. One of them picks up a piece
of candy--one--and eats it.
They are standing by the house which David was just about to point out.
A group of kids walks around the corner and the HEAD PUNK knocks a bag
of candy visciously out of the front child's hands. Candy rains down
on the street.
David notices them.
DAVID
Oh, no.
OSCAR
What?
DAVID
That's Gerald's gang. School bullies. They're
dangerous. They also hate me. I'll see you
guys later.
David bolts across the street and around a corner. Oscar starts to tug
on Junior's wrist.
OSCAR
(slightly nervous)
Let's turn here, Junior.
Junior tugs Oscar toward a house quite near the bullies.
JUNIOR
No, no, no. He said the Harries are over HERE.
They give the big bars.
Oscar starts to protest, but sees it is too late. One of the punks has
spotted them and pointed them out to the Head Punk. The Head Punk
snags yet another bag of candy and heads over. Junior does not run,
but Oscar tries to.
HEAD PUNK
(tough)
Well, well, what have we here? What're you
supposed to be, kid?
JUNIOR
I'm a Ghostbuster.
HEAD PUNK
Don'tcha mean Ghostcrasher?
OSCAR
That's just what they called them in the
movies.
JUNIOR
Yeah, what Oscar said.
HEAD PUNK
Oscar? Like the weiner?
Junior looks at Oscar questioningly.
OSCAR
Oscar Meyer.
Junior pretends to understand.
HEAD PUNK
(to Junior)
Hey, Ghostcrasher. You got a good costume. I
bet you get a lot of candy for it.
Junior nods.
HEAD PUNK (cont'd)
Where do ya keep all that candy, Ghostcrasher?
JUNIOR
(ignoring the question)
I'm a GhostBUSTER.
HEAD PUNK
(exasperated)
You don't really believe that bullshit about
how the movies are true stories, do you?
OSCAR
Hey, watch your language around my little
brother!
The Head Punk laughs.
HEAD PUNK
Sorry if I offended you, Weiner.
Junior continues undaunted.
JUNIOR
The movies ARE real. My dad used to be one of
them.
HEAD PUNK
Was your dad the dork? 'Cause I can see how it
rubbed off on the Weiner here.
(indicates Oscar)
He's still dressing up for Halloween.
Oscar starts to pull Junior away as the Punks begin laughing and are
distracted. The punks finally notice.
HEAD PUNK
Hey! Did you think we were going to just let
you leave?
JUNIOR
Well, someone has to think, and we didn't think
it would be you.
He's definitely a Venkman.
EXT. DARK CORNER -- NIGHT
A figure in a black cloak and hood comes around a dark corner and stops
as he spots the punks, who are arguing in the background. He begins to
take fast, heavy steps toward them.
EXT. PUNKS AND VENKMANS -- NIGHT
The street is deserted except for the six or seven boys. None of them
notice the hooded figure stalking toward them.
OSCAR
It's eight o'clock, Gerald. Shouldn't you be
returning that ugly mask? I know your kind
wouldn't have bought it for good.
A crude cliche, but it seems to hit the head punk's heart.
HEAD PUNK
(cold)
The name's Big G.
Oscar sucks in a deep, fearful breath. The Head Punk (GERALD) laughs
heartily, interpreting it to be fear of him.
GERALD
What? Did the little sissy-weiner suddenly
drop his balls?
OSCAR
(suddenly nervous)
Gerald, behind--
GERALD
WHAT DID I JUST SAY? THE NAME'S BIG--
A spindly hand taps him on the shoulder. He spins.
GERALD
WHAT?!
He sees the face of the hooded figure, but It is obscured from Oscar
and Junior's view. Gerald's drug-stressed mind snaps. At the hooded
figure's feet are the lifeless bodies of the other punks.
The figure picks Gerald up by the throat, one-handed, as Junior and
Oscar watch in terror. Gerald chokes and squirms, trying to escape.
The figure pulls Gerald's face close to its own obscured face.
FIGURE
I love Halloween, don't you?
He laughs quietly. The figure reaches up, grabs Gerald's chin, and
visciously snaps his neck. Gerald jerks, then is still. Junior
screams.
The hooded figure looks over. He laughs chillingly and reaches for
Junior. Oscar and Junior run for their lives. The hooded figure drops
Gerald's body and follows them.
EXT. STREET -- NIGHT
Oscar and Junior sprint around the corner, with Junior holding the
flashlight in front of them to illuminate their way.
The hooded figure rounds the corner, seeming not so much to be running
or exerting himself as FLOATING over the pavement--and it soon becomes
apparent that this is literally what he's doing.
THE STREETS are deserted, every one of them that Junior and Oscar
decide to turn onto. They fly past streetlights and mailboxes, making
the background seem to streak by.
Oscar's ghost costume catches on a picket fence as the hooded figure
once more rounds a corner.
Oscar strips it off just before the figure's powerful hand clamps down
upon it. He (Oscar) bolts down the street with Junior's hand locked in
his own.
Oscar has now been reduced to wearing the ridiculous black leotard.
Anything for his brother.
The hooded figure looks at the sheet for a moment, then slips it on and
resumes the chase.
The figure nearly catches them again, and grabs Junior's homemade
proton pack. For a kid, it was a nice try, but luckily still an
extremely flimsy thing that breaks off Junior's back almost instantly,
scattering candy all over the street. Now it's obvious where he kept
it.
The figure roars in rage as the two Venkmans, now a little further down
the street, turn into a front yard. He follows.
EXT. FRONT DOOR -- NIGHT
Junior and Oscar arrive at the door and begin hammering at it.
VOICE
(inside)
I'm out of candy! Go on!
The figure is closer.
They continue pounding on the door.
VOICE
(inside, but closer)
Din't'cha hear me? I'm out of candy!
OSCAR
(desperate)
Open up! Please!
The door unlatches after a moment and a grizzly old man looks out. The
chain is still across the door.
MAN
What in the name of--
Oscar and Junior heave themselves on the door, breaking the chain and
knocking the man backwards. They bolt into the house and shut the door
right in the hooded figure's (ghost's) face.
EXT. DOOR -- NIGHT
The ghost is floating right outside the door. For a moment he doesn't
move, and then he goes slowly out of the front yard, onto the street.
He begins to float slowly down the street, back the way he came.
INT. HOUSE -- NIGHT
The old man picks himself up.
MAN
What the hell are you doing?
OSCAR
(RE: Junior)
I had to get him away from the guy outside.
The man goes to the window and pushes the shades aside. He sees a
person in a sheeted ghost costume moving --floating, almost -- down the
street.
EXT. STREET -- NIGHT
David comes around the corner, panting. He spots the figure and
mistakes it for Oscar.
DAVID
Oscar! There you are.
(comes closer)
I saw you guys running and I tried to catch up.
But I had to make sure Gerald and them weren't
following you.
(beat)
Wow! You really look like you're floating! I
have to say again, man, great costume.
Without a word, the ghost grabs David's plastic sword and, applying
incredible pressure to it, slits David's throat.
David falls and dies.
The hooded figure takes off the sheet and drops it. His feet slowly
fall back into place like landing gear, until he is standing like a
normal human being -- and it is now obvious that he is not. He begins
to laugh, a terrible sound. He raises his hands to the sky and moans
exaltedly:
FIGURE
I LOVE HALLOWEEN!!
INT. NO-GHOST LOGO -- TELEVISION IMAGE -- NIGHT
The THEME MUSIC -- or at least an interesting simulacrum of it -- KICKS
IN, and a slightly distorted version of the familiar Ghostbusters logo
is seen. The logo is on a television screen.
The words GHOSTCRASHERS appear around the logo. The television sits
against the wall of a nice room. A familiar face comes through the
doorway: RAYMOND STANTZ.
RAYMOND STANTZ
(groans)
Oh, no. Are you watching this AGAIN?
A familiar voice responds. Its owner is watching the movie in a swivel
chair.
VOICE (O.S.)
Oh, come on, Ray. I think the first one was
the best. You just don't like the way they
portrayed you. If it makes you feel any
better, I don't like the name they used for me.
STANTZ
Robert Tankmin?
VOICE (O.S.)
That was my double's name from the other
dimension. Besides, they made it look like it
was my fault Wick--er, Peck--turned off the
Containment Unit.
STANTZ
It WAS your fault!
The voice is obsinately silent. Stantz sighs and sits down. A phone
rings. It is picked up.
VOICE
Hello?
MAN
(filter, on the phone)
Hello, is this...Mr. Peter Venkman?
The chair swivels around, and, sure enough, the owner of the voice is
DR. PETER VENKMAN.
PETER VENKMAN
Yes, yes, this is Dr. Venkman.
MAN
(filter, on the phone)
My name is Walter Peck.
Venkman jumps but does not give his shock away in his voice.
MAN
(CONT'D)
I live on the corner of Madison and Ives.
Number 15372.
VENKMAN
(relaxing)
I'm sorry Mr. Pecker--uh, um, Mr. PECK. We're
all booked up. You may want to contact a
preist or get in touch with one of our other
branches--
PECK
No, no, you don't understand. I'm not calling
for the Ghostbusters. I'm calling for Peter
Venkman.
VENKMAN
Oh, really?
INT. PECK'S HOUSE -- NIGHT
Just like the home of every old man you've ever known. Old-as-dirt
pictures on the walls in startlingly bland no-colors. Peck is seated
in an armchair with the phone in his lap and the receiver against his
ear.
Oscar and Junior are sitting on the couch across from Peck, watching
television. They are looking tired.
PECK
I have here your two sons, Oscar and Peter
Junior, as they have identfied themselves. They
ran into my house and broke open the door a few
minutes ago. They refuse to leave until you
come and get them. They also refuse to tell me
what happened until you get here.
INTERCUT PECK AND VENKMAN
VENKMAN
That doesn't sound like MY boys.
PECK
Well, they gave me this number. Is my home
near to yours?
VENKMAN
Not really. They left home about three hours
ago.
PECK
(incredulous)
They would have had to walk several miles to
still be out!
VENKMAN
Yes, well, they have lots of strength and
stamina when it comes to candy, do my boys.
PECK
Just come get them. And by the way, what kind
of responsible adult allows his children to--
CLICK! Venkman hangs up and gets ready to pick them up.
Peck stares at the phone in his hand, unbelieving, then hangs it up.
He looks at the clock. It is about nine forty-five.
MATCH DISSOLVE to just past ten. Peck is watching television, eyelids
drooping. The news is interrupted by a special bulletin.
REPORTER
This just in. A group murder has occured in
the middle of this All Hallows Eve on Maple
Avenue, in Orlando.
Map is superimposed. Maple Avenue is only a couple of turns from
Madison and Ives. Peck's ears prick up.
REPORTER (cont'd)
The police have counted six bodies and have
just released the scene to the press. We take
you now to William Anson, who has with him the
woman who made the 911 call.
ONSCREEN PICTURE CUTS to the street on which it all began. A middle-
aged man (ANSON) interviews a stout woman. A super informs us that she
is GILLIAN RAYBON.
ANSON
Thank you, Chuck; yes, I'm here now with Mrs.
Gillian Raybon, who witnessed the murders.
Mrs. Raybon, can you tell us what happened?
GILLIAN
Yeah, uh, I looked out my window and saw a
bunch of kids all together, and then another
kid, dressed all in black, comes up behind 'em
and kills 'em all, one by one. Don't any of
them notice 'til it's his own turn, and then
it's too late. Then, he ran after a boy in a
ghost costume and one in a cute little
Ghostcrasher costume.
ANSON
Did you see which direction?
GILLIAN
Yeah.
(points)
It looked like the kid in black was trying to
separate the other two.
Peck looks over at the two boys, who are now sleeping somewhat
peacefully.
GILLIAN
He lifted one boy off the ground one- handed
and then broke his neck. Strong kid.
ANSON
(to camera)
Strong indeed. A few blocks from this spot
there occurred--just a few minutes later, as
far as we can tell--ANOTHER murder. A boy's
throat was cut by his own plastic sword. It
would take a great deal of strength to pierce
skin with such a blunt, pliable object.
Peck skims his eyes over Oscar. Strong musculature made visible by the
tight black leotard. Peck sucks in a breath of fear, confirming his
suspicions in his mind by looking at the broken lock on the front door.
PECK
"Lots of strength and stamina," eh, Mr.
Venkman? "Had to get him away," eh, "Oscar"?
He picks up the phone and dials three numbers.
OPERATOR
911 emergency.
PECK
Yes, my name is Walter Peck. I'd like to
report a murder.
EXT. NEW YORK STREET -- SAME NIGHT
Kids, just like in Orlando, are walking about the street. It's a
familiar scene, but something's different this time. Slowly, from far
away, coming closer and closer, a familiar sound, a high wailing moan,
builds, until the ECTOMOBILE, one of three, comes careening around a
corner with strobes flashing madly.
Kids, screaming, scatter as the Ecto shows no sign of slowing. It
rolls insanely around the corner and into the Firehouse headquarters.
The doors rumble shut on their track behind the car.
INT. FIREHOUSE -- CONTINUOUS
The Ghostbusters on duty, EDUARDO RIVERA, KYLIE GRIFFIN, GARRETT
MILLER, and ROLAND JACKSON, hop out of the car. Each is wearing a
gunbelt with a bizarre gun, a proton pistol, in each. From the grip of
each proton pistol comes a hose connecting to the back of the belt.
Garrett is confined to a wheelchair after an "accident" with the Lord
of the Underworld, Hades.
Kylie is holding a bizarre, yellow frizbee-like contraption. This is a
new, lower powered and less destructive ghost trap.
They approach the reception area. It is blocked off by a huge
switchboard. The entire Firehouse is dark except for a few hanging
lights.
GARRETT MILLER
(yelling)
Hello?
A scream behind the switchboard. JANINE MELNITZ leaps up, calming down
when she sees who it is. Her cry awakens LOUIS TULLY, who cries out
and jumps up beside her. Their hair is insane.
EDUARDO RIVERA
(amused)
Slow night?
JANINE MELNITZ
Yeah. No calls for half an hour. Louis and
I...fell asleep.
KYLIE GRIFFIN
Uh-huh.
Kylie walks down to the crossover module. Eduardo goes upstairs.
Garrett rolls into the office of EGON SPENGLER. Roland shakes his head
at Janine and Louis.
ROLAND JACKSON
You dogs.
He follows the others upstairs. Louis and Janine look at each other and
shrug. They duck back down behind the switchboard... ...and fall back
asleep.
INT. EGON SPENGLER'S OFFICE -- CONTINUOUS
Garrett rolls in. Spengler is hunched over his desk, writing on a pile
of loose-leaf paper.
GARRETT
Egon?
Spengler jumps in surprise. Papers scatter. Egon grumbles in
frustration.
EGON SPENGLER
(frustrated)
Yes, Garrett?
GARRETT
We, uh...I just wanted to let you know that we
caught the demon from the Statue of Liberty.
SPENGLER
(distracted)
You'd think with all the slime we pumped into
her she'd be protected for at least a hundred
years.
GARRETT
Are you all right?
SPENGLER
(exploding)
YES! I'M VERY ALL RIGHT!
(calming down)
I just have my first class tomorrow and I'm
trying to get properly prepared for it. So if
you'll excuse me, Garrett?
Garret begins to wheel out.
SPENGLER (cont'd)
Wait. All of you take your proton canisters to
the basement for recharge. Then set out some
chairs in the training facility for my class.
FACING the chalkboard I set up.
Garrett goes out.
EXT. STREET -- ORLANDO -- SHORTLY AFTER
Venkman's car rounds the corner just as a police car holding Junior and
Oscar peels away from the curb. Stantz and Venkman bound out and see
Peck going out of the house.
VENKMAN
Peck! Wait up!
PECK
I assume that you are Mr. Venkman.
VENKMAN
Yes, I'm DR. Venkman and this is my friend DR.
Stantz.
PECK
I assume you've come for your son.
VENKMAN
I'd like to have both of them, if it isn't too
much trouble.
PECK
Mr. Venkman, your son committed a murder. He
broke a boy's neck. He then separated a boy
from another boy trying to protect him.
VENKMAN
They were BROTHERS, Einstein. They ARE
brothers! Ever stop to consider that?
Peck gapes. After a pause, Venkman stares at him.
VENKMAN
Mr. Pecker, do you have a son?
PECK
Yes...no. I haven't heard from him in almost
five years. It's like he disappeared off the
face of the Earth.
(puffing)
But he was once a valuable agent of the EPA.
(pause)
I believe he called me once and told me about
you, MR. Venkman.
VENKMAN
Really? HIM? Then I suppose you DO know what
it's like to have your son sent to jail.
Peck has reached his door. He closes it in Venkman's face.
VENKMAN
(to Stantz)
What a rude man.
STANTZ
I think we'd better go get the boys out of
jail.
VENKMAN
Good call.
They get back in the car and drive off.
EXT. STREET -- NEW YORK -- SAME NIGHT
The trick-or-treaters have just begun going full-swing once again when
a motorcycle and sidecar, ECTO-3, ridden respectively by JAKE MARLEY
and ART RADLEY, comes barreling down the street. The children jump out
of the way, shrieking. The motorcycle pulls into the Firehouse.
INT. FIREHOUSE -- NIGHT
Jake and Art hop out of the Ectocycle and take their trap -- also a
frizbee-thing -- down to the crossover module.
INT. BASEMENT -- NIGHT
Kylie pulls out her trap and tosses it on a pile of others in a
trashbin marked FOR RECHARGE.
KYLIE
(to Jake and Art, yawning)
Hey guys.
JAKE MARLEY
Hi, Kylie.
ART RADLEY
Hey.
Kylie goes upstairs. Art immediately drops his "too cool for this
world" attitude.
ART
Okay, Jake, how do you do it again? I don't
wanna screw it up again.
JAKE
I don't want you to, either. I don't wanna
have to catch this sonofabitch AGAIN.
Jake sticks the trap into an outcropping in the wall. A guttural sound
issues from the wall.
JAKE
Put in the trap.
(pushes button)
Inforce the field. Now, go to the monitor.
Art goes to a pair of goggles and sticks his eyes in. He can see in
them a video image on the inside of the module.
INT. CROSSOVER MODULE -- ART'S POV
The inside of the module, the wall, glows with the energy it uses to
keep the ghost in check. Jake's finger hovers over a switch.
JAKE
Emptying trap.
He clicks the switch. In the module, the ghost, a nasty thing with too
many arms, is sucked violently into view. It tries to escape but is
kept towards the middle by the repellant walls.
JAKE (cont'd)
I'm about to power the field down.
ART
If you leave the field on then don't we have a
better chance of keeping him in?
JAKE
Egon says if we don't power down then we don't
have enough power to open the gate. We take
the power from the field and use it to open the
portal.
ART
Fine. Whatever. He couldn't make it any
easier if he tried; he's Egon.
JAKE
I'm about to power down. When I do, you have to
open the portal immediately. You know that now,
though, huh?
ART
You betcha.
JAKE
Don't look directly at it.
(beat)
Three...two...one...Powering down...now!
He shuts off a large Frankenstienian switch. Inside the grid, the
glowing ceases. Now the ghost itself is the only source of light. It
heads for the wall and escape. Art hesitates.
JAKE
ART!!
Art slams his hand down on a large red button. INSIDE THE MODULE a
huge silent explosion of bright light blasts open. Art pulls his eyes
away with an effort. The explosion sucks in the almost-escaped ghost.
Jake flips the grid back on.
JAKE
Close enough.
INT. JAIL -- ORLANDO -- NIGHT
Vankman and Stantz enter. The night shift has his feet up on the desk,
reading GUNS & AMMO. Venkman and Stantz approach.
Stantz spots Junior sleeping on a seat against a nearby wall.
STANTZ
I'll handle him.
Venkman goes up to the desk and rings the little bell. The policeman
looks at Venkman over his magazine, then goes back to reading without
interest.
VENKMAN
Do you read those or just look at the pictures?
The policeman puts down the magazine.
POLICEMAN
Can I help you, sir?
VENKMAN
CAN you? Apparently not, but I'll give you a
try anyway. I came to pick up my sons.
POLICEMAN
Identification?
Venkman grabs the policeman's hand and shakes it heartily.
VENKMAN
Pete Venkman.
The policeman pulls his hand away. Venkman, still smiling, wipes his
hand on his shirt.
POLICEMAN
OFFICIAL identification.
VENKMAN
(feigns confusion)
...DOCTOR Peter Venkman?
The policeman finally sits up. One hand goes "subtley" underneath the
desk, where it grips the holster of a gun in a spring-clip.
POLICEMAN
Driver's license.
VENKMAN
I never take it with me when I drive. Bad
luck.
(stunned pause from policeman)
Kidding! I'm not superstitious. I just never
take the silly thing with me.
POLICEMAN
Sir...?
Venkman pulls the license out of his wallet and tosses it down on the
desk.
VENKMAN
All right, just promise you won't look at that
horrible picture of me.
The policeman glances at the picture.
POLICEMAN
Proof of relation to the boys?
Venkman opens his wallet and a LONG strand of pictures accordions out.
VENKMAN
Oh, wait. THESE aren't pictures of the BOYS. I
can't let you see THESE.
The policeman grabs the photos. Pictures of Oscar and Junior. He
tosses them back without a second glance.
POLICEMAN
The witness said that the killer was wearing
all black and was chasing a ghost and
Ghostcrasher.
VENKMAN
Right. Those were -- those ARE my sons. The
ghost was Oscar.
The policeman stands up and grabs a keyring off his desk. He walks
down a short hallway to a cell holding the nervous Oscar and brings him
forward.
Venkman stares at Oscar's leotard.
VENKMAN
Why didn't you tell me you were wearing that?
I wouldn't have let you!
(to the policeman)
He wasn't wearing that earlier!
POLICEMAN
ALL RIGHT! Just take him.
Venkman turns to Stantz. Stantz is attempting to pick up Junior, who
continues to sleep. Stantz seems reluctant to touch him.
VENKMAN
Take them back to the car.
Stantz and the boys leave. Stantz has to pick Junior up -- carefully -
- and carry him out.
STANTZ
Hurry up, Venkman. Last time he woke up around
me he almost made my ears bleed.
VENKMAN
He was three. You DO look like a clown. Just
be gentle. As long as you don't give him the
slightest jiggle he'll stay asleep.
Stantz leaves slowly.
VENKMAN (cont'd)
(to the policeman)
Junior's a light sleeper.
You almost can't touch him when he's asleep
without him waking up.
Venkman goes to the policeman's desk and gathers up his things. He
picks up the GUNS & AMMO magazine in a swift fluid motion.
VENKMAN
May I see this?
POLICEMAN
Hey!
Venkman suddenly produces a handgun from the magazine.
VENKMAN
Nice gun. Does your mother know you have this?
The policeman gropes for the gun under his desk. It is no longer
there.
VENKMAN
The safety isn't even on. Are you crazy? I'm
also assuming this station has a license for
the concealed weapon AND spring-clip, right?
The policeman is furious. They don't have a license.
POLICEMAN
Who the hell do you think you are?
Venkman quickly flashes a picture in his wallet.
VENKMAN
Robert Tankmin, ATF. Bureau of Alcohol,
Tobbaco, and Firearms. I won't press charges
if you won't. Neither my sons nor me were ever
hear, all right?
The policeman nods vehemently, red as a beet.
VENKMAN
All right.
He tosses the gun and magazine to the policeman and runs.
EXT. SUNNY DAYS RETIREMENT COMPLEX -- LATER
Venkman, his family, and Stantz live in the complex. Stantz lives
alone in his own apartment. In the center of the retirement home is a
ballroom, from which the sounds of a party can be heard.
Venkman carries Junior up to his apartment and Oscar walks up with
Stantz.
INT. VENKMAN'S APARTMENT -- SHORTLY LATER
Junior has been put to bed. Oscar is removing the black leotard.
STANTZ
(good-natured teasing)
It's a good thing we bailed you out as soon as
we did.
VENKMAN
(equally good-natured)
Do you have any idea what they do to good-
looking guys in jail? ESPECIALLY ones dressed
like that?
Oscar gets into bed.
OSCAR
(weary)
Goodnight, dad; goodnight Ray.
VENKMAN
Although, if you are going to kill someone, I'd
suggest you do it before you turn eighteen.
STANTZ
(to Venkman)
That's when they wipe your record clean, right?
OSCAR
GOODNIGHT.
They leave the room.
INT. LIVING ROOM -- NIGHT (CONTINUOUS)
VENKMAN
They're my sons, and I love them to death, but
jeez, they're as bad as me!
Stantz turns somberly to Venkman.
STANTZ
You don't think Oscar did it, do you? I mean,
I didn't, but while he was changing I noticed
for the first time how strong he looked. He
COULD have broken the kid's neck like Peck
said.
Venkman gapes.
VENKMAN
A TEN-YEAR-OLD GIRL could have broken the kid's
neck like Peck said, if she held it right.
STANTZ
Still...
VENKMAN
Ray, we've saved Oscar's life twice before.
You've watched him grow up over the past five
years WITH Junior. Can you honestly tell me
that there has been one indication of a
tendency to violence?
STANTZ
(after a pause)
You know, you can sound like a scientist when
you try.
VENKMAN
(relaxes)
Help me clean up this mess before Doreen gets
back.
STANTZ
Is she a part of that noisy party downstairs?
VENKMAN
An INTEGRAL part to the volume, I have no
doubt.
Venkman tidies up the apartment with Stantz until the door opens
shortly later to reveal Venkman's wife, DOREEN, properly smashed.
DOREEN
Peter! I'm drunk.
VENKMAN
I see that.
Doreen notices Stantz.
DOREEN
Ray! I'm drunk.
STANTZ
Admitting you have a problem is the first step
toward fixing it.
DOREEN
(to Venkman)
How are the boys?
VENKMAN
Pretty good. I tucked them in for sleep a
while ago.
DOREEN
Did they go to a lot of houses?
VENKMAN
Oh, yeah. They even went to a Big House.
Stantz looks sharply at Venkman. Doreen is too drunk to understand.
DOREEN
Really? Which one?
VENKMAN
Uh, I don't remember. Why don't you go to bed?
Big day tomorrow.
STANTZ
Oh, yeah. Happy birthday, Doreen!
DOREEN
(giggling)
It's not until tomorrow, silly!
(to Venkman, indicates Stantz)
I can't go to bed. We have a guest to
entertain.
VENKMAN
Oh, honey, I'm sorry. Ray was --
STANTZ
(finishes)
-- just leaving.
DOREEN
Oh, I'm sorry. Come back anytime.
STANTZ
I will, Doreen. 'night.
DOREEN
'night.
(giggles)
INT. GHOSTBUSTERS TRAINING CENTER (NEW YORK) -- NEXT DAY
The chairs have been set up and they are occupied by students of all
ages, talking in an incomprehensible mush. Spengler gets the class
quiet.
SPENGLER
Good morning, and welcome to Paranormal
Studies. I am Doctor Egon Spengler, and the
building in which you are now sitting is the
headquarters of the Ghostbusters.
(incredulous murmuring from the
students)
You are here to learn about the realm of the
paranormal. This is an extension of the
Colombia University academic program. You will
get elective credit for the class. You should
all have received a syllabus upon registration,
so I will be moving right into the class.
Before I start, is there anything SPECIFIC you
would like to know?
A few hands go up. Spengler picks one.
STUDENT 1
Um, yeah, uh...is there really such thing as
ghosts?
SPENGLER
You may have seen a few Ghostbusters before you
came down. Not only are they doing a
legitimate service for the country, but many of
the ghosts they try to capture--and they are
never unable to capture them--can be so
violent, and they only use the newer, lower-
powered equipment, that Ghostbusting in this
decade could be compared to what the majority
of your generations would call an extreme
sport.
STUDENT 1
So that would make them, like, Extreme
Ghostbusters, right?
SPENGLER
I suppose so.
STUDENT 1
Okay, so the Extreme Ghostbusters exist. What
about ghosts? What proof do you have?
Spengler whistles, a sudden and piercing sound. A few moments of
surprised silence, and then mystified gasps as the resident ghost,
SLIMER, flies through a wall and floats near Spengler. The students
react and grab their noses.
EXT. PLANET HOLLYWOOD (ORLANDO) -- SAME TIME
Venkman and his family are standing in the long line to get into the
restaurant at Orlando's Downtown Disney.
VENKMAN
How was I supposed to know we needed
reservations?
DOREEN
Everyone knows that. Some birthday.
VENKMAN
Oh, come on. Be happy.
OSCAR
How long do we have to wait to get some food
around here?
JUNIOR
Go tell them who you are, daddy.
VENKMAN
Oh, Junior, daddy's not very well-known and
might get beat up for trying.
JUNIOR
Oh, come on, daddy. Everyone loves the
Ghostcrashers.
TOTAL STRANGER
(overhearing)
Oh, hey, those movies were great!
VENKMAN
Uh, thanks. Who are you?
JUNIOR
(to the stranger)
My daddy was one of them in real life.
ANOTHER STRANGER
Wow! Really? Which one?
VENKMAN
(not trying to be funny)
Wait a second! What the hell is going on?
STRANGER 1
(laughs)
That was one of my favorite lines! You're that
Tankmin guy!
INT. GHOSTBUSTERS TRAINING CENTER
Spengler has begun his lecture.
SPENGLER
I thought that since Halloween just passed, we
could spend this first class learning about the
origins of Halloween. There are many different
stories that I'm sure you have heard, but this
is the most spiritual.
Not a single one of the students is taking notes.
SPENGLER (cont'd)
Halloween began as the Feast of Samhain, a time
when pagan tribes would come together and
celebrate Samhain, which was both the day and a
spirit, the spirit of death.
Spengler clicks a slide projector on and it hits a screen behind him.
On it is a picture of the Grim Reaper, minus the scythe. It is a
charcoal rendering of the hooded figure.
SPENGLER (cont'd)
The spirit is today called the Grim Reaper, and
is said to carry a scythe. Samhain, however,
was nothing quite so symbolic. He killed
manually and basically let God sort out the
bodies. He did it on a random basis, some say
a system of decimation -- every tenth person
died.
EXT. PLANET HOLLYWOOD
A crowd has bundled together around Venkman.
STRANGER 2
Say it! Say the line!
VENKMAN
All right, all right.
(dramatic)
Back off, man. I'm a parapsychologist.
The crowd laughs.
STRANGER 3
What are you doing here?
VENKMAN
It's my wife's birthday.
STRANGER 4
And you're just standing here? You don't need
to wait in line!
(to the crowd)
Let's show our appreciation for him saving the
world!
The crowd cheers and propels him to the front of the long long line.
EMPLOYEE
Table for one?
VENKMAN
No, table for four.
Venkman realizes that his wife and kids were left behind. He goes back
and gets them and walks into the restaurant.
INT. GHOSTBUSTERS TRAINING ROOM
The students are held in thrall.
SPENGLER
The Feast of Samhain was the celebration
performed by pagan tribes.
It was believed that Samhain put on a feast
himself, where all the forces of the heavens --
and Hell -- came together on the eve of
Samhain.
STUDENT 2
Where does trick-or-treating come in?
SPENGLER
I am glad you asked.
He changes the projector slide, a feast attended by shadowy figures, to
a slide of children trick-or-treating in costume.
SPENGLER (cont'd)
This familiar sight is a far cry from the
original form of trick-or-treat, which was when
the tribes, and later the isolated farmers of
places like Celtic Ireland, would go around to
other areas asking for food that they could
offer up to Samhain and the other gods of the
feast--a "treat."
The slide picture becomes a house covered in toilet paper.
SPENGLER (cont'd)
The "trick" would not be quite so kindly as
this, which slang refers to as "teepeeing" a
house. The pagan tribes would often set the
homes of non-contributors ablaze, for it was
believed that if the gods were not distracted
by the feast they would entertain themselves in
other ways--specifically by destroying the
world.
STUDENT 3
Where do jack-o'lanterns come in?
SPENGLER
According to legend, a fellow named Jack
angered an evil spirit. Some sources say
Lucifer or any of his other guises, others say
it was Hades. The rare breed of story even
blames it on Samhain. At any rate, Jack was
fated to walk the earth for all eternity. To
light his way, he stuck a candle in a hollowed-
out turnip.
STUDENT 4
How did it go from a hollow turnip to a pumpkin
with a face on it?
SPENGLER
I don't know. Perhaps the face was meant to
ward off the evil spirits.
STUDENT 5
What did Samhain look like?
SPENGLER
That's a mystery. His face is never shown or
represented.
(checks his watch)
Well, we've got a good two and a half hours
left. I think that perhaps I will spend some
time going over the physics of Ghostbusting.
(to Slimer)
Tell the, uh, "Extreme Ghostbusters" to bring
down some equipment.
INT. PLANET HOLLYWOOD
Venkman and his family are shown to a special table--a table directly
beside "Props from the movie GHOSTCRASHERS." A proton pack, ghost
trap, pair of Ecto-goggles, and PKE meter. Venkman pulls the waiter
aside as the food arrives.
VENKMAN
It's my wife's birthday today. Try and make a
good spectacle of her.
The waiter nods, grinning. Venkman turns to the "props."
VENKMAN
You see, Junior? Next year, your proton pack
should look like THAT.
DOREEN
Where is your pack, Junior? I didn't see it
this morning.
A NEW WAITER arrives at the table suddenly.
NEW WAITER
Are you finding everything to your
satisfaction?
VENKMAN
I think you'd better let us try it first.
The waiter tips Venkman a disturbing wink and leaves.
JUNIOR
(stalling)
Looks good.
DOREEN
Junior? Where's your pack?
JUNIOR
(picking at the food)
Lost it.
DOREEN
You LOST it? That was an expensive flashlight,
Junior. I'm disappointed in you.
OSCAR
(trying to change the) subject)
How did they get the props so realistic, Dad?
VENKMAN
(playing along)
Well, Oscar, this equipment is the actual stuff
we used, me and Ray and Egon and Winston. Much
more powerful, but it caused more damage, which
is why Egon invented the new stuff and let
Planet Hollywoods around the country keep the
old stuff. They actually used the real thing
in the movie -- deactivated, of course.
DOREEN
(ignoring the others)
(to Junior)
What happened?
VENKMAN
(still talking to Oscar)
To promote the movie and the business, working
PKE meters were sold. The PKE meters detected
ghosts and flashed the phone number to call for
the readings.
DOREEN
Stop that!
(quiet, to Junior)
Tell me what happened, honey.
Junior looks at Venkman, who mouths "NO!" very clearly. Junior tries
to get away with a vague non-lie.
JUNIOR
Big kid took it.
DOREEN
(relaxes a little)
Well, why didn't you tell me? I would have
called his mother.
JUNIOR
We didn't know him.
DOREEN
Oh, you should have called the police.
OSCAR
They found out.
Venkman kicks Oscar under the table. Doreen turns to Oscar.
DOREEN
What's that supposed to mean?
(remembers something)
I didn't see YOUR costume this morning, either.
OSCAR
The, uh, big kid took it.
DOREEN
You should have taken it back. You're strong
enough.
VENKMAN
That seems to be the general consensus.
Oscar kicks Venkman under the table. Doreen wheels on Venkman.
DOREEN
What are you talking about?
Venkman stuffs his face with food.
VENKMAN
This spaghetti is great!
(twirls some and holds it up)
Oscar, try some!
Doreen hits his hand. Spaghetti goes flying. Venkman cringes in
comical fear of his wife.
DOREEN
What the hell is going on?
VENKMAN
That's my line.
DOREEN
Peter, I swear to God...
VENKMAN
All right, all right. Last night, Oscar and
Junior spent a short time in jail.
DOREEN
WHAT?!
JUNIOR
(trying to make it better)
Don't worry, Mommy. Oscar was the only one in
a cell.
DOREEN
What were our children doing in JAIL, Peter?
VENKMAN
They were, uh, suspects in a minor crime.
DOREEN
What crime?
VENKMAN
Notice "were." The key word is "were." They
aren't suspects anymore.
DOREEN
WHAT CRIME?
VENKMAN
(trying to be nonchalant)
Oh, well, you know, just, kinda, uh, murder.
DOREEN
(blows up)
MURDER?
VENKMAN
"Were," remember!
DOREEN
Why the hell didn't you tell me?
VENKMAN
(defensive)
You didn't ask!
DOREEN
I don't believe this! I can't believe you'd
keep something like this from me!
VENKMAN
I was going to tell you.
DOREEN
When?
VENKMAN
I don't know. In my will, maybe.
DOREEN
Well that's one document you'll want to get
finished fast.
She grabs her purse and leaves. A bare few moments later, a
conflagration of waiters arrive and sing the non-present Doreen a happy
birthday.
INT. VENKMAN'S APARTMENT -- LATER
Doreen storms in. The other three come in after her. The phone rings.
Venkman sees that Doreen is not going near it.
VENKMAN
I'll get it.
He picks up the phone and listens. He holds it out to Doreen.
VENKMAN
For you.
She grabs the phone from him. They touch hands for a moment. Venkman
reacts as though burned.
DOREEN
(into the phone)
Hello?
VENKMAN
Do we have any frostbite medication?
VOICE
(on the phone)
Is this Doreen?
DOREEN
Yes, who is this?
VOICE
Don't you recognize me? It's Winston
Zeddemore.
EXT. NASSAU, BAHAMAS -- SAME TIME
Winston is standing by a payphone on the street.
DOREEN
(on the phone)
Winston! How are you?
WINSTON
I'm fine, honey, Nassau's great! Man,
retirement's great, isn't it?
INTERCUT DOREEN AND WINSTON
DOREEN
Yeah.
WINSTON
How's Venkman?
DOREEN
Junior's growing like a weed, and Oscar--
WINSTON
What'd PETER do this time?
DOREEN
(sighs)
I'm almost over it, but let's not go there
right now, okay?
WINSTON
Okay, I understand. I know Pete.
DOREEN
What's up?
WINSTON
I'm just calling to say Happy Birthday!
DOREEN
Oh, Winston, you REMEMBERED!
WINSTON
Only because Pete called me about three times
last week to remind me.
DOREEN
(not actually a question)
Did he.
WINSTON
Yep.
(beat)
Well, I gotta go. Long-distance.
DOREEN
Okay. See ya.
WINSTON
Bye.
They hang up. No sooner has Doreen hung up in Orlando than the phone
once more begins ringing. She picks it up.
DOREEN
Hello?
SPENGLER
(on the phone)
Doreen?
DOREEN
Egon?
SPENGLER
Were you expecting me?
DOREEN
Sort of. Winston just called.
SPENGLER
Oh, I haven't seen him in so long. How is he
doing?
DOREEN
He says fine. I'm so glad you both remembered.
SPENGLER
I would have remembered even if Peter hadn't
called me repeatedly about it. How could I
forget?
DOREEN
(not a question)
How indeed. Well, it was great talking to you.
I know how much this call must be costing you.
SPENGLER
Anything to wish you a happy birthday.
DOREEN
Bye, Egon.
SPENGLER
Good-bye.
Doreen hangs up and goes wordlessly over to Venkman. He shrinks away.
She kisses him on the nose.
VENKMAN
I guess the landlord finally fixed the heater.
INT. GHOSTBUSTERS FIREHOUSE -- SAME TIME
Spengler hangs up the phone on the switchboard. Louis and Janine take
off their hands-free headsets.
LOUIS
Wow. It always seems to get busy right around
lunch. Poor guys.
JANINE
Before we go out and grab lunch, I have to give
the afternoon worksheet to the 'busters.
LOUIS
All right, I can wait. I packed my own lunch.
Janine walks back to the reception area. Louis heads for the front of
the Firehouse, humming to himself. He arrives at his locker and opens
it -- to discover food everywhere BUT in his lunchbox.
LOUIS
SLIMER!
EXT. STREET -- LATER
The Ectomobile (1B) and Ecto-3 come down the street. Ecto-1B parks in
the handicapped space. Ecto-3 parks illegally.
INT. WORLD TRADE CENTER
The Extreme Ghostbusters, Jake, and Art come conspicuously into the
lobby. Roland is holding a PKE meter.
ROLAND
This way.
He begins to walk forward. The others follow. They stroll through the
lobby. Eduardo steers Roland carefully around oncoming traffic, as
Roland's eyes are glued to the PKE meter.
They pass a restaurant.
EDUARDO
Mmm, pizza.
KYLIE
Drool a little more and you'd be Slimer's
spitting image.
JAKE
(to Art)
Literally.
Art giggles quietly. Roland, the serious type, looks up angrily.
ROLAND
The readings are getting stronger.
He moves on.
They soon come to a BANSHEE screaming in circles around part of the
lobby. Jake, Art, and Garrett open fire. Kylie tosses in a frizbee-
trap and the ghost is ensnared.
KYLIE
Five guys, one girl, thirty seconds. I'd say
this one only runs at about two grand?
ROLAND
Uh, fellas? The readings are still going. In
fact...
(turns slightly)
...they're stronger.
They follow the readings to the top of a subway entrance. Garrett, in
his wheelchair, stops.
GARRETT
Maybe I'll wait here.
EDUARDO
There's a plan I like.
GARRETT
I'd kick you if my legs worked.
EDUARDO
Looks like I missed out again.
JAKE
(to Garrett)
Head back to the Ecto. There's nothing more
you can do.
Garrett wheels back across the lobby. The others follow the trail of
readings down into the subway. The readings lead them down the stairs
and down onto the tracks.
ROLAND
Don't step on the third rail, or else we'll be
hunting TWO more ghosts.
KYLIE
Yeah, we're doing overtime as it is.
They follow the readings a little further, and then are stopped by the
disquieting sound of an approaching subway train. It gets steadily
closer. They come up against an extended area where they can let the
train pass in relative safety.
ART
All right, everyone against the wall.
Everyone does as told...except Roland. Eyes glued to the PKE, he
continues to follow the readings even as a subway's headlamp begins
lighting the way.
The others, against the wall, call to him frantically. He doesn't
listen.
The train is now visible not one hundred feet away.
Right before Roland is run down, he makes a sharp turn right and seems
to walk through the wall.
The train thunders by the others. There is a moment of silence, then:
KYLIE
Roland, you IDIOT!
INT. HIDDEN KIOSK
Roland did not walk through the wall but rather into a hole in the wall
leading to this hidden subway kiosk, walled up years ago.
The PKE in Roland's hand is going wild.
The others enter the kiosk.
EDUARDO
Jeez, man, we thought you were playing Chicken
with that train.
ROLAND
I kind of was. I just had to hope that I could
swerve first.
(very short pause)
God, look at these readings!
JAKE
Well, you're just lucky this place was here.
ART
You just might want to think about taking back
the "lucky" part, Jake.
Everyone else notices what Art already has: the walls are covered in
pagan symbols that look vaguely Celtic. The symbols seem to have been
written in blood.
A part of the kiosk has been made into an altar, and, indeed, evidence
of ritual sacrifices are present. Written above the altar in huge
blood letters is a single word: FEAST.
JAKE
What the--
Jake stops as something large and dark drops on Art from behind.
Roland pulls his proton pistol one-handed and powers up with uncanny
speed. Everyone else follows as best they can.
The dark figure, a grotesque blue creature with long teeth, thick neck,
black eyes with red pupils, and VERY LONG talons clutches Art's neck
with enough pressure to dimple the skin over the throat but just less
than enough to puncture the skin.
The creature begins screaming gibberish at them. The only recognizable
word is "Samhain." The creature laughs.
Roland looks at the PKE. The readings are off the charts.
KYLIE
We're about to hurt you bad, Long Tall And
Ugly.
ART
HEY!
(beat)
Oh. The monster.
JAKE
(quietly)
Art...
Art looks over.
Jake clicks the trigger of the pistol four times in a definite beat.
The fifth beat of the rhythm, Art moves back away from the talons and
down as Jake pulls the trigger for real. The monster is shoved
backwards against the force -- and then begins to walk forward as if
against a strong wind. The others fire and yet still the monster
struggles.
JAKE/ROLAND
(simultaneously)
FULL STREAM!!
They grin at each other in surprise. Everyone turns up his (and her)
stream to full capacity. The beams finally wrap around the creature
like lassos.
Kylie shuts off her stream, going for her trap. Seeing an opportunity,
the monster lunges and breaks free of the streams in Kylie's direction,
knocking her down, landing on top of her. The trap's ACTIVATOR, a
joystick-like handgrip with a red button on top, clatters arm's length
away.
Eduardo grabs the monster off Kylie.
ART
Hold it up!
Kylie raises the trap.
Art grabs the joystick and jams the button.
The monster is sucked out of Eduardo's grip and into the trap. A
moment of tense silence.
EDUARDO
Wasn't so tough.
The trap begins to buck and dance in Kylie's hands. One of the doors
dents, as though hit by a hammer -- or a talon.
JAKE
We'd better get out of here now.
ART
Yeah, I'm guessing that.
INT. WORLD TRADE CENTER
The Ghostbusters walk bruised but triumphant across the lobby. Kylie
holds the smouldering trap by the length of its cord.
ROLAND
(to Art)
Hey, what was the deal back there when Jake
saved your ass?
ART
What'd'ya mean?
EDUARDO
Come on, man. The trigger clicks.
ART
Oh! Me and Jake used to be in dance classes.
That's how we met. Our moms signed us up when
we were both seven. Whenever I was about to get
beat up, from then on, he'd give me four beats
to synchronize our movements and then he'd
attack. We used to have a whole series of
movements that we'd make to one tempo and no
one could beat us up together.
EDUARDO
Man. I always used to get beat up --
KYLIE
I can't imagine.
EDUARDO
(continuing)
-- but I never had anyone around to help me. I
wish I'd taken that sissy dance class.
They have reached the car and motorcycle.
JAKE
Trust me. You don't. We had to wear leotards.
EDUARDO
(laughs)
Hey, be proud. What guy nowadays would be
caught dead in a leotard?
INT. OSCAR -- ECU -- NIGHT
Oscar is watching television with a look of anger on his face. One
would almost think he had heard Eduardo.
VENKMAN
What's up, guy?
OSCAR
Peck. "Wick." Every time I watch this movie,
I hate him even more.
INT. VENKMAN'S APARTMENT -- NIGHT
Venkman is dressed in a sharp black and white tuxedo.
VENKMAN
Don't forget, we throw him into the underworld
at the end.
A knock at the door. Venkman opens it, allowing only his head to be
visible.
VENKMAN
Ray! Why did you dress up? Didn't I tell you
dinner was casual?
STANTZ
(confused and indignant)
No! You told me to rent a tux because you had
reservations for the most expensive restaurant
in town.
VENKMAN
Fell through. We're going to Tony Roma's.
Grab a bib.
STANTZ
(flies into the room)
WHAT?! Why didn't you--
(sees Venkman's tux)
Damn it, Venkman. You made me look dumb.
VENKMAN
Aww, you give me too much credit. I couldn't
be the ONLY reason you look dumb.
Doreen comes out.
DOREEN
Ready to go?
VENKMAN
No.
(RE: Stantz)
Winkles overdressed.
STANTZ
(ignoring Venkman)
We're ready to go, Doreen.
DOREEN
All right. Go on out to the car.
Venkman and Stantz leave. Doreen goes over to Oscar and kisses him on
the temple.
DOREEN
Take care of Junior. He's the only brother
you're going to get.
OSCAR
Besides dad.
DOREEN
Of course. 'Night, honey.
OSCAR
Goodnight.
She leaves. Oscar goes back to the movie.
LATER
Oscar's eyelids are drooping, and the video is over. Oscar gets
himself stiffly up and goes into Junior's room.
INT. JUNIOR'S ROOM -- NIGHT
Oscar goes over and checks on Junior.
INT. RESTAURANT -- SAME TIME
Venkman, Stantz and Doreen are all sitting at one table.
VENKMAN
See? We can be sophisticated. If we really
have to.
DOREEN
Just as long as you don't start doing your
silly card tricks, I'll be fine.
Venkman feigns dejectedness. The food comes.
DOREEN
I hope the boys are all right.
VENKMAN
Don't worry. Oscar can take care of both of
them.
INT. JUNIOR'S ROOM -- SAME TIME
Oscar hugs Junior VERY gently, who is asleep, and leaves the room.
INT. APARTMENT -- CONTINUOUS
Oscar goes to the TV and starts rewinding the tape. Behind him, in a
window, a dark, shadowy figure looms up. Three long beats, then the
figure hides again.
A few more beats, and then the glass window implodes as the figure
leaps in and through.
Oscar has reflexes like a strung cat, though, and is immediately up and
out of the room. The figure somehow hits the floor on its feet,
although it leapt in a headfirst arc, and chases after Junior.
INT. RESTAURANT -- SAME TIME
The adults are of course unaware that this insanity is going on back at
the Venkman home and go on with their banter.
DOREEN
Oh, Peter, Egon called again today.
VENKMAN
Really?
DOREEN
Yep. He told me that he had just taken
inventory and realized that there were two
proton pistols, one PKE meter and one low-
powered trap missing from the armory. He said
they were yours and the other pistol belonged
to Ray. He wanted to know if you knew anything
about them.
VENKMAN
(too quickly)
No.
Stantz is wearing the most guilty expression ever seen on a human face.
DOREEN
Ray?
STANTZ
(stammering)
Well, uh, you see...
(breaks down)
It was Peter's idea!
INT. APARTMENT -- SAME TIME
In Junior's bedroom, Oscar whips up Junior's blankets, and grabs
Junior's arm. The little boy awakens instantly and begins howling.
Oscar clamps his hand down quickly on Junior's mouth.
OSCAR
Don't scream. Please.
He takes away his hand and Junior is content to simply breathe in short
little gasps.
Oscar carries Junior into his parents' room and shuts and locks the
door behind him. Oscar begins rummaging through the closet. A bang
comes on the door as someone tries to knock it down. Oscar jumps and
in doing so knocks over a box. A proton pistol clatters out.
INT. RESTAURANT -- SAME TIME
DOREEN
What in the hell would you steal a proton
pistol for?
VENKMAN
Home defense?
DOREEN
Try again, buster. What could a proton pistol
possibly protect us from?
INT. BEDROOM
That door is about to come down. Oscar straps on the proton belt and
charges up the gun.
INT. RESTAURANT
VENKMAN
Okay. Me and Ray use the pistols and trap as
props when we do kids' parties.
Sometimes we get lucky and there's a ghost in
the house where we're performing.
(changes subject)
Speaking of performance and silly card tricks
and guns, did I tell you about the sleight I
pulled when I went to pick up the boys at jail?
You missed it too, Ray. The officer had a gun
in a spring-clip, and I reached under and
grabbed it without him even noticing. The look
on his face...
INT. BEDROOM
One more bang on the door then it falls silent for a long, long moment.
Then a huge crash as the door shatters and blows inward.
Oscar yells in surprise and opens fire on the figure coming through the
door. The figure is blasted back and out the door onto its back, where
it lies motionless. Oscar goes over to the figure. It is NOT the
hooded figure. It is instead a man who looks about thirty.
OSCAR
What the--
He is clobbered on the back and knocked to the ground as the REAL
hooded figure brings his two interlocked fists down between Oscar's
shoulder blades.
The hooded figure goes into the bedroom, where Junior has fallen back
asleep.
Oscar picks himself up, gets the pistol into his hand, and lays down,
pretending to be unconscious.
In the room, The hooded figure seems to be appraising Junior, poking
him harshly and caressing his hair. Junior stays asleep. Finally, the
figure scoops Junior up and glides out of the room. Junior still does
not wake up. Oscar is ready. As the hooded figure goes by he raises
the gun and blasts the figure in the head.
The figure barely flinches and turns angrily toward Oscar. Oscar,
surprised, loses control of the gun and the beam moves upward, knocking
the hood off the figure's head. Oscar and no one else gets a good look
at the hooded figure's face before the beam finishes its wide curve and
shatters the light in an explosion of sparks. The hooded figure,
surprised, roars and rushes out of the hallway.
Oscar stays put for a moment and then gets up and goes into his
parents' room, flicking on the light. He turns back to the man on the
floor and gasps. In the harsh light of the bedroom, the man on the
floor looks very old indeed.
INT. RESTAURANT
VENKMAN
(to Stantz)
--and spaghetti went flying everywhere! You
should've seen it!
DOREEN
He's going to see something like it in about
three seconds unless you give me a better
explanation for keeping that proton pistol.
Venkman opens his mouth.
DOREEN (cont'd)
And don't tell me AGAIN it's for home defense.
Venkman clams up again.
DOREEN (cont'd)
You know as well as I do that there are no
ghosts around our house, and the reason that
Egon invented the low-power weapons was so that
it couldn't harm human beings.
VENKMAN
But it'll stun the living hell out of one!
STANTZ
I can attest to that.
INT. APARTMENT
The man lying in the hallway moans, and Oscar wheels around in such
shock that he almost hits the man with another proton blast. Then he
puts the pistol back in its recharge-holster and helps the man sit up.
OSCAR
Are you all right? God, mister, are you okay?
MAN
I've been better.
(looks around)
Did he get the kid?
OSCAR
Yeah.
MAN
Goddamn it to hell!
He hits his leg with his fist in frustration and winces.
MAN (cont'd)
Oh, pardon my French.
OSCAR
That's okay. Pardon me for shooting you.
MAN
I guess we're even then, huh?
OSCAR
My name's Oscar. Oscar Venkman, Mr....?
MAN
Call me Jack. I had a last name once, but I
forgot it a long time.
OSCAR
All right, Jack.
Oscar helps him up.
INT. RESTAURANT
VENKMAN
All right, all right. I'll get rid of the gun
first thing tomorrow.
He pouts.
DOREEN
Oh, jeez. I hate it when you make me feel
stubborn.
(beat)
All right. Keep the gun. But tell Egon and
hide the energy cartridges.
VENKMAN
I love you, honey.
INT. APARTMENT
Jack sits down at the kitchen table as Oscar goes to the lights.
JACK
I'm surprised he didn't hurt you, Oscar.
OSCAR
He tried. He hit me between my shoulderblades,
hard.
JACK
You're lucky he was in such an excited state of
mind that he missed.
OSCAR
Huh?
JACK
He was over-excited so his fist missed. He was
aiming to sever your spinal cord and kill you.
If he had hit you just a little higher, at the
base of your skull...
OSCAR
Who was that? And who are YOU?
JACK
His name is Samhain. He is the spirit of
death. Every hundred years, he holds a feast
where all the evils of the universe come to
dine. If the feast is not allowed to continue
as planned, Samhain and his minions will wreak
havoc on the entire world by opening the gate
to the Pit of Fire and Destruction. A human
sacrifice is required to open the gate.
OSCAR
Junior!
JACK
Yes. As to who I am, I have told you; my name
is Jack. Many centuries ago, Samhain took my
son away from me for the sacrifice. I fought
him for my son, but Samhain would not be
swayed.
(suddenly on the verge of crying)
He forced me to watch as my son was killed, his
blood and flesh consumed by the beings that
came through the opened gate.
OSCAR
Oh, my God.
JACK
Samhain then punished me for my insolence by
turning me away from him forever--I would
search out death, but without Samhain, it would
not come. I was cursed to walk the earth
forever.
Oscar brings over a plate of leftovers. Jack begins wolfing it down
unstoppably. Suddenly, he chokes. Oscar frantically tries to pat him
on the back, but, incredibly, Jack waves him off.
There is a moment of horror as Jack's face turns an ugly black...and
then his throat works involuntarily and the food is pushed down his
esophagus. Jack takes a deep breath.
JACK (cont'd)
You see? That should've killed me. But I CAN'T
DIE. Not until I force Samhain himself to do
it.
OSCAR
Where is he?
JACK
Every hundred years, he travels to the Eastern
Edge of the New World, where he first arrived
in this country. The last time I was able to
get there in time was two hundred years ago.
The place was known as New Amsterdam.
OSCAR
I don't know where that is. I'll have to ask
my dad about it.
JACK
I followed him here. I came in just after him
and detained him. I was trying to save the
other boy. I'm sorry.
OSCAR
What about me?
JACK
I figured you could take care of yourself. You
seem str --
OSCAR
(interrupting)
DON'T even say it. I'll kill you myself.
INT. VENKMAN'S APARTMENT -- LATER
Oscar is in the living room, listening to an oldies station on the
radio. Jack is sprawled on a nearby couch, sleeping.
As a key turns in the lock, the song on the radio becomes "Istanbul,
Constantinople."
VENKMAN
(entering)
Did you see this window? What did I say about
playing football in the house?
OSCAR
You get to be quarterback.
VENKMAN
Yeah. So why were you playing without me?
OSCAR
I wasn't, I was--
STANTZ
(entering, sees Jack)
Who the hell is that?
OSCAR
His name is Jack. Dad, the "Big Kid" from
Halloween -- the killer! He took Junior!
Venkman gets serious as Doreen walks in.
OSCAR
His name is Samhain. He's the Spirit of Death.
VENKMAN
Where'd he take Junior?
DOREEN
Who took Junior where?
OSCAR
I don't know, but Jack does. He said it was...
(tries to remember)
RADIO
(the song)
Even old New York / Was once New Amsterdam...
Oscar suddenly gets it.
OSCAR
He's in New York!
VENKMAN
All right. I'll call Egon tomorrow.
OSCAR
DAD!!
Jack awakens as Oscar cries out.
OSCAR (cont'd)
Samhain's gonna sacrifice Junior!
JACK
Not for a few weeks at least. Maybe even a few
months. Samhain has to prepare for the feast
before he makes the sacrifice.
VENKMAN
Well, we don't know if he's gone quite yet. I
don't think it's safe here for you, Oscar.
DOREEN
Where would he be safe?
VENKMAN
(thinks)
How safe did that prison cell look, Oscar?
Doreen hits him.
VENKMAN (cont'd)
What? I'm just saying, is all!
STANTZ
He can sleep in my apartment tonight. He'll
still be close, but he won't be HERE.
VENKMAN
Is that okay, Oscar?
OSCAR
Yeah. It'll be fun.
EXT. APARTMENTS
POV SHOT
Stantz and Oscar come out of Venkman's apartment. Stantz has a proton
pistol in his hand.
EXT. APARTMENT -- CLOSER
Stantz and Venkman are working it out. Venkman's apartment is on the
long leg of an L-intersection of the exterior hallways. An upper
balcony is visible behind Stantz.
STANTZ
I'll bring him back first thing tomorrow
morning.
VENKMAN
All right. Goodnight, Ray.
DOREEN
One more thing, Ray. Don't give him ice cream
before he goes to bed.
STANTZ
I'm his godfather. It's my job to spoil him.
Doreen kisses Oscar on his forehead.
DOREEN
Be good.
Oscar grins broadly. Beautiful kid.
OSCAR
Oh, mom, you know me...
DOREEN
Yeah, I do. BE GOOD.
OSCAR
Okay. Goodnight.
DOREEN
'Night.
They close the door.
STANTZ
Let's hurry to my apartment. I've got orange
sherbet in the freezer. It's not technically
ice cream, so...
OSCAR
My favorite flavor.
They leave. BEHIND THEM, on the upper balcony, stands the hooded
figure (SAMHAIN). His presence is so unobtrusive and patient it's hard
to believe he's been standing there the whole time.
INT. STANTZ'S BEDROOM -- LATER
Oscar has undressed and is getting into the bed. Stantz is standing in
the doorway.
STANTZ
Just holler if you need anything, okay?
Oscar nods.
OSCAR
Goodnight, Ray. Thanks.
STANTZ
No problem.
Stantz closes the door.
INT. STANTZ'S FRONT ROOM
Stantz sits on a couch, setting aside a few bowls with orange sherbet
residue inside them. A knock comes at the front door. Stantz gets up.
STANTZ
Who's there?
VOICE
(outside)
Room service.
Stantz goes to the door. The door is creaking heavily, and a steady
red glow comes in through the eye-hole, but Stantz doesn't notice.
STANTZ
I didn't call--
The door BLASTS inwards. Some of it shatters into shrapnel but the
bulk of it lands on Stantz, pinning him down. Samhain steps in and
onto the door. He looks at Stantz, who appears unconscious.
SAMHAIN
Thought you might need some more hot towels.
INT. BEDROOM
The door creaks open. Oscar stirs.
OSCAR
Ray, c'mon. I'm trying to sleep.
Samhain approaches the bed heavily. He is at the side when Oscar
turns.
OSCAR (cont'd)
Ray, I'm trying to --
He leaps up when he sees Samhain. Samhain waves his hand in front of
Oscar's face. Oscar falls asleep. Samhain lifts him with no problem
at all.
INT. FRONT ROOM
Samhain steps deliberately onto the door--but then tumbles off as
Stantz leaps from behind the couch and fires the proton pistol. Oscar
hits the wall hard and stays unconscious. Samhain gets up. Within his
hood, his eyes are glowing red.
SAMHAIN
Big mistake.
STANTZ
Like I said, I didn't call room service. I've
got plenty of hot towels. Now get out.
Samhain steps forward slightly. Stantz's finger tightens on the pistol
trigger.
STANTZ
NOW!!
Samhain snarls.
SAMHAIN
This isn't over.
STANTZ
It is for now.
Samhain is suddenly out and up, flying through the sky away from the
apartments.
Oscar moans on the floor. Stantz grunts as he helps him up. Oscar is
heavy.
STANTZ
See? Lots of fun.
INT. NEW YORK HOME -- NEXT DAY
A housewife is going over the house with a vacuum, going down into the
cracks of her furniture with the extension hose. She gets to a sofa
directly in front of a window.
HOUSEWIFE
(to herself)
Damn pigsty. People can't pick up after
themselves. I guess that's what you learn when
you live in the Big Crapple.
(hose grabs something big)
Oh, Christ. Now what?
She brings out the hose. On the end is a toy-like PKE meter. The
stickers declare in blazing letters: A REAL-LIFE GHOST DETECTOR! and
DIAGNOSE YOUR OWN GHOST PROBLEMS! and finally CALL THE PROFESSIONALS!
She looks at it and chuckles, her mild humor returned.
HOUSEWIFE (cont'd)
Oh, I loved that movie!
(beat)
I wish there WAS a ghost around here. I'd have
something to take my mind off the damn mess.
Suddenly, the lights of the dusty PKE meter turn on. She jumps and
cries out.
HOUSEWIFE (cont'd)
I guess the batteries still work.
Slowly, the antennae begin to move as the readings on the meter rise.
It gets to a point where they are at a limit to their motion. The
lights begin flashing uncontrollably and the digital readout blinks the
phrase CALL 1-800-NO-GHOST NOW! over and over again. She looks up at
the window as Samhain walks by ominously.
There is a drawn-out moment where she contemplates what just happened.
Then she throws her head back and yells up, as if to God:
HOUSEWIFE
I didn't mean it!
INT. CROSSOVER MODULE -- VID IMAGE
The creature from the subway kiosk is floating, suspended by the laws
of polarity, inside, struggling and twirling and getting nowhere.
INT. FIREHOUSE BASEMENT
Spengler is looking into the vid goggles. He looks away and at Kylie.
SPENGLER
"FEAST"?
KYLIE
Yeah.
SPENGLER
In blood?
KYLIE
Yes...
SPENGLER
You're sure?
KYLIE
Egon, the damn sacrifice was all over the
place! Every one of us saw it!
(beat)
Except Garrett.
SPENGLER
All right. I don't want to jump to conclusions
is all, Kylie.
Louis comes downstairs.
SPENGLER (cont'd)
(RE: creature)
We'll leave him in there until I can figure out
what it means.
LOUIS
He's gonna have some company.
(hands Spengler an address)
We got a call from someone whose promotional
PKE meter detected a major ghost.
KYLIE
(to Spengler)
Those meters are calibrated the same as our
own, right?
SPENGLER
Yes. I gave the toy company the designs.
KYLIE
So if it says it's a big deal ghost...
Spengler goes a little weak at the thought.
SPENGLER
You need to go NOW.
Kylie grabs the address and heads upstairs. Louis approaches Spengler.
LOUIS
Do you have any idea what's going on?
SPENGLER
I'm going to run the description of our friend
here through GhostNet. I will especially be
looking for a connection to the just-passed
Feast of Samhain.
LOUIS
What kind of connection?
SPENGLER
I think this fellow may have been on the guest
list.
EXT. STREET -- LATER
The ECTO-1B shoots down the street with ECTO-3 in hot pursuit. ON THE
ECTO-3, Jake grimly steers behind the Ectomobile. On a pair of
headphones and a microphone, he communicates with the car up ahead.
ROLAND
(filter, through) headphones)
Jake, make sure you keep up now. It's a free
roamer and I'm about to switch on the topside
PKE.
JAKE
Don't worry about me and Art. We've you
covered.
In the car, Roland switches on the PKE meter. Atop the car, a gigantic
mechanism lights up and begins sending readings to a computer image in
the car.
Kylie watches the computer screen.
GARRETT
What does that do?
KYLIE
It's sort of like infra-red for PKE activity.
The higher the ectoplasmic energy, the more
colorful the spot. We can detect and sometimes
even identify invisible ghosts this way.
(beat)
And we're off.
The computer image has started to show trace readings.
INT. FIREHOUSE REC ROOM -- SAME TIME
Spengler is staring intently at his computer screen. ON THE SCREEN,
there is a rendering of the blue creature from the kiosk. The text
says ONE MATCH FOR DESCRIPTION AND SIMPLE QUERY "FEAST OF SAMHAIN."
The ghost, it says, is the spirit TAZELBUUL, "the central African god
of destruction and chaos."
SPENGLER
Louis!
DOWNSTAIRS, Louis, wearing a proton belt and holding a pistol, is
hiding behind a column. On a table in the center of the room is a
lunch bag marked LOUIS in huge letters.
Spengler calls his name again, and Louis wrestles with indecision
before answering, going upstairs.
Slimer floats in an instant later, uncurling the top of the bag and
reaching in.
UPSTAIRS, Spengler and Louis are staring at the screen as the computer
prints out the information.
SPENGLER
Louis, I think we may have a very big problem
on our hands. I'm going to power down the
switchboard to give my CB antenna a wider range
and more power. I need to reach the other
Ghostbusters. Get the last of the calls and
start shutting down right after lunch.
Louis jumps. LUNCH! He runs out of the room.
LOUIS (O.S.)
No!!
A proton blast is heard, along with sound of things breaking.
LOUIS (cont'd)
SLIMER!!
INT. ECTOMOBILE -- SAME TIME
Kylie is staring at the screen. Garrett points.
GARRETT
I see it!
EDUARDO
Kylie? What's the verdict?
KYLIE
(to herself)
What the hell?
EDUARDO
Hey, hey, that's not a positive attitude!
KYLIE
The ghost's on my screen, but...look!
She turns the screen around. The ghost is indeed on the screen...sort
of. Instead of a spot of luminescence, the area occupied by the ghost
is a black blur.
ROLAND
What does that mean?
KYLIE
It means the damn thing is overloading the
system! I'm worried that --
EDUARDO
We'll sort it out later. Roland, I'm stopping.
EXT. ECTO-3 -- SAME TIME
Roland crackles in over the headphones.
ROLAND
Jake, Art! Eduardo's about to stop the car.
JAKE
Stop away.
(stops bike)
We're ready.
The Ectomobile stops. Eduardo glances at the mileage.
EDUARDO
Hey, look at that!
The odometer reads 123456.
EDUARDO (cont'd)
On a full tank, too!
KYLIE
Doesn't take much to entertain YOU, does it?
The Ghostbusters leap out to confront Samhain.
Each of them puts on a set of headphones and microphone made so that
they can communicate with the Firehouse and each other hands-free.
ROLAND
Switch 'em on. If Egon needs to talk to us he
needs to be able to get through.
They step forward to meet Samhain, who is standing in the middle of the
street, waiting for them.
They each flick on their pistols, arming them, and slowly form a circle
around Samhain, who waits for them with open arms.
JAKE
(quietly into the headphones)
Ready everyone?
A murmur of affirmation.
JAKE (cont'd)
All right. On three.
EVERYONE
(instantly)
THREE!!
They all fire at once, and Samhain LEAPS straight into the air. Their
streams blast at each other, and each of them wrenches his or her
stream into the air, not so much to get Samhain but to get away from
the other streams. Samhain drops upon Art, who begins screaming. Jake
blasts Samhain, but Samhain does not react in any way.
JAKE
Don't fire! You'll hit Art!
ART
SCREW IT!! FIRE FIRE FIRE!!
Everyone -- including him -- blasts Samhain, who goes flying up and at
an angle off of Art.
Samhain disappears.
INSERT - BRAKE - GARRETT'S WHEELCHAIR
The brake undoes itself.
BACK TO SCENE
Garrett begins to move forward, slowly at first and then faster and
faster. Art runs forward and grabs the handles of the wheelchair --
ART
Gotcha, Garrett.
-- and is then backhanded by the invisible Samhain and goes sprawling.
Garrett is pushed with incredible speed into the Ectomobile.
His dead legs stop him short, but his head continues forward and hits
the window, knocking him out and cracking the glass in a spiderweb.
Spengler's voice crackles in over the microphone.
SPENGLER (V.O.)
Ghostbusters! Do you read me?
EDUARDO
Loud and clear, buddy.
They blast at Samhain, who is now once more visible.
SPENGLER (V.O.)
I have the information on the ghost you
captured in the subway.
ART
Couldja make it fast?
SPENGLER (V.O.)
"Tazelbuul, central African god of destruction
and chaos. Said to be a regular attendee of
the Feast of Samhain."
(beat)
This could be bad.
JAKE
You're tellin' me.
SPENGLER (V.O.)
What's going on?
ART
What isn't?
Art screams suddenly and fires as Samhain bowls him over.
SPENGLER (V.O.)
What was that? What's going on?
JAKE
The ghost just ran right into Art's stream and
took him down!
SPENGLER (V.O.)
WHAT?! What ghost is that?
KYLIE
Tall, about 6 feet give or take. Wearing a
black cloak and hood. Face concealed. Looks
sorta like the Grim Reaper without the scythe.
Run it through GhostNet.
(beat)
Egon?
SPENGLER (V.O.)
(slowly, frightened)
I don't need to run it through GhostNet. That
IS the Grim Reaper. My God, Samhain is in New
York.
ROLAND
What?
Samhain comes at Roland; Roland blasts him and succeeds in knocking the
hood off Samhain's head, and finally everyone gets to see his face.
His head is shaped and colored like a pumpkin, and his face consists of
the triangular shapes of a jack-o'lantern.
GHOSTBUSTERS
(all together)
WHAT THE HELL?!
SPENGLER (V.O.)
WHAT?! WHAT?!
EDUARDO
You would not believe this, Spengs. YOU would
not believe this, can you dig that?
SPENGLER (V.O.)
That's it. Come back to the Firehouse. NOW.
EDUARDO
No way! The Ghostbusters have never retreated
and I don't plan to start!
SPENGLER (V.O.)
The Ghostbusters have never DIED before either
and I DON'T PLAN TO LET YOU START! COME BACK!!
Eduardo and the rest of the Ghostbusters retreat, Eduardo reluctantly.
EDUARDO
Man, this sucks...
They drive off frantically, leaving Samhain alone in the street,
laughing his evil laugh.
EXT. STREET -- CONTINUOUS
The Ectomobile tears down the street. Roland switches on the strobes
and siren. Ecto-3 comes along behind. Halfway down ANOTHER STREET, a
debilitating fog puffs out of nowhere.
Without a chance to stop, the car and motorcycle zoom in.
INT. ECTOMOBILE -- CONTINUOUS
The colorful strobes are bouncing off the fog around them, back and
forth and back again, barraging the car with light from all sides,
making it impossible for Eduardo to drive.
IN THE FOG, a streetlamp looms up before the Ecto almost before Eduardo
can swerve.
They drive on mindlessly, straight forward, trying to find a way out of
the fog...when the SAME LIGHT POLE comes out of nowhere and they crash
horribly. Garrett lolls around in the back of the car, falling limply
out of his chair. Roland goes to the CB.
ROLAND
Jake! Art! We have stopped! Repeat--
EXT. ECTO-3 IN THE FOG -- SAME TIME
Roland's voice crackles in over Jake's headphones, but the sound is
unintelligible through static.
JAKE
Roland! Roland, are you there?
Ecto-1B comes out of the fog. Ecto-3 hits. The fog dissipates.
INT. ECTOMOBILE -- NIGHT
Eduardo sits up. His eyes go to the odometer. Although they can't
have driven more than a block, the mileage now reads 17263, the gas
gauge is tottering just above empty, and outside the car the sky is
dark.
EDUARDO
What the hell...?
He faints.
INT. VENKMAN'S APARTMENT -- NIGHT
The phone is ringing suddenly. Venkman cries out, awakening. He
relaxes and turns on the light, to see Jack standing over him with an
upraised knife. Venkman yells again.
VENKMAN
Hey, whoa! Can we talk?
Jack relaxes.
JACK
I'm sorry. I was protecting your other son in
case Samhain should return for him again, and
this awful sound startled me.
VENKMAN
It's a telephone. Don't worry.
(picks it up)
See?
The ringing stops. Jack nods but stays, eyeing the phone suspiciously.
VENKMAN
Hello?
SPENGLER
(filter)
Venkman!
VENKMAN
Egon, it's four in the morning. I'd like to
blame that on a time difference, but we're in
the same time zone.
SPENGLER
I got your message too late. Samhain is here!
Venkman sits bolt upright, startling Jack.
VENKMAN
What? Grab the bastard and make him talk!
SPENGLER
It, uh, it won't be that easy. He is
apparently too powerful for our new equipment.
Venkman slumps.
VENKMAN
Are you sure?
SPENGLER
The new Ghostbusters confronted him about
fourteen hours ago.
VENKMAN
Well, why the hell didn't you call me THEN,
Genius?
SPENGLER
They CONFRONTED Samhain FOURTEEN hours ago. I
lost contact with them until they somehow
reappeared three blocks away -- TWO hours ago.
VENKMAN
What?
SPENGLER
Apparently they drove into a demon- invoked
fog. It defies communication, leads anyone
inside in circles until they pop out much
farther in the future than they think. I
didn't want to call you until Garrett's
condition stabilized.
VENKMAN
What happened?
SPENGLER
He got a concussion.
VENKMAN
Well, now what? Don't you have any of the old
equipment lying around?
SPENGLER
I'm afraid not, Peter. Once I got the low-
powers made, the city decided that, given the
option, we had to go with the lesser danger.
All but four of the original packs were
destroyed.
VENKMAN
What happened to those four?
SPENGLER
They were used in the movies, then donated to
Planet Hollywoods. The Planet Hollywoods are
mostly in the country -- Washington, D.C.,
Orlando, New Orleans -- but one of them is
going to be tough. That one is in Nassau.
VENKMAN
Great. That's just...
(his eyes light up)
Egon. I have an idea.
SPENGLER
What?
VENKMAN
Winston retired to Nassau, right?
SPENGLER
Right.
VENKMAN
Did you ever make that fuel capacity adjustment
to the ECTO-2?
SPENGLER
Venkman, I don't see what --
VENKMAN
(interrupting)
Did you?
Spengler sighs.
SPENGLER
No. Instead I created a new kind of fuel. On
a full tank, the chopper could fly around the
Earth two and a half times before refueling.
VENKMAN
Call Winston and fill up the tank. He may need
help getting the pack. First take the Chopper
to New Orleans. Then Nassau. Then bring it to
my Planet Hollywood. Ray and I will get ours,
then deal with the one in D.C.
SPENGLER
What time should we pick you up?
VENKMAN
Let's say four. Ray and I have a birthday
party until two tomorrow. Or I guess it's
today, now.
SPENGLER
Well, Venkman, I guess...
VENKMAN
Wait. There's someone I want you to talk to.
(holds the phone out to Jack)
It's for you.
Jack takes the phone and mimics Venkman.
JACK
Hello?
SPENGLER
Hello. Who is this?
JACK
My name is Jack. Are you the Doctor Spengler
Mr. Venkman spoke to yesterday?
SPENGLER
This regards Samhain?
JACK
Yes. Many centuries ago, Samhain condemned me
to walk the Earth for all eternity.
SPENGLER
You're THAT Jack?
JACK
Yes. I began All Hallows Eve long ago. The
evening was not the actual Feast of Samhain but
a preparation for it. All who believed me
dressed as "guests" to the feast and went
imploring for offerings for the feast. I also
created the custom of carving Samhain's face
into a pumpkin to show fear and respect for the
spirit.
SPENGLER
Samhain looks like a pumpkin? A jack-
o'lantern?
JACK
No, you don't understand. THEY look like HIM.
SPENGLER
Jack, under normal circumstances I would not
believe you, but your story has already been
corroborated. When Venkman and Ray come to New
York, I think you should come as well. You
will prove most valuable.
JACK
All right.
Without knowing the proper custom, Jack hangs up the phone without
another word.
EXT. HOUSE -- ORLANDO -- NEXT DAY (LATER)
A beat-up station wagon with a printout of the Ghostcrashers No-Ghost
logo pasted to it pulls up in front of the house. Stantz and Venkman,
in their old Ghostbusters uniforms, hop out of the car and go up to the
door. Doreen and Oscar come out in turn behind them. Inside, Jack
sits, not interested at all in getting out of the car.
INT. HOUSE -- LATER
The party is going full swing. Venkman is doing card tricks and close-
up magic. Stantz is drinking a beer and making sure the kids don't
hurt themselves. Doreen is watching television and Oscar is stooging
for Venkman.
A kid comes up to Stantz.
KID
(RE: proton pistol)
Hey, mister, is that a real gun?
STANTZ
Yep.
KID
Oooh, you shouldn't play with guns!
STANTZ
Don't worry, I'm a cop.
KID
Really? For what?
STANTZ
For ghosts.
KID
Where are your handcuffs?
STANTZ
(pats the gun)
Right here.
KID
You're silly.
The kid scampers away. Stantz takes another swig of beer.
KID (O.S.)
Oooh...!
Stantz hides the beer guiltily.
LATER
THE CLOCK says 1:57. Stantz grabs Venkman away from the kid's table,
where he is eating cake and ice cream.
STANTZ
We gotta go now, kids! Happy birthday, Billy!
The kids cheer.
KIDS
Bye, Ghostcrashers!
EXT. PLANET HOLLYWOOD -- LATER
The station wagon's dashboard clock says it is about 3:15. Venkman and
Stantz, still in uniform, get out of the car and start up the stairs to
the entrance. Doreen and Oscar follow behind. Doreen turns back to
Jack.
DOREEN
Are you sure you don't want to come in and get
something to eat? You must be hungry.
JACK
Since I can't die, I once went without food for
two hundred and twenty years. I can wait three
hours.
Doreen shrugs, as if this is everyday conversation, and follows the
others.
Venkman and Stantz are recognized and the crowd begins to cheer.
VENKMAN
(in character, to waiter)
We got a report of a ghost, and while we're
here we might do some lunching.
WAITER
I'm sorry, sir, without a reservation you'll
have to wait in line --
The ENTIRE LINE begins to boo the waiter. "Let 'em in!" The waiter
finally gives in, and Venkman and Stantz go inside. Doreen and Oscar
are detained.
VENKMAN
They're with us.
INT. PLANET HOLLYWOOD -- LATER
3:45. The meal is over. A Japanese tourist at another table flashes a
photo of Stantz wiping his mouth then speaks in excited Japanese to his
companions.
DOREEN
No good can come of that.
The waiter comes with the check. It is in a LUDICROUS amount. Stantz
pulls the waiter down.
STANTZ
Tell you what. You go get out those props from
Ghostcrashers, we'll entertain the diners, and
we'll both go our seperate ways afterward with
no money having needed to change hands.
WAITER
I'll have to talk to the manager, sirs.
VENKMAN
We're not going anywhere.
3:55. The MANAGER unlocks the glass case, and Venkman slings on the
pack, sticks the trap on his belt, and draws the gun. Stantz puts on
the goggles and trap.
MANAGER
Okay, now I don't want any mess.
VENKMAN
Don't worry.
(nods to Oscar)
Get your costume on.
Oscar wrenches the white tablecloth off the table, trying to keep
everything standing. He does not. All but the centerpiece tumble.
OSCAR
YES!! The flowers are still standing!
DOREEN
(to herself)
His father's son...
MANAGER
Hey, you can't--
Oscar grabs a knife off the floor and punches two holes in the
tablecloth.
MANAGER
Hey! Those tablecloths cost up to fifteen
dollars apiece, what do you think you're--
VENKMAN
Back off, man. We're entertainers.
Stantz powers up the pack.
MANAGER
Hey! What do you think you're--
Venkman points the gun at the Manager, who wisely backs up.
STANTZ
A single accelerated proton can paralyze half a
man's face. That pack shoots a stream of
billions of accelerated protons. We don't want
to kill anyone, but if we don't get this gun,
we're all dead anyway. Don't screw with us.
They begin to leave. The Japanese tourist begins gesturing wildly.
The tourist takes a picture with Venkman.
VENKMAN
(to the others)
Ready?
STANTZ
If we play this right, the crowd outside will
think it's an act and we'll get away. Let's
go.
EXT. PLANET HOLLYWOOD -- ALMOST CONTINUOUS
The line murmurs with the sound of a plethora of different
conversations--then a scream pierces the air. Doreen runs out of the
restaurant with Oscar the ghost in hot pursuit. Stantz follows, goggles
on and PKE meter held out in front. Venkman follows with the pack.
The crowd begins chanting:
CROWD
GHOSTCRASHERS! GHOSTCRASHERS!
At the foot of the stairs, Jack stands waiting in a flat open area. He
reels as a heavy wind picks up and the Ectochopper, ECTO-2, lands with
siren blasting and top-mounted strobelights flashing. The crowd cheers
even more wildly.
The door of the chopper opens and Winston leans out.
WINSTON
I retired for a reason, guys.
VENKMAN
You didn't have to come with the pack, you
know. You could have stayed.
WINSTON
(scoffs)
Yeah. And face the mob scene I left behind at
Planet Hollywood? Uh-uh.
Venkman and Stantz climb into the chopper. They lift Oscar in.
Venkman leans out to Doreen.
VENKMAN
I'll be back. Love you.
They kiss.
The door closes and the chopper lifts off just as the manager runs out
with the security guards. INSIDE ECTO-2, Winston leans over to the
others.
WINSTON
I'll bet they're all glad to see us.
STANTZ
I know Slimer'll be glad to see Venkman again.
VENKMAN
Oh, come on. I'll bet he's forgotten me by
now.
STANTZ
Ten bucks says he slimes you the second he sees
you.
VENKMAN
You're on.
They shake on it.
INT. FIREHOUSE BASEMENT -- LATER
Venkman, covered in slime, puts the last dollar into Stantz's hand.
Winston pulls his eyes away from the vid goggles.
WINSTON
That is one UGLY dude, Egon.
SPENGLER
Don't blame me.
VENKMAN
When good Smurfs go bad.
Jack looks in.
JACK
(off the top of his head)
Tazelbuul.
They stare at him. He doesn't really notice.
JACK (cont'd)
He's always the first to come through. Every
time I see him I remember what he did to my
son...
SPENGLER
Well, don't worry. If we can help it, you'll
never have to see him again. I suggest you look
away from the goggles for just a few seconds.
Jack complies.
Spengler nonchalantly hits the switch and button. The light in the vid
goggles flashes and the creature can be heard, muffled, screaming
inside as it is forcibly crossed-over. Everyone but Jack ignores this.
Jack shows extreme discomfort to the whole situation.
SPENGLER
They had trouble just catching THAT. Which is
why we need the old packs.
WINSTON
What about the slime blowers?
SPENGLER
I still have the only two I built. They're old,
but I think they'll hold up. I've refilled
them and am recharging them right now.
STANTZ
Now what?
SPENGLER
Now, take the Ectomobile and battle your way up
to Washington. We need that last proton pack.
VENKMAN
Which one do we take? Spengler smiles a little.
SPENGLER
Since we're going back to the first and best,
why don't you take Ecto-1?
VENKMAN
(grins)
I never knew you were so sentimental, Spengler.
SPENGLER
(embarrassed)
It's almost rush hour. You'd better get
moving.
Everyone but Spengler goes up the stairs as Janine comes down.
JANINE
It's so wonderful that we're all getting back
together like it was in the beginning.
SPENGLER
Yes, I missed it.
JANINE
But there's one part of the very beginning that
we never got back to.
She pins him seductively against the wall. He swallows.
JANINE
I'm hoping this time I'll get to use one of the
POWERFUL proton guns...
Her hand moves toward his crotch. He jumps, suddenly a nervous
teenager.
SPENGLER
Janine, I don't think we should--
JANINE
Whatsa matter? Afraid your mom'll come down
and see us?
SPENGLER
No, but--
JANINE
Then shut up and kiss me.
He does. Then again, meaning it this time. Janine pulls away.
JANINE
I've wanted to do that for twenty years.
SPENGLER
(surprising himself)
Me too.
EXT. PLANET HOLLYWOOD -- WASHINGTON, D.C. -- LATER
Ecto-1, the original, whines into the parking lot and stops in the
middle of an aisle. Venkman, Stantz and Winston, completely decked out
as Ghostbusters, climb out of the car.
EXT. ENTRANCE TO PLANET HOLLYWOOD
The head waiter tries to stop them from entering, and Venkman shoves
him rudely out of the way. Stantz apologizes and Winston shrugs as
they enter.
INT. GHOSTCRASHERS PROPS
They are in two separate glass cases, a proton pack and trap. Sitting
at a table next to a pack is a man, NORMAN GAGNON, thirtysomething but
looks twentysomething. Before him is a notepad and pencil, camera, and
a typical Planet Hollywood meal; burger, fries, drink. The food
remains uneaten as he looks the pack over, jotting down notes.
The Ghostbusters come over. Winston smashes the case holding the trap,
setting off an alarm, while Venkman grabs a chair and breaks open the
glass around the pack. Norm looks on in awe as Venkman puts the pack on
his back.
Finally, he sees this as his big chance and pulls a measuring tape off
his belt and begins taking measurements off the pack.
Venkman and Stantz pause.
STANTZ
Who are you and what are you doing?
NORM
(excited)
My name is Norm Gagnon. I'm a HUGE fan of the
Ghostcrashers.
STANTZ
Great. So what are you doing?
NORM
I make plans for other fans of the Ghostcrasher
equipment. Us "Ghostheads" make packs and use
them for Halloween.
VENKMAN
I'll have you talk to my son if he doesn't get
sacrificed first.
NORM
(still taking measurements)
Wow. Are you gonna use this equipment for
real?
Venkman charges up. Norm jumps back, awestruck.
VENKMAN
I hope so.
(beat)
Tell you what, if we can keep the world from
ending, I'll give you a call.
They leave. Norm cannot believe what just happened.
WINSTON
(leaving with the trap)
Guys! That was so much FUN! You should let me
break stuff more often!
A long, long pause. Then:
NORM
(breathless)
Wow.
INT. FIREHOUSE -- LATER
Everyone -- including Spengler -- is wearing their old Ghostbusters
uniforms. Each of them carries a proton pack. They strike an
impressive pose. Oscar, Slimer, Louis, and Janine applaud.
JANINE
Very nice.
LOUIS
I wonder if they still work...
He walks forward, GRABS the gun from Stantz, and shoots at Slimer.
Everyone ducks as the stream goes wild, burning the walls and shattering lights.
Louis turns it off, embarrassed.
VENKMAN
I think that's a definite maybe.
STANTZ
All right, but we still don't know if the traps
still work.
SPENGLER
What exactly do you think of me and my ability
to make machines with longevity?
WINSTON
(grinning)
Shut up, Egon. They just want to go out and
kick some ass.
SPENGLER
Oh.
The phone rings. Janine picks it up. She hangs up shortly and jumps
up with a scrap of paper, handing it to Egon.
JANINE
Take it away, fellas!
Everyone bolts excitedly to Ecto-1. Janine detains Egon a moment with a
kiss, and then they're off.
INT. LIBRARY -- LATER
The Ghostbusters have the ghost locked in their streams and are
wrestling to keep it there.
VENKMAN
This sonofabitch is gonna move!
STANTZ
I'm rolling out the trap now, watch out!
He rolls the trap out.
STANTZ
Trapping...turn off your streams and look
away...NOW!!
He stomps the trap. The doors open, the ghost is sucked in at full
power, and the trap beeps satisfyingly.
A long silence as books and computers burn around them. Winston is
covered in slime.
WINSTON
(suddenly)
That felt SO GOOD!! I never knew how much I
missed that!
High-fives all around.
EXT. LIBRARY
The Ghostbusters step out of the library into the bright light of day.
LIBRARIAN
You guys are great! Thanks a lot!
VENKMAN
No, thank YOU! We are so appreciative that you
called us in--
He looks to Spengler. Spengler nods.
VENKMAN (cont'd)
--that we're going to give you this one on the
house!
Cheers go up all around as the THEME MUSIC -- the real stuff this time -
- comes in and a montage begins.
EXT. ECTO-1
The Ectomobile zooms down numerous streets to the joy of passersby.
EXT. STREET
Spengler follows strong PKE valences into a MAGIC SHOP, wherein he
finds a counter covered in ectoplasm. The salesman begins speaking to
him in rapid Chinese. Spengler holds up a small drawing of Samhain.
The shopkeeper agrees vehemently.
EXT. STREET
A ghosts flies down the center of the street, screeching. The Ecto 1-B
follows, also in the center of the street. Eduardo is on the roof
with a proton pistol, firing away and cackling madly.
EXT. SUBWAY (RESTAURANT)
A group of diners swarms out of the restaurant. Moments later the
front window SHATTERS as it is blasted with a proton stream. A ghost
skitters out as fast as it can. Stantz vaults through the broken window
and sprints after it.
EXT. ALLEYWAY -- NIGHT
Winston, Spengler, and Venkman follow PKE readings to a SCRAWNY STRAY
CAT. Venkman whistles at the cat, beckoning. The cat hisses.
Venkman gets closer, whistling. He pounces on the cat.
The cat rears back and as it does it grows and changes into a horrible
monster.
THE GHOSTBUSTERS scream and blast it frantically.
EXT. STREET -- NIGHT
Everyone bustles about their normal nighttime duties in the city that
never sleeps. Steam pours out of manhole covers all across the street.
The manhole covers suddenly BLAST upward, propelled by columns of
steam. The steam comes together in the air and becomes a huge
transparent demon spirit.
Those down on the street begin to flee in terror. The white creature's
body suddenly begins to flash in colors, and it looks up to see --
-- ECTO-2, the helicopter, hovering before it, lights flashing. It
roars, and the helicopter blasts it with a proton stream from a souped-
up chaingun.
The spirit roars again, this time enraged. On the side of the chopper,
an old-style trap, connected to what used to be an airlift cable,
lowers, facing the creature.
INT. ECTO-2
Roland presses the button to activate the trap.
EXT. ECTO-2
The trap opens and sucks in the ghost. The pedestrians below cheer.
Eduardo leans out of the window and salutes them, nearly losing his
elbow to the whirring rotary blades above him.
EXT. GHOSTBUSTERS
They are running down the street confidently, back to the Ecto-1.
Stantz is carrying a smoking trap in each hand.
INT. BEDROOM
A woman is sleeping on her bed as a ghost creeps slowly toward her...
Closer... Then a proton beam slashes across and the ghost and woman
BURN.
INT. MOVIE THEATER
The ghost and woman were on a movie screen. Inside the theater, the
Ghostbusters are defeating a REAL ghost. Stantz's stream has gone wild
and burned the screen and the walls.
INT. DORMS
The bedrooms of the Firehouse. Oscar awakens and sits on the edge of
his bed sleepily.
Behind him, Slimer comes into the room, stretching and yawning.
Jack peers over the top of a bed at the green ghost, stalking Slimer
like a cat.
Suddenly, Jack leaps up and attempts to tackle Slimer, jumping onto and
off of the bed behind Oscar. Slimer passes through Jack, and Oscar has
just enough time to register the noise and begin turning when Jack
bowls him over.
INT. FIREHOUSE
Louis is once again hiding behind one of the columns. At his foot is a
trap pedal leading to a trap set on a table. Tied on strings above the
trap are several large pieces of Kentucky fried chicken.
Slimer peeks through a far wall at the chicken and the ghost trap below
it. Louis has laid out a few screwdrivers and parts of another trap to
give the appearance of a repair job in progress.
Slimer comes through all the way and sniffs the pieces of chicken. He
gobbles down a drumstick.
Louis stomps the foot pedal and the trap opens, emitting a powerful
cone of energy. Slimer grabs the rest of the chicken and bolts,
dodging. A big section of the ceiling over the trap comes crashing
down. Louis creeps away.
INT. SPENGLER'S OFFICE
Spengler is interviewing a young woman who is hooked up to a series of
monitors. She holds her hands about two feet apart. Spengler's eyes
widen. He grabs a trap.
INT. FIREHOUSE KITCHEN
This is where the Ghostbusters make their food. Kylie, in a night-
sized T-shirt, talking to Jack over the counter. Between them is a
toaster.
During their conversation, two pieces of toast pop up unexpectedly.
Jack, startled, swats the toast violently across the room and stares at
the toaster suspiciously.
INT. SWITCHBOARD
As Janine hands Spengler the day's worksheet, their fingers touch and
they both smile knowingly.
INT. SPENGLER'S OFFICE
He is interviewing yet someone else, and this time shakes her hand and
sends her on her way.
As she is walking through the Firehouse, she trips over her own feet
and goes sprawling just as Slimer flies over her with a proton stream
in hot pursuit.
Louis, wearing one of the old and dangerous proton packs, comes over
and helps her up. She wears thick glasses and her hair is slicked
greasy, not because she's dirty but because she's using too much gel.
Louis is struck by her relative beauty as he helps her up.
Louis walks her out of the Firehouse, both of them completely
lovestruck.
EXT. MOTEL
The Ghostbusters come triumphantly out with a smoking trap in their
possession.
A few doors down, a middle-aged man leaves his room with a girl young
enough to be his daughter. He is taking special cares to hide his face
from the general public.
INT. WEAPONS SHOP
Stantz is holding the drawing of Samhain out to the cashier. The
cashier nods slowly. He points to a dark spot on the wall in the
outline of a sword.
EXT. STREET -- NIGHT
The theme music FADES OUT and is replaced by Louis, singing, in a
warbled voice, HOW DRY I AM.
His words are accompanied by equally unbalanced grunts and squeaks, and
as he rounds the corner up ahead it becomes apparent that he is quite
drunk. He is shambling down the sidewalk with an arm around Slimer's
shoulders. The green onionhead, equally inebriated, has his own skinny
arm around Louis' shoulder.
Louis takes a swig from a bottle, swallowing with a grimace. He hands
the bottle to Slimer, who gulps it three times. Each time, the cheap
beer passes through him and lands on Louis' clothes.
LOUIS
(insanely drunk)
Hey! Careful! That cheap's not beer!
Louis passes out in the driveway of the Ghostbusters Firehouse. Slimer
goes inside through the wall.
DOWN THE STREET, the Ectomobile whistles around a corner and comes
streaking down the street. The Firehouse doors open.
Louis stirs in his unconsciousness. A small trail of drool comes out
of his mouth.
The Ecto gets closer...closer...and just as Louis' head is about to be
squashed like a melon a pair of hands wrap around his collar and yank
him out of the way. The Ectomobile rushes into the garage without any
sign of slowing and hits the brakes abruptly.
After the car has been stopped for about ten seconds, the brake lights
come on.
INT. REC ROOM
Venkman is sitting at the computer. Outside, a STORM is raging.
VENKMAN
Look what I found!
STANTZ
(coming over)
Is it something that will help us destroy
Samhain?
VENKMAN
Probably not. But it's pretty cool.
ON THE SCREEN is a website entitled THE GHOSTCRASHERS HOMEPAGE.
VENKMAN
They even have plans for fake equipment. The
plans look damn good! I think I will talk to
that Gagnon guy from D.C. He made the plans.
Stantz shuts off the computer. Venkman mimics the kid from the party.
VENKMAN
Oooooh!
STANTZ
Quit playing around, Peter! This is a serious
situation, and we need all the help we can get.
VENKMAN
Well, let's see if there's anything else Jack
can tell us.
They walk into another part of the rec room, where Jack is eating
McDonald's food with an odd expression on his face. Oscar and Winston
sit nearby
VENKMAN
What's up?
JACK
(almost to himself)
This LOOKS like real meat...
STANTZ
Before we deal with Samhain, we have to make
sure we know everything we can.
JACK
(not listening)
And these "SHAKES" are simply bizarre...
VENKMAN
(yells)
JACK!!
Jack gives Venkman his total attention, chewing the food absently.
VENKMAN
(dead serious for once)
My son is in the clutches of the Angel of
Death. I am going to get him back, and if I
don't, you're in big trouble.
JACK
Don't threaten me. I told you, you can't kill
me.
VENKMAN
You'd be surprised what a person can live
through.
JACK
(sighs)
The only thing more I know is the approximate
location of the ritual sacrifice. In degrees.
VENKMAN
Fine. Let's get you on the computer.
Jack shakes his head almost violently.
JACK
I don't want to use the "comm-pyoo-ter." I
don't trust it.
WINSTON
(volunteers)
I'll type it in for you.
JACK
(considers. Finally:)
All right.
They get up and go to the computer. Winston sits down and brushes a
sheet of paper off the keyboard. He picks it back up.
The paper is headed by the Ghostbusters logo and the Firehouse address.
WINSTON
When did we get these?
STANTZ
They just got in. Spengler ordered stationary
for our bills.
VENKMAN
An extra little twist of that knife for our
customers. They like to pretend afterward that
they never called us.
Jack gives Winston a few coordinates. Winston types them in. They
wait while the computer processes the information.
JACK
(out of nowhere)
I almost feel sorry for him.
OSCAR
Who?
JACK
Samhain.
VENKMAN
WHAT?!
OSCAR
Huh?
STANTZ
Jack, the guy won't let you DIE. He's evil.
JACK
Yes, but Mr. Venkman reminded me of something
when he called him the Angel of Death.
(beat)
All angels are basically good, at their core.
There is no difference with Samhain, even
though he isn't TECHNICALLY an angel. Once he
was good, and planned a feast where all the
forces of the universe --good forces -- were to
come together.
WINSTON
So why didn't he?
JACK
He could no more control the kind of spirit
that came through with his spell than could
users of a spiritual contact device we called
the Oui-Ja board.
STANTZ
Of course. Ouija boards can just as easily
contact evil spirits as good. That's why you're
never supposed to use one alone.
The computer makes a sound indicating that it is done processing.
Winston initiates a print function.
JACK
And would you assume that Samhain would have
company over when slaughtering a lamb to open
the gate? Of course not.
VENKMAN
So out came the bad guys and screwed with
Samhain's mind. Peer pressure.
JACK
Right. There are attendees of the feast far
more powerful than Samhain could ever be.
OSCAR
Evil ones?
Jack nods. The printout finishes. Winston hands it to Stantz.
WINSTON
Okay. Let's look this up in the phone book.
STANTZ
Don't bother.
ON THE PRINTOUT, the address below the stationary heading is the same
as that on the heading. It's the Firehouse.
INT. SPENGLER'S OFFICE
The door explodes inward under the force of Venkman.
VENKMAN
Egon, we need to talk. Hi, Janine.
Janine is laying down on the desk underneath Spengler. They are both
decent -- barely.
OSCAR
Is he in here?
VENKMAN
(ushering him out)
Yes he is, son. Now, wait outside.
OSCAR
Why?
VENKMAN
I'll tell you when you're older.
OSCAR
How much older?
VENKMAN
Thirty.
OSCAR
Thirty years old?
VENKMAN
No, thirty years older. Wait outside. This is
adult talk.
Stantz tries to come in.
VENKMAN
(not letting him in)
ADULT TALK.
(low, to Stantz)
Don't let him inside.
He closes the door. As Venkman was conversing with Oscar, Janine and
Spengler had time to dress up a little.
VENKMAN
We found Samhain.
SPENGLER
(nervous, embarrassed)
Where?
Venkman points up.
SPENGLER
In the heavens?
VENKMAN
No. On the roof.
SPENGLER
You can not be serious.
VENKMAN
Oh, I am SO serious.
He holds out the printout. Spengler takes it.
VENKMAN (cont'd)
Look at that.
Spengler looks, then hands it to Janine. The initial awkwardness of
the situation has disappeared.
JANINE
Well, Egon, you told me this stationary would
save time. You can say "I told you so" now.
VENKMAN
How could we not know this? Do you know how
bad the publicity alone on this is going to be?
SPENGLER
Ever since Slimer moved in permanently, all the
PKE meters we had around the Firehouse have
been deactivated. They kept getting readings
off of him.
VENKMAN
Well, the little spud screws me over again. I
think I'll join Louis in his destructive
crusade.
SPENGLER
I think we've got a bigger foe to deal with
right now, Peter. If Samhain has been here all
along--
Suddenly, Jack chimes in, interrupting.
JACK
He hasn't.
Venkman and Spengler jump. Janine screams.
VENKMAN
How the hell did you get in here?
JACK
When you've been alive as long as I have, you
learn how to do many things. Getting into a
locked room is the least of them.
SPENGLER
What do you mean, "He hasn't?"
JACK
Samhain only returns to the place of sacrifice,
the feast, once every hundred years. The time
before, the time of preparation, is spent
elsewhere.
VENKMAN
Where?
JACK
I would tell you if I knew, believe me.
EXT. ALLEY -- NIGHT (SAME TIME)
Louis wakes up with a gigantic headache, which is apparent on his face.
The other geeky woman, the one with whom he is in love, stands over
him.
WOMAN
You shouldn't drink so much. It's really not
good for you.
Louis sits up a little.
LOUIS
Where am I?
WOMAN
Heaven. Or you might as well be, if it wasn't
for your Guardian Angel.
LOUIS
Who?
WOMAN
ME! Jeez, you'd think you've never flirted
before. Classic story. Girl goes to Boy's
work. Boy chases ghost into Girl. Boy meets
Girl. Boy gets drunk and almost gets his head
smashed by souped-up ambulance. Girl saves
Boy. Boy throws up on Girl's new shoes as she
drags him into an alley. Boy wakes up. Girl
explains. Boy and Girl kiss.
LOUIS
But that last part--
She cuts him off, smashing her lips clumsily against his for all that
smooth talk. His eyes go wide, and he sobers up quickly.
WOMAN
(afterward)
See? A common story.
LOUIS
I MUST be in heaven.
WOMAN
Can the corn.
They kiss again.
INT. SPENGLER'S OFFICE (SAME TIME)
Jack has just explained the situation.
VENKMAN
You're telling me there used to be SACRIFICES
on our roof?
JACK
No. Because this building wasn't here two
hundred years ago. It was a cathedral for many
years. That's why I didn't know immediately
about this.
SPENGLER
So Samhain would come to the church and...what?
JACK
On the roof there was an altar made for
Samhain. After the New World was settled, the
ancient site on which he would make the
sacrifices was built over by the cathedral.
When the settlers saw the Pagan altar, they
decided to do the "good Christian" thing and
get rid of it. Samhain was very angry and
killed seven people when he discovered his
altar gone. So they built an altar on the
roof. They told church-goers that the altar
was for spring masses, but they always found a
reason not to go up during the spring.
JANINE
How do you know all this?
JACK
(smiling obscurely)
It's another thing I picked up over the
centuries.
SPENGLER
Did one of the dead -- when he was angered --
happen to be the intended sacrifice?
JACK
He was the first.
VENKMAN
So what do we do? We don't have an altar.
SPENGLER
We build one.
JACK
It's not so easy as all of that. Samhain will
only sacrifice on the right-looking altar. If
it should look wrong, he will be enraged. You
have about a week to rebuild, I believe.
VENKMAN
A WEEK?!
JACK
(shrugs)
Maybe less.
JANINE
Well, how can we rebuild something we've never
seen?
SPENGLER
I'll check the building records and blueprints.
If there was a cathedral, the plans will be in
the hall of records.
JACK
But who would be able to rebuild the altar in
detail? Back when it was built, no one had the
distractions that plague society now, and it
MUSTN'T be a half-assed job.
VENKMAN
(snaps his fingers)
I'VE GOT IT!!
EXT. ECTOMOBILE
Stantz and Winston help Norm from D.C. out of the car. The entire
time, Norm continues uttering a single syllable over and over:
NORM
Wow, wow, wow, wow...
He is lead into the Firehouse.
INT. FIREHOUSE
Spengler attempts to introduce himself to Norm.
SPENGLER
Good afternoon, Mr. Gagnon. I am Dr. Speng --
Norm, using both hands, grabs Spengler by the wrist and shakes it
violently.
NORM
Wow, wow, wow...
SPENGLER
AHEM! Yes, well...come with me.
INT. SPENGLER'S OFFICE
Laid out on the desk are several rolls of blueprints, made from the
original cathedral building plans. The top plans of the stack show an
altar and spires, each in great detail.
SPENGLER
Mr. Gagnon, you are what fans of the
Ghostcrashers call a "propper," correct?
NORM
(nodding)
Wow, wow...
SPENGLER
We need you to build us some props.
(sweeps his hands over the plans)
These.
Norm stops saying "wow" and leans down to scrutinize the prints.
NORM
This looks fairly simple. Gothic design,
stone. Could be detailed from wood, molded and
then poured into plaster.
SPENGLER
Good. I'll get the supplies for you and you
can begin immediately.
NORM
How soon do you want this stuff?
SPENGLER
You have a week.
NORM
WHAT?! I'll need at least a month!
SPENGLER
I'll have them get you some coffee while
they're out.
(beat)
We'll all help, as well.
BEGIN ALTAR MONTAGE
INT. FIREHOUSE GARAGE
Norm is making his first cut on a board between two sawhorses. The
Ecto-1B comes blasting in, nearly killing him. He dives out of the
way.
Norm moves to another part of the garage and tries to cut again.
Slimer flies through the wall, scaring the living hell out of Norm.
INT. REC ROOM
Norm sets up. Behind him, a few pieces of toast come out of the
toaster. Jack comes out of nowhere and, with a great battle cry, hits
them with a hammer.
EXT. FIREHOUSE ROOF
Norm is making cuts with ease, all distractions eliminated.
INT. SPENGLER'S OFFICE
Spengler, on the phone, is busy sanding a scallop-shaped piece of wood
with his other hand.
INT. REC ROOM
Everyone is sitting at the table, sanding or performing some other
detail work. Slimer is eating the sandpaper. Jack, beside him, is
sanding his face.
INT. GARAGE
The wooden altar is finished. It is very finely detailed. Norm and
the others begin to make a mold with plaster of Paris.
LATER
The mold is almost complete, but a large piece is missing.
Slimer has the plaster in his hands, playing with it like Play-Doh.
Norm grabs it out of his hands fearlessly and berates him.
Slimer's face becomes the face of pure evil and he roars at Norm.
Norm skitters away, terrified.
Slimer, back to normal, laughs heartily.
LATER
They are pouring the plaster into the hardened mold.
LATER
They pry off the mold and there sits a white version of the altar.
EXT. FIREHOUSE ROOF
Norm is airbrushing the altar a stony gray. He finishes and walks over
to a pair of wooden spires, laying on the ground. He begins painting
these.
EXT. ROOF
Stantz and Winston are helping to stand the spires up.
END ALTAR MONTAGE
EXT. ROOF -- ANOTHER, LATER TIME
The original four Ghostbusters, along with Jake and Art, are all decked
out in their uniforms. Stantz and Winston are wearing slime blowers,
the others are wearing proton packs. Jack and Oscar are on the roof as
well, waiting. Janine, also on top, kisses Spengler full on the lips.
JANINE
Be careful.
SPENGLER
Did you send the others out?
JANINE
Yes. They have a worksheet that'll keep them
going into Christmas.
Spengler nods. Janine leaves the roof. Stantz turns to Norm.
STANTZ
You did a very good job. Now all that's left
is to see if Samhain buys it.
The ground rumbles uneasily. There is a moment in which everyone tries
to get a handle on what is going on, and then a great EARTHQUAKE
begins.
On the roof, something strange begins happening. The altar, very well
done in plaster, changes, becomes more solid. The flat gray paint job
darkens as the altar becomes made of real stone. The top of it darkens
with the blood of numerous victims, spilled long ago. The spires harden
and twist into stone horns, connecting to the roof of the Firehouse.
But it isn't entirely the Firehouse anymore. The flat surface of the
roof begins to buck and twist into sharp angles. The open angles seem
to grow protective membranes of stained glass.
INT. REC ROOM
Janine is sitting at the computer, typing and trying not to cry. She
hits a key -- and instead of a CLICK, as would be expected, an organ
blasts a note. She jumps, surprised, and tries to type again. A
melody plays itself out for a few bars before she stops.
She looks behind her, and around her. The rec room is gone. She sits
instead in an alcove above the rest of the Firehouse. As she watches,
pews seem to sprout from the oil-spotted ground of the garage.
She looks back, and the computer has disappeared. She is sitting in
front of the organ keyboard.
JANINE
What the hell is going on?
INT. DORM
Louis and the woman with whom he is in love, LILY, are laying down is
adjacent beds, holding hands. The beds begin to creak, because they
have turned into rusty metal cots, the mattresses thinned out, the
thick blankets replaced by a single sheet per bed.
Between them, a wall of stone grows from the ground and wall,
separating their hands. They jump up.
LOUIS
Lily!
LILY
Louis!
The wall closes between them. They both try the doors of their little
cells. Locked. Only one window to each room, and they are old-
fashioned arrow-slits.
EXT. STREET
Traffic comes to a shrieking halt as people stop to gawk at the
metamorphosis of the Firehouse.
A hobo, wandering aimlessly about, ambles directly under the neon "No-
Ghosts" sign. The sign, creaking, begins to fall away from the
building. A quick-thinking young man leaps forward and snatches the
hobo back just as the sign crashes down in an explosion of sparks.
HOBO
(drunk)
Did you SEE THAT? I gotta call Hard Copy, a
UFO just nearly landed on my head!
He wanders away without so much as an appreciative nod to the young man
who saved his life.
The young man, dejected, stays on his back looking up. His eyes widen
and he rolls away seconds before a huge Corinthian column plunges down
and drives itself into the sidewalk.
Down the street a little bit, another column slams down. An equally
massive FLYING BUTTRESS whips out of the front center of the building
and PILEDRIVES through a car, into the street.
The car's owner jumps away just as the gas tank ignites and the car
EXPLODES.
EXT. ROOF
The shaking stops. The Firehouse is now the Gothic cathedral that once
stood.
Everyone looks around. Jake speaks first.
JAKE
I think Samhain'll buy it.
ART
Okay. What the hell just happened?
JACK
The reason the altar had to be rebuilt was
because Samhain regularly casts a spell on the
place of sacrifice. The spell takes effect
right before Samhain arrives. It takes what is
already there and reverts it to what is more
familiar to Samhain. If the altar hadn't been
there, it wouldn't have just appeared when the
spell took effect. It would be missing
entirely. And that would have made Samhain
very angry.
VENKMAN
And angry is bad.
JACK
Yes.
STANTZ
I guess this church thing means he's on his
way.
JACK
He'll be here any minute. I should not relish
seeing him again.
NORM
Why?
SPENGLER
I think you should go, Mr. Gagnon. We don't
want you to get hurt.
Norm turns to leave; before he goes:
JACK
(to Norm)
Mr. Gagnon!
Norm looks back.
JACK (cont'd)
I don't want to see him again because he won't
let me die. I've been alive for several
centuries.
Norm nods, incredulous but forced under the circumstances to believe,
and goes.
VENKMAN
(to Jack)
Funny you should mention that. I think I have
a plan.
EXT. ROOF -- LATER
The transition is made by a smash of thunder. Above the cathedral,
clouds swirl angrily.
Enter Samhain with Junior still asleep in his arms. Samhain lays the
boy down on the altar and turns back his hood to reveal his pumpkin
head. It's a sight that should be ludicrously funny, but something
about it is not. It may be the glowing red eyes, or the way the face
moves like a normal human's face. Or it may just be the look of insane
triumph on Samhain's face.
Whatever it is, it remains there as Samhain stretches Junior out, and
places his ear (the side of his pumpkin) on Junior's chest, listening
to Junior's heart. Lightning strikes in the sky. Samhain looks up.
He approves.
On Samhain's back is a long sheath holding a long sword and several
bottles of powder, which can be heard klinking around inside an
attached bag.
Jake begins sneaking around the side of the spire behind Samhain and
creeps toward the spirit.
Samhain sprinkles powder on Junior, chanting. Jake gets within three
feet of the altar when lightning strikes again. This time, however, it
shatters the feet of a spread-eagled gargoyle, which plummets down,
pinning Jake to the ground.
BEHIND THE SPIRE, Art ducks over to the others.
ART
We're gonna have to have a change of plans.
(looks again)
Okay. There's something Jake and I used to do
in situations like this...
A FEW SECONDS LATER, Samhain has Jake by the neck. He reaches back and
begins to draw the sword with one hand.
EVERYONE BUT VENKMAN, JACK, AND OSCAR jumps out from behind the spire
with their guns drawn.
STANTZ
Drop him, Sammy, or no orange ice cream for
you.
Samhain frowns mockingly.
SAMHAIN
You're hurting my feelings.
He holds the sword against Jake's throat.
SAMHAIN (cont'd)
Don't worry.
He presses the sword against Jake's neck. A single drop of blood forms
on Jake's throat.
SAMHAIN (cont'd)
THIS is my favorite flavor anyway.
ART
Jake!
Jake looks but doesn't dare speak.
Art powers up his gun. Spengler powers his up. Stantz and Winston
respectively charge up the slime blowers. All at the same tempo.
116 beats per minute -- the tempo of the Ghostbusters Theme Music.
The music comes in and Jake ducks down. Art attacks and knocks Samhain
back. Stantz and Winston fire their slime blowers, but Samhain rolls
out of the way and the gunk goes wild. The altar and Junior end up
covered in it. Junior squirms around in the pink goo, feeling good,
and stays asleep.
Samhain hits Jake in the back of the skull with the hilt of his sword.
He tries to slash down with the blade but Jake rolls onto his side and
uses his gun to block the blade. He knocks it away and blasts Samhain.
The sword flies out of Samhain's hands and lands next to the altar.
Samhain folds his hands and closes his eyes. His hands begin to glow a
deep red.
STANTZ
Look out!
They all leap aside as Samhain spreads his hands forcibly. Red
lightning crackles from his fingertips. Lightning also flashes in the
sky.
The lightning hits the side of the spires and the pointed tip of one
breaks off and plummets down. Venkman cries out in pain.
VENKMAN (O.S.)
Shit!
OSCAR (O.S.)
DAD!!
SAMHAIN
Peter Peter Pumpkineater... Come on out...
Venkman comes out from behind the spire, yelling, and rushes Samhain.
Samhain laughs and, not looking, grabs Venkman's head and TWISTS.
Broken neck. Instant death.
SAMHAIN
(yelling triumphantly)
Look, all of you! You cannot defeat me. You
will only suffer the same fate. I HAVE THE
ENTIRE UNIVERSE IN MY POWER!
VENKMAN (O.S.)
Oh, you've got JACK!
Samhain looks up to see Venkman coming out from behind the spire. Oscar
is next to him. Venkman's shoulder and arm have been gashed.
Venkman is wearing Jack's clothes. He is wearing a proton pack.
VENKMAN (cont'd)
And I mean that.
Samhain stoops and turns "Venkman" over. In Venkman's uniform is Jack,
with a peaceful and triumphant smile on his lips. The only person
capable of killing him has killed him.
VENKMAN (cont'd)
He would have wanted it this way.
Venkman shoots Samhain, but in his rage Samhain is much more powerful
than even the full stream particle beam.
He raises his arms and ALL the Ghostbusters are thrown down. Even
Stantz, who is behind Samhain about to grab Junior off the altar, falls
to his knees in pain. Oscar is the only person left on his feet.
Samhain grabs the sword off the ground and lifts it above his head. A
bolt of lightning comes down and strikes the sword. It is suddenly
glowing with energy and Samhain turns it down over Junior's heart.
SAMHAIN
Now let you all suffer as you were meant to!
Oscar sprints forward.
OSCAR
NO!!
Oscar knocks Junior off the altar in his flight. Junior lands
comfortably on Stantz. He wakes up instantly and begins screaming.
Oscar is not so lucky. As he hits the altar with his chest, he slides
across the slimy surface and is under the blade of the sword when
Samhain brings it down with all his incredible strength. It goes
through Oscar's back right at the level of his heart, going all the way
through and burying itself in Oscar almost up to the hilt.
Oscar's eyes open wide at the sudden shock, and dark blood -- heart's
blood -- comes out of his mouth in a single pulse. Then he is still.
EVERYONE stops what they're doing. Even Junior stops screaming in
shock. Samhain looks down at his accidental sacrifice.
SAMHAIN
(nods)
Close enough.
He turns to the stained glass behind him. It begins to glow from
behind. Samhain chants, becoming more and more frantic as he goes on.
SAMHAIN (cont'd)
(chanting)
From the third planes of Vuldronnai I call the
almighty power -- Gozer the Gozerian, Gozer the
Destructor, Gozer the Traveller -- Come!
Feast!
The light behind the glass begins to pulse slowly.
SAMHAIN (cont'd)
From the universe of pain, on his throne of
skulls, I call forth the almighty power -- Vigo
the Carpathian, Vigo the Despised, Vigo the
unholy -- Come! Feast!
Venkman turns to the others.
VENKMAN
He's gonna be pissed if those are the only
guests.
SAMHAIN
From the eighth level of the Mecenticel I call
the almighty power -- Tazelbuul the Wrong,
Tazelbuul the Horror, Tazelbuul the temptor --
Come! Feast!
The light is beating like an overstressed heart.
SPENGLER
He's REALLY going to be pissed.
SAMHAIN
From the Underworld of Hades I call the
almighty power -- Hades the Ruler, Hades the
Murderous, Hades the Evil -- Come! Feast!
ART
Hades?!
JAKE
HE's gonna be pissed!
WINSTON
I think we should hide.
They duck behind the spire and watch from around it.
SPENGLER
He didn't properly prepare Oscar before he
sacrificed him. If that is any indication,
hopefully Samhain will only be able to bring
through the less powerful entities.
SAMHAIN
From the darkest corners of the universe, I
call the almighty power -- Evil the First, Evil
the Center, Evil the End.
Samhain is now standing directly in front of the window.
SAMHAIN (cont'd)
(insane cry)
COME!! FEAST!!
The stained glass explodes violently. Colored shrapnel flies
everywhere.
DOWN ON THE STREET, the crowd watches the massive explosion in total
awe. Traffic is blocked up for blocks but nobody cares.
When the dust settles, Samhain is standing right where he was before
and during the explosion, completely untouched.
For a moment all is still again, and then spirits make a break for it
through the blind eye of the windowpane. They look about to escape
when the ECTO-2 rises over the edge of the roof.
INT. ECTO-2
Garrett is flying it. Eduardo points.
EDUARDO
Holy crap! Roland, roll down the trap!
Garrett fires quickly and the proton cannon goes off, ensnaring all but
one of the ghosts in a ball of positive energy. The leftover ghost
hides.
Roland rolls down the trap and opens it. The party's over for Samhain.
The rest of the Ghostbusters come out from behind the spires as Samhain
ROARS with rage and wheels on them. He presses his hands together and
they begin to glow red.
Venkman pulls his gun and blasts Samhain's hands. They fly apart. Red
lightning crackles out of his open hands and goes into the sky.
Thunder rolls and a heavy rain begins to pour.
Lightning from his other hand flies out of control and hits the Ecto-
2's engine.
INT. ECTO-2
They start to go down.
Kylie moves to the door and opens it, letting in the pouring rain.
KYLIE
Join me as soon as you can, guys.
She jumps out.
Kylie hits the gravel surface of the roof and rolls, grunting, behind
one of the spires.
Samhain looks in that direction and, in his distraction, Venkman comes
up to Samhain and points his gun point-blank at the spirit's pumpkin
head.
VENKMAN
You killed my son. I have nothing more to
lose, Sammy. This ends right here.
(to Stantz and Winston)
Stick him to the floor.
They blast Samhain heavily with mood slime. Samhain squirms. The red
light in his eyes is slowly replaced by blue.
SAMHAIN
Oh, what have I done?
VENKMAN
Oh, don't give me this amnesia shit --
SAMHAIN
I don't mean that! I can't believe I have done
this. Oh, no, oh no!
VENKMAN
You've got to be kidding me.
STANTZ
(remembers)
Venkman, remember what Jack said about Samhain?
VENKMAN
Yeah. He wouldn't let him die.
STANTZ
He ALSO said that Samhain began as a good guy!
Remember? Peer pressure?
VENKMAN
(remembers, still cynical)
All right. There'd better be a point to this.
SAMHAIN
I'm the Spirit of Death, Dr. Venkman --
VENKMAN
(interrupting)
I'm pretty sure I know that.
SAMHAIN
(continuing)
-- and that means I can not only CAUSE death
but take it back, as well.
VENKMAN
You'd better not be screwing with me.
SAMHAIN
I assure you I am not. I can bring back your
son.
Venkman pauses a moment, then concedes.
SAMHAIN (cont'd)
All right. The first thing that must be done
is that the sword must be removed from the
boy's heart.
VENKMAN
Oscar.
SAMHAIN
What?
VENKMAN
His name is Oscar.
SAMHAIN
Fine. Remove the sword from OSCAR's heart.
Venkman goes over to the altar. He looks at Oscar sadly, then pulls on
the sword. It won't budge.
Venkman, feeling HORRIBLE at what he is doing, stands on the altar,
braces his foot against the small of Oscar's back, and TUGS. Still
nothing.
VENKMAN
Ray? Winston? Egon? A little help?
Stantz puts Junior down.
The other three come over and try to help. Still nothing. Even when
Jake and Art try to help, nothing. It's like the sword in the stone --
and that's pretty much what it is.
JAKE
Damn! There's no WAY that sword's coming out.
It's stuck in the damn STONE!
Venkman, dejected, steps off the altar. Samhain swings over.
SAMHAIN
Oh, here.
Sahmain grasps the handle of the sword one-handed, and without even
exerting himself, wrenches the sword from the altar and Oscar.
The metal sword squeals as it comes out, grinding against either stone,
bone, or even a combination of both. The deadly double-edge is coated
in blood.
STANTZ
Reminds me of those cough syrup commercials.
Venkman nods.
Samhain picks Oscar up easily, sits down on the altar like it's a
bloody stone bench, and lays Oscar across his lap. He supports Oscar
from below with one hand over the hole in Oscar's back. He picks a few
stained glass shards out of Oscar's skin. Venkman turns away.
Samhain, chanting softly, places his hand over the exit hole in Oscar's
chest, chanting.
The roof is silent but for the chanting for a long time, then a new
sound pervades the air, a wet throbbing sound.
JAKE
What the hell is that?
Venkman looks back. Art points at Oscar.
ART
I think it's his heart. It's...reforming.
Stantz approaches Oscar, looks closely. Between Samhain's hands,
Oscar's chest rises and falls, rises and falls.
STANTZ
Whoa...
Samhain's hands begin to crackle blue lightning again. Venkman steps
forward --
VENKMAN
Hey, just what the hell do you --
-- and Oscar HITCHES in a HUGE, gasping breath, cutting Venkman off
sharply.
Oscar's eyes fly open and he breathes in again. Samhain sits him up as
he begins hacking and coughing dirty blood.
SAMHAIN
He has a few stone chips in his lungs. Let him
cough them up.
Junior runs over after a moment and hugs Oscar hard. Oscar nearly
pukes up his intestines at the squeeze, but manages to keep in
everything but a thin film of blood that lands on Junior's shoulder.
OSCAR
(weak)
Hey, Junior...
Venkman runs up and holds Oscar by the shoulders.
VENKMAN
Oscar? Are you all right?
Oscar coughs some more, nodding. He looks down at his T-shirt.
The pouring rain has stuck it to his body, but in the center of his
chest is a hole with blood permanently ground into the edges, not
washing away. Inside the hole is the smooth, unbroken skin of his
chest, unmarred by even the slightest scar. Oscar twists around, and
sure enough there is one in the back, at about the level of his
shoulderblades. Again, no mark whatsoever on Oscar's body.
OSCAR
(laughs and winces)
Boy, if you think mom was pissed when she found
out I got ARRESTED...
VENKMAN
Oh, shoot. I probably won't tell her you died.
May not be a good idea.
OSCAR
When'll she find out?
VENKMAN
Probably when they make the next movie.
Samhain stands. He nearly falls down again.
SAMHAIN
The life transfer has left me extremely weak.
But I'm afraid this may not last. I need to
get out of your dimension before...I don't
know. Before something BAD happens.
STANTZ
Don't worry. We know all about BAD.
SAMHAIN
I have to get out of your dimension FAST. But
it's been so long I have no idea how.
SPENGLER
The crossover module!
SAMHAIN
What?
SPENGLER
I think you could manually insert yourself into
the crossover module, and we could easily send
you back into the spirit realm.
SAMHAIN
(delighted)
Perfect!
He turns to go down the stairs, but it suddenly comes to their attention that they are STILL ON THE CATHEDRAL. No module.
SAMHAIN (cont'd)
Well, we could always --
He is interrupted by the screeching demon that escaped the grasp of the
helicopter trap as it falls on Jake. Jake shouts and fires wildly.
At the same time, the LAST DROP of mood slime is washed off Samhain's
robe.
SAMHAIN'S EYES slowly fade back into red -- and his face contorts in
rage.
He puts his hands together. They begin to glow red. Weakly, but still
brightly.
He opens his hands and the Ghostbusters fall to the floor. Around
them, reality begins to warp as the cathedral attempts to become the
Firehouse once more.
WINSTON
What's going on?
SPENGLER
The rain must have washed the good slime off of
Samhain!
SAMHAIN
(to the demon)
Finish them. They're yours.
The demon drools at the thought. He bends over, claws extended -- and
a proton stream slams into him, knocking him forward even as it wraps
itself around it.
Kylie Griffin laughs in triumph.
Samhain roars in rage and tries to attack her manually, running for
her. In that motion his weak grasp on reality breaks. The
Ghostbusters stand and point their guns. The Firehouse becomes the
Firehouse once more.
INT. DORMS
Louis runs for the door, shoulder first, and keeps running as the door
disappears, SLAMMING into the wall at the other end of the dorm.
Louis, eyes closed, backs up to try again.
LILY
Louis!
He looks and goes to her, holding his shoulder.
LOUIS
Are you all right?
LILY
I'm fine.
(beat)
Now what do we do?
LOUIS
Let's see what's going on upstairs.
EXT. ROOF
Venkman whistles. Samhain looks.
VENKMAN
Game over for evil Sammy.
They blast him with their proton streams. He is engulfed in positive
ions.
Kylie throws in her trap and ensnares the demon.
Stantz rolls out the trap and poises his foot over the pedal.
SAMHAIN
I should never have taken it back, Oscar. And
I'll be back to finish what I started!
STANTZ
One...two...
Samhain puts his hands to his head.
SAMHAIN
I swear to you!
STANTZ
THREE!!
As Stantz stomps the pedal and sucks him into the trap, Samhain lifts
his head OFF HIS SHOULDERS and throws it at Oscar, a la Sleepy Hollow.
SAMHAIN'S HEAD
I SWEAR TO YOU!!
Oscar cringes away from this ghastly sight -- and then the head is
wrapped in low-power proton streams and sucked into a trap, courteousy
of the other Extreme Ghostbusters. Garrett is riding Eduardo, piggy-
back.
ROLAND
Oh, man, did we miss the party?
KYLIE
What took you guys?
Eduardo points behind him.
EDUARDO
I had to carry this guy up.
GARRETT
Hey, you should be thanking me! I used the
trap!
EDUARDO
And we're so proud of you.
Louis and Lily come up the stairs.
LOUIS
What's going on?
A hissing sound has been building this entire time. Janine comes up
the stairs, and the first thing she says is:
JANINE
Hey, what is that?
STANTZ
Sounds like...
He walks to the edge of the roof. The others follow him. The hissing
builds, until he looks over the edge and the hissing becomes an entire
city block of cheering citizens. They begin chanting:
CROWD
GHOSTCRASHERS!! GHOSTCRASHERS!!
Winston holds up his hands for silence. He gets it.
WINSTON
Hey, I'm sick and tired of this!
(beat)
We are NOT the Ghostcrashers!
(another beat)
We're the GHOSTBUSTERS!
The crowd roars their approval and starts a new spontaneous chant:
CROWD
GHOSTBUSTERS!! GHOSTBUSTERS!!
VENKMAN
Thank you, Winston.
(to the others)
It's good to be loved.
SPENGLER
(kissing Janine)
Tell me about it.
Louis and Lily also kiss, and they pull away as it it CUTS TO
INT. CHAPEL -- LOUIS AND LILY'S WEDDING
a month later. Lily has been made up, and she looks very beautiful.
Louis, dressed up, also looks very handsome. Stantz is Louis' best
man.
Louis turns to his ring bearer, Slimer, and takes the ring off the
pillow. He puts it on Lily's finger.
PRIEST
You may now kiss the bride.
Louis and Lily lean forward to kiss, eyes closed...and Slimer, who has
eaten the ring pillow, BELCHES loudly.
Lily jumps with a start, pulling back, but Louis grabs her and brings
their lips together. The gathered crowd cheers.
INT. CHURCH -- RECEPTION HALL
Everyone is dancing with a partner. Louis and Lily, Spengler and
Janine, Venkman and Doreen, Oscar and a pretty girl about his age,
Junior and Slimer. Jake and Art are dancing in their own style --
dance classes together, you know -- and Norm is dancing uncomfortably
with a woman who looks like she just might be a man. Stantz is also
dancing with a very pretty woman.
Stantz and the woman (JAMIE) kiss.
EXT. CHURCH
The party is over. Everyone is leaving in high spirits.
Stantz has his hand around Jamie's waist, and Venkman is shaking her
hand.
VENKMAN
It was a pleasure to meet you, Jamie.
JAMIE
The pleasure is all mine, Dr. Venkman.
STANTZ
See you at the ceremony, Pete.
VENKMAN
All right. See you.
Venkman turns away and sees a figure underneath a tree, beckoning to
him. Curious, he walks to it.
The figure under the tree is Jack. Venkman is surprised.
VENKMAN (cont'd)
Jack! What are you doing here?
JACK
I can't go anywhere until my unfinished
business is finished. You're a Ghostbuster.
You know how it works.
VENKMAN
What's your unfinished business?
JACK
You are. I didn't have a chance to thank you
for what you did for me.
VENKMAN
What, got you killed? No problem. Anytime.
JACK
You gave me peace, and I had to thank you.
(points to a nearby gravestone)
And this. Let's talk about this.
Venkman looks. It is Jack's tombstone, but it reads JACK VENKMAN.
VENKMAN
You helped save my son. I figured it made you
part of the family. Besides, it was a toss-up
between this and "Jack O'Lantern." You didn't
seem like the Irish type.
JACK
What about this other one?
Venkman looks to the tombstone next to Jack's. It reads JACK VENKMAN,
JR.
VENKMAN
Well, I figured if he was the reason you got
stuck on earth, you guys should be together.
It's an empty grave, but --
Jack puts his hand on Venkman's shoulder.
JACK
(interrupting)
No, it isn't.
VENKMAN
What do you mean?
A young ghost, that of JACK JR., comes running up. Jack puts his arm
around his child's shoulders.
JACK
My son's body may not be inside it, but his
spirit and the spirit within you that inspired
you to do this is contained within.
VENKMAN
It better not be contained, or else we went
through this for nothing.
Jack Jr. reaches out his hand. Venkman takes it as best he can, shakes
it.
JACK JR.
Thank you for helping me find my daddy, Dr.
Venkman.
An emotional moment. Venkman is actually holding back tears as he
looks into the bright, lively eyes of this dead child.
VENKMAN
(choked)
You...you're welcome. Anytime.
(beat, to Jack)
I guess I know why you gave up so much for him.
JACK
I know for a fact that you would have done the
same. You almost DID.
Tears begin to squeeze out of Venkman's eyes.
VENKMAN
You know, being who I am, I will be required to
bust you if you stay much longer.
JACK
No need. We're finished. Goodbye.
Jack and his son fade out of existance. Jack Jr. waves good-bye.
Venkman closes his eyes.
Junior comes running up to him.
JUNIOR
Whatcha doin'?
VENKMAN
Just paying my respects one more time.
Junior bows his head, imitative of his father. Venkman puts his arm
around Junior's shoulder. They stand in silence in the same posture as
Jack and son.
EXT. CITY HALL
The GOVERNOR, who happens to be the same man who came out of the sleazy
motel with a young woman in tow, is bestowing the Key to the City to
the Ghostbusters.
FADE TO:
EXT. SUBURBAN STREET -- ORLANDO -- NIGHT
TITLE CARD: NINE MONTHS LATER
It's Halloween once more. This is the approximate scene that began it
all. Children of all ages scamper around the street. The sound of
doors creaking open and shut and "trick-or-treat" are everywhere.
Two kids draw the eye especially. One of them, Oscar this time, is
dressed as a Ghostbuster (Ghostcrasher) -- but he isn't the only one.
Ghostcrashers are inexplicably everywhere. The only thing that sets
Oscar apart is that he is wearing an EXTREMELY realistic proton pack.
With him is Junior, dressed as a ghost.
They bump into a boy who is amusingly dressed like Oscar -- he has
attached two parts of a plastic sword to the front and back of his
shirt. He bumps into Junior and shouts.
BOY
Whoa! A g-ghost!
(takes a closer look)
Oh. Jeez, who would've thought that trick
really worked. You're dressed like Oscar from
Ghostcrashers, right?
JUNIOR
Sort of. I guess you are, too, huh?
BOY
Yeah.
(sticks out his hand)
I'm Nick. Nick Jones.
JUNIOR
(shakes Nick's hand)
Junior.
Nick shakes Oscar's hand.
OSCAR
Oscar.
BOY (NICK)
Wow. Lucky you!
JUNIOR
He didn't used to think so...
OSCAR
Where'd you get that costume?
NICK
Oh, they're selling them all over the place!
(sees Oscar's proton pack)
Where'd YOU get that costume? That's awesome!
OSCAR
Norm built it for me.
NICK
Norm...?
OSCAR
Gagnon.
NICK
That name sounds familiar...
OSCAR
He built the props for "Ghostcrashers IV" and
was also the basis for the character John
Minugh in the movie.
NICK
No...way. THAT Norm?!
Oscar nods.
NICK (cont'd)
How do you know him?
OSCAR
He saved our lives.
(beat)
Or Junior's.
Nick gets wide-eyed.
NICK
Oh, my God. Are you the REAL Oscar and Junior?
OSCAR
In the flesh.
JUNIOR
(looks at his costume)
Or sheet.
NICK
Oscar. Like --
(indicates sword)
-- THIS Oscar?
Oscar zips down the front of his flight suit. He is wearing a pair of
black jeans, and he is also wearing the shirt from the confrontation
with Samhain.
Nick, amazed, leans forward, feels the skin of Oscar's chest through
the hole, assuring himself that the hole is really there.
NICK (cont'd)
Wow... What happened when you got home?
OSCAR
Well, my mom found out when the movie came out.
She stopped talking to my dad for a while.
They leave me in charge of Junior a lot now,
and they tell him that I know best, seeing as
how "I gave my life for him."
NICK
You REALLY DIED?
Oscar nods.
NICK (cont'd)
(his mind is blown)
Whoa...
A black-gloved hand falls heavily on Junior's shoulder.
NICK (cont'd)
Oh, no...
The hand turns him around. Junior and Oscar's eyes go wide as SAMHAIN
leans forward, eyes glowing red within his hood.
SAMHAIN
(rasping)
I love Halloween, don't you?
Oscar gapes like a fish.
NICK (cont'd)
Dad, no!
"Samhain" straightens up and removes his hood. It's just a normal guy
with a couple of glowing red blobs stuck to his forehead.
NICK'S DAD
Oh, hey, Nick! How's the trick-or-treating
going?
NICK
Fine. Don't do that.
NICK'S DAD
What?
NICK
(to Oscar)
He's going around scaring everyone dressed like
Oscar.
NICK'S DAD
(looks)
Hey, guys, great costumes! Where'd you get
them?
INT. VENKMAN'S APARTMENT -- NIGHT
ON THE T.V. is the tabloid TV show, HARD COPY.
ANNOUNCER
According to local officials, the hooligans
known as the "Electrical Cow Flippers" are
still at large.
The picture cuts to a preview of what's coming up after the ads.
ANNOUNCER #2 (V.O.)
Coming up next:
A picture of the HOBO appears onscreen.
ANNOUNCER #2 (cont'd)
This man claims he had a close encounter almost
a year ago that nearly cost him his life.
Venkman watches, in thrall.
VENKMAN
Wow. I have to see this.
The phone rings shrilly.
VENKMAN (cont'd)
Damn it.
He picks up the phone. Spengler is on the other end.
SPENGLER
Venkman? Turn your television to HBO.
Venkman clicks it on. The movie is: GHOSTCRASHERS IV.
VENKMAN
Well I'll be a monkey's uncle.
SPENGLER
Not if the government can stop me.
VENKMAN
That's just wrong. But it reminds me, when is
the baby due?
SPENGLER
Any day now. I'll be sure to let you know.
He swivels around to face his desk. On his desk is a supermarket
tabloid with the pictures taken by the Japanese tourist on the front
page. The headline: INCREDIBLE CANDID GHOSTBUSTERS PHOTOS!
VENKMAN
So, are you coming down for Ray's wedding?
SPENGLER
Of course we are. Wouldn't miss it. Just
don't start a food fight at the reception like
you did at mine.
VENKMAN
I maintain that it was Ray.
SPENGLER
Fine. Tie him down if you have to.
VENKMAN
(grinning)
I can? You promise? At his own wedding?
SPENGLER
Yes.
VENKMAN
What about Janine's baby shower? Can I tie him
up then, too?
SPENGLER
We'll see.
(beat)
There's something interesting I forgot to tell
you.
VENKMAN
What?
SPENGLER
Well, you remember the big hole that one of the
cathedral's columns left in the street?
VENKMAN
Yeah...
SPENGLER
Well, when they put the final layer of blacktop
on it -- it's the strangest thing -- no matter
what they did to smooth it out, there's a shape
in the street.
VENKMAN
What kind of shape?
SPENGLER
I couldn't believe it. I couldn't believe it,
can you comprehend that?
VENKMAN
What is it?
EXT. STREET -- NEW YORK -- SAME TIME
The trick-or-treaters are going full-swing once again when the
Ectomobile and ECTO-3 come barreling down the street. The children
jump out of the way like Vietnam veterans.
The car, turning into the driveway and Firehouse at top speed, rocks
violently on its shocks on the way in. The motorcycle encounters a
similar bumpy ride.
The camera PULLS UP, swinging down, until the entire width of the
street is visible. There, permanently embedded in relief in the
blacktop, is the Ghostbusters "No-Ghost" logo.
The THEME MUSIC kicks in as trick-or-treaters begin flowing back onto
the street.
Slimer flies across the street, frightening the children, and then up,
mouth open to swallow the POV...then he stops, winks, smiles...and
finishes the job.
FADE OUT.
THE END