ghostbusters
perspie wbo can you call? 000507
...
MollyGoLightly That part in the second movie when all the kids start to chant "He-Man, He-man!" makes me genuinely sad... 000507
...
birdmad i have no idea what a "Giant, moving Torg" is or looks like, but the last time i did acid, i think i might have seen one. 000507
...
jennifer "next time anyone asks you if you are a god, you say YES" 000507
...
jennifer venkman
stantz
spengler
zeddemore

all information
1985
By Don Shay
Taken from "Making Ghostbusters"
000508
...
blather Fade in
EXT. NEW YORK PUBLIC LIBRARY -- DAY
The sun shines brightly on the classic facade of the main
library at Fifth Avenue and 42nd Street. In the adjacent park
area, pretty hustlers and drug peddlers go about their
business.


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

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

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

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

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

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

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


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

LIBRARIAN (puzzled)
Hello? Is anybody there?

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

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

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

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

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

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

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

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

INT. PARANORMAL STUDIES LAB -- SAME TIME - DAY
DR. PETER VENKMAN is administering an ESP test to two
student volunteers, a boy and a girl, who sit across the table
from him separated from each other by a screen.

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


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

VENKMAN
All right. What is it?

SOPHOMORE (concentrates)
A square?

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

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

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

He turns over a card with a circle on it.

COED (thinks hard)
Is it a star?

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

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

VENKMAN (to the Sophomore)
Now think.

He turns up the diamond card.

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

SOPHOMORE
Circle?

VENKMAN
Close -- but definitely wrong.

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

VENKMAN (CONT'D)
Ready?

(she nods and he turns up the triangle card)

What is it?

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

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

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

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

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

VENKMAN (CONT'D)
Nervous?

SOPHOMORE
Yes. I don't like this.

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

SOPHOMORE (takes a deep breath)
Two wavy lines?

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

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

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

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

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

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

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

VENKMAN
Then my theory was correct.

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

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

Venkman turns back to the Coed and shrugs.

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

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

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

Suddenly the door opens and RAY STANTZ enters.

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

STANTZ
Drop everything, Venkman. We got one.

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

VENKMAN
He frowns at the intrusion and turns to the Coed.

VENKMAN
Excuse me for a minute.

(he crosses to Stantz)

Ray, I'm right in the middle of something here. Can you come
back in about an hour?

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

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

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

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

VENKMAN (decides)
Okay. Just give me a second here.

(he crosses back to the Coed)

I have to leave now but if you've got some time I'd like you to
come back this evening and do some more work with me.

COED
Eight o'clock?

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

He waves good-bye and exits with Stantz.

EXT. PUBLIC LIBRARY -- DAY
Venkman and Stantz arrive in a taxi and trot up the front
steps. Stantz is loaded down with equipment.

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

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

STANTZ
What do you mean by "seen?"

VENKMAN
Looked at with your eyes.

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

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

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

VENKMAN
Egon?

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

VENKMAN (CONT'D)
Egon!

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

SPENGLER
Oh! You're here.

VENKMAN
What have you got, Egon?

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

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

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

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

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

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

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

INT. AN OFFICE -- A LITTLE LATER
Venkman is questioning the plump Librarian who saw the
spirit, while a Paramedic continues treating her for shock.

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

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

Venkman glowers at him, still skeptical.

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

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

VENKMAN (looks at Stantz)
I'll call that a big "yes."

(to the girl)

Do you yourself habitually use drugs, stimulants or alcohol?

LIBRARIAN
No.

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

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

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

THE DOOR
Spengler sticks his head in.

SPENGLER (excited)
It's moving!

Stantz and Venkman rush out.

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

HIGH POV
Looking down on them from the spectral point of view.

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

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

VENKMAN
Nice.

(out loud)

Hello...

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


SPENGLER
It's here.

They stop at the corner.

INT. THE DARK AISLE -- DAY
The team peeks around the corner and looks toward camera.

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

VENKMAN, STANTZ AND SPENGLER
They stand there amazed.

STANTZ (whispers)
What is it?

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

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

SPENGLER
It's a woman.

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

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

VENKMAN (whispers)
What do we do now?

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

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

STANTZ
Anything! Just make contact.

VENKMAN (takes a deep breath, then addresses the
specter)
Hey, Lady?

(the apparition turns and seems to look right past them)

Lady! Can you talk? Who are you?

(no answer) (to Stantz)

This is not working. Think of something else.

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

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

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

VENKMAN & SPENGLER
Ready.

STANTZ
Okay...

(shouts)

GET HER!!!

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

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

THE GHOST (roars)
QUIET!

VENKMAN, STANTZ AND SPENGLER
They scream and fall backwards.

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

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

VENKMAN
We'll get back to you.
000509
...
blather EXT. COLUMBIA UNIVERSITY -- DAY.
Venkman, Stantz and Spengler head for their lab in Weaver
Hall. Spengler makes rapid calculations as Venkman and
Stantz argue.

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

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

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

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

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

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

Venkman catches up with them again.

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

SPENGLER
I'm always serious.

VENKMAN (his mind reeling at the possibilities)
Wow!

EXT. WEAVER HALL -- A LITTLE LATER
They approach the entrance to the psychology department
talking excitedly. Venkman stops at the door and turns to
Spengler.

VENKMAN
Egon, I take back everything I ever said about you. Take this.

(he hands him a candy bar)

You earned it.

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

INT. WEAVER HALL -- DAY
They walk through the hall, then down the stairs to the
basement.

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

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

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

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

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

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

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

VENKMAN
This is preposterous! I demand an explanation.

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

VENKMAN
But why? The students love us!

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

VENKMAN
I see.

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

VENKMAN (righteous)
Ray, I apologize. (looking at Dean Yaeger)

I guess my confidence in the Regents was misplaced. They did
this to Galileo, too.

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

EXT. COLUMBIA UNIVERSITY -- DAY -- A LITTLE LATER
Stantz and Venkman are sitting on a bench both looking
desolate.

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

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

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

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

STANTZ
For what purpose?


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

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

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

EXT. WIDE ANGLE VIEW OF MANHATTAN -- DAY

EXT. AVENUE OF THE AMERICAS -- DAY
Venkman, Stantz and Spengler emerge from the Irving Trust
headquarters, all neatly dressed in suits.

VENKMAN
You'll never regret this, Ray.

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

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

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

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

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

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

VENKMAN
Maybe. But no one ever advertised before.

Stantz and Spengler exchange doubtful looks.

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

INT. GARAGE BAY -- DAY
Venkman is looking around.

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

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

SPENGLER
It's 9,642.55 square feet.

The Realtor frowns at Spengler.

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

STANTZ
He is looking at the shiny brass fire pole.

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

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

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

STANTZ
Ghostbusters.

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

EXT. UPPER WEST SIDE -- DAY
A high panoramic view of the city shows heavy traffic moving
up and down Central Park West on a beautiful sunny day.

EXT. 78th AND CENTRAL PARK WEST -- DAY
An unusual pre-war Gothic high-rise towers over the
neighborhood buildings. The top of the building includes an
elaborate decorative temple, complete with altar, stairs and
Babylonian columns. The late afternoon sun gives the
structure an oddly menacing quality. The camera PANS
slowly down to the street as DANA BARRETT, an attractive
woman in her late twenties, comes walking up to the building
carrying a cello case and a shopping bag full of groceries. Guys
on the street check her out as she enters, but she coolly
ignores them.

INT. HIGH-RISE APARTMENT BUILDING -- LOBBY -- DAY
Dana crosses the lobby and gets into the elevator.

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

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

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


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

DANA
Are you sick, Louis? Louis has broken the ice. He confidently
exits his apartment and approaches Dana. His door slams
behind him as he leaves.

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

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

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

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

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

DANA
I thought I turned it off.

(she listens and hears loud sound coming from inside)

I guess I forgot.

Dana begins unlocking her door.

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

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

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

DANA' S APARTMENT -- DAY
A roomy, two-bedroom flat with a great view of the park.

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

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

TV SCREEN

INT. CHILDREN'S BEDROOM -- NIGHT
Two children, a BOY and a GIRL, are asleep in bed when
suddenly they are awakened by supernatural moaning and
groaning.

THE CHILDREN
They scream and jump out of bed.

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

FATHER
What is it? What's wrong?

THE KIDS
Look!

They point at the closet.

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

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

The mother and the kids look at him with disappointment.

MOTHER
Gee, there must be a better way.

Stantz steps into the foreground.

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

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

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

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

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

INT. CHILDREN'S BEDROOM
Spengler is taking PKE readings
along the baseboards. Stantz pops up
from under the bed.

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

FATHER, MOTHER AND VENKMAN
They all look as pleased as punch as
Venkman hands the Father a bill.

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

MOTHER
How can we ever thank you?

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

... We're Ghostbusters. (he winks)

EXT. FRONT DOOR
Mother, Father and Kids wave goodbye to the Ghostbusters.

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

VENKMAN, STANTZ AND SPENGLER
They smile at the camera as a phone number is supered on the
screen.

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

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

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

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

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

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

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

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

DANA
She is paralyzed.

THE TEMPLE DOORS
They continue to open. We feel a terrible presence within.


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

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

THE EGGS

They are back in the carton, unbroken.

DANA

Fighting her fear, she turns back to the fridge and very slowly
reaches for the handle. Then summoning all her courage, she
yanks open the door. Ketchup, mustard, bottles of vitamins
and other food items fall out of the rack on the inside of the
refrigerator door. Dana sighs with relief as she sees nothing
but the cool white porcelain interior of the fridge. She closes
the door and stands there for a moment still shaken by the
vision. Then she shakes her head and leaves the kitchen.
000509
...
blather EXT. FIREHALL -- DAY
The garage bay door is open. Two painters on scaffolding are
completing a paint job on the front of the structure in flat
black paint. A carpenter finishes hanging a sign over the door.
It reads: GHOSTBUSTERS.

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

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

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

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

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

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

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

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

SPENGLER (looks up)
Print is dead.

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

SPENGLER
Is that a game?

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

SPENGLER
I collect spores, molds and fungus.

JANINE
Oh, that's very - unusual.

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

JANINE
Remind me not to go to lunch with you.

THE DOOR
Dana Barrett enters ance looks around hesitantly,

VENKMAN
He springs into action.

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

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

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

DANA
Barrett. Dana Barrett. They walk toward the inner office.

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


JANINE
What calls? Venkman frowns and exits with Dana.

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

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

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

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

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

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

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

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

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

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

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

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

Dana starts laughing. They all regard her curiously.

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

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

DANA
Is that good?

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

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

DANA
Is that your professional opinion?

VENKMAN
It's in the stars.

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

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

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

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

INT. DANA'S APARTMENT -- LATER THAT AFTERNOON
The door opens and Dana enters the darkened flat with
Venkman. She switches on the light and leads him to the
living room.

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

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

Venkman sees the cello leaning up against the wall.

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

DANA
Really? Do you have a favorite piece?

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

DANA
That's a violin concerto.

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

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

DANA
You really don't act like a scientist.

VENKMAN
No? What do I act like?

DANA
Like a used car salesman.

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

He points to a door.

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

She takes off her jacket.

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

DANA
What?

VENKMAN
Nothing. Is that the kitchen?

He points to another door.

DANA (nods)
Uh-huh.

VENKMAN
Well, let's check it out.

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

He enters the kitchen.

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

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

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


VENKMAN
I know. It happened by itself.

He scans the room with his monitoring device.

VENKMAN (CONT'D)
Nothing.

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

VENKMAN (CONT'D)
Damn!

DANA (off-camera)
Are you all right?

VENKMAN
Yeah, yeah.

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

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

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

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

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

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

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

DANA
All right. What do you want to do?

VENKMAN
I think I should spend the night here.

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

VENKMAN
On a purely scientific basis.

DANA
Out!

VENKMAN
I want to help you.

DANA
I'll scream.

VENKMAN
Don't scream.

DANA (urging him to the door)
Then leave.

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

DANA (opening the door)
All right.

VENKMAN
Okay. Then I'll go.

DANA
Goodbye.

VENKMAN (in the hall)
No kiss?

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

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

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

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

STANTZ
How was your date?

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

SPENGLER
Did you see anything?

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

STANTZ
They will.

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

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

EXT. HOTEL SEDGEWICK -- NIGHT
Two uniformed DOORMEN help people in and out of taxis
and limos under the hotel's elegant awning.

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

INT. ROOM 1210 -- NIGHT
The room is dark but we can hear the
sighs and heavy breathing of a man
and woman making love on the bed.
The camera PANS across the floor
following a trail of dropped clothing
-- a tuxedo jacket and cummerbund,
white satin high heels, a lacy
wedding gown, striped tuxedo
trousers, satin ladies underpants,
stockings and garters.

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

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

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

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

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

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

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

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

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

BRIDE
Roy? Your clock broke.

GROOM
Nice going, honey. It was brand new.

BRIDE
I didn't break your precious clock, Roy! He gets up and heads
for the bathroom.

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

GROOM
To the bathroom, where do you think?

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

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

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

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

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

GROOM (O.S.)
Uuuuuuugh!!

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

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

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

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

GROOM
... right ... It's smelling up the whole suite ... I don't know ... It's
just hanging off the ceiling ... I've never seen anything like
this ... 1210 ... Quick ...
INT. FIREHALL OFFICE -- NIGHT
Janine turns off the light at her desk. She packs up her purse
and puts on her coat. The phone rings. Janine answers it
unenthusiastically.

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

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

INT. KITCHEN - NIGHT
The alarm sounds and everyone jumps up, scattering takeout
cartons.


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

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

INT. GARAGE BAY -- EQUIPMENT RACKS -- NIGHT
Everyone pulls throwers, traps, packs and harnesses off the
wall.

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


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

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

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

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

STANTZ
Has this ever happened before?

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

STANTZ
Did you ever report it to anyone?

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

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

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

VENKMAN
A GUEST accosts him while they wait for an elevator.

GUEST
What are you supposed to be?

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

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

GUEST
That's gotta be some cockroach,

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

The elevator arrives and he gets on with the others.

INT. THE ELEVATOR -- NIGHT
The Ghostbusters look nervous as they ride up the elevator.

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

SPENGLER
I blame myself.

VENKMAN
So do I.

STANTZ
No sense worrying about it now.

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

The elevator stops at the Twelfth Floor.

INT. TWELFTH FLOOR CORRIDOR -- NIGHT
The elevator doors open and Venkman peeks out into the hall.
He steps out cautiously, followed by the others.

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

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

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

VENKMAN (shouts)
Cease fire! The Bellboy peeks out
from behind the cart.

THE GHOSTBUSTERS
They breathe a sigh of relief.

STANTZ (to the Bellboy)
Sorry, Buddy!

SPENGLER
We'd better adjust our streams.

He leads them down the hall to
Room 1210.

INT. ROOM 1210 -- NIGHT
The Ghostbusters enter
trepidatiously and start taking
readings.

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

VENKMAN
Yeah, I can smell it.

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

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

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

They exit the room.

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

WOMAN (noting his unusual attire)
Yes?

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

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

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

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

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

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

INT. ANOTHER CORRIDOR -- SAME TIME
Stantz moves down the hall checking PKE valences.

HIS PKE METER
The needle jumps into the red.

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

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

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


STANTZ (frightened)
Yaaaaaaaaah!

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

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

STANTZ (amazed)
God, it's ugly!

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

STANTZ
He edges closer.

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

THE VAPOR
It crams some leftovers into its mouth and belches loudly.

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

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

He fires his particle thrower at the vapor.

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

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

STANTZ
He's getting away!

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

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

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

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

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

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

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

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

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

STANTZ
Sit tight. I'm on my way.

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

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

VENKMAN
He's scared now.

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


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

VENKMAN
How do you know?

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

Venkman sees the vapor start down the hall toward him.

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

THE VAPOR
It flies down the hall toward Venkman.

INT. STAIRWELL -- SAME TIME
Stantz runs downstairs taking them three at a time as
Venkman is heard screaming over the radio.

VENKMAN (screaming)
Veeaaaaaahh!

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

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

Suddenly Spengler's voice crackles over the communicator.

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

Stantz helps Venkman to his feet and they rush off.

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

STANTZ
Visors down. Full stream.

They flip down their visors and scan the room.

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

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

Stantz drops to one knee and fires at the vapor.

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

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

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

VENKMAN
What?

SPENGLER (emphatic)
Don't cross the beams.

VENKMAN
Why not?

SPENGLER
Trust me. It will be bad.

VENKMAN
What do you mean "bad?"

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

Venkman considers his own safety and decides to take charge.

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

They yield command to him.

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

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

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

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

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

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

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

They start closing the distance between their ion streams.

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

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

VENKMAN
Spengler! A little help! Cut him off.

THE VAPOR
It slips past Stantz and races for the air vent.

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


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

INT. BANQUET ROOM - NIGHT
Stantz has the thing cornered to some extent.

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

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

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

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

STANTZ
It's working!

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

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

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

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

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

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

Spengler stomps the foot pedal again.


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

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

SPENGLER (confirms it)
He's in here.

STANTZ AND VENKMAN
They whoop in triumph -- and considerable relief.

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

Venkman looks askance at him.

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

He looks at Stantz.

STANTZ
He looks at Spengler.

SPENGLER
He shrugs.

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

They exit, leaving Stantz to deal with the trap.

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

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

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

STANTZ
We got it!

He holds up the trap.

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

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

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

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

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

HOTEL MANAGER
No! All right. Anything.
000509
...
blather
INT. THIRTY-FIFTH FLOOR HALLWAY
The stairwell door opens and the Ghostbusters stagger into
the hallway, completely exhausted.

VENKMAN (gasping and spitting)
I'm glad we took the stairs.

INT. DANA'S DOOR
The Ghostbusters arrive. The door frame is charred and
blackened by soot. Venkman rings the doorbell. DING-DONG.

VENKMAN
Dana?

WINSTON
Maybe we should go downstairs and call first?

Venkman knocks on the door and the door simply falls off its
hinges and crashes to the floor. The Ghostbusters gape at the
damage to the apartment.

INT. DANA'S APARTMENT
The exterior building wall is completely gone providing an
unobstructed view of the Hudson and New Jersey. All the
furniture is overturned and the other walls are cracked. A
powerful wind blows through the apartment fluttering the
shredded curtains.

WINSTON (ready to leave)
Well, she's not here. Let's go.

VENKMAN
No! The kitchen!

INT. THE KITCHEN
The team enters and sees that the refrigerator has been blown
away revealing a hole in the wall and the entrance to a stone
staircase behind it.

VENKMAN
He looks at the forbidding portal and turns to Stantz.

VENKMAN (slaps his shoulder)
Go!

Stantz realizes that Venkman expects him to go first. He
leads the charge up the stairs.

EXT. THE ROOF
Dana and Louis stare at the Temple, then begin a miraculous
and horrible transformation into the hideous forms of the
Terror Dogs.

THE TEMPLE
The solid stone walls rumble ominously and start to separate.

THE GHOSTBUSTERS
They come running out onto the roof and gape at the scene.

THE TEMPLE
The walls open completely revealing the secret architecture of
the Temple: A stone staircase leading to a set of monumental
doors, and beyond them a massive pyramid that appears to be
suspended in mid-air with no visible means of support.

LOUIS AND DANA
They complete their transformation into the Terror Dogs,
which now turn and snarl menacingly at the Ghostbusters.

THE GHOSTBUSTERS
They can't believe their eyes.

VENKMAN (aghast)
Shit! I've been out with some real dogs, but this is ridiculous!

The heavy rumbling of moving stone draws their attention
back to the temple.

THE TEMPLE
The Terror Dogs have now taken ritual positions on the
staircase. The heavy stone gates begin to open and a bright
white light starts to emerge. As the light descends the stairs a
human form slowly materializes.

THE FORM
It is a thin, hollow-cheeked, distinguished looking man in his
early sixties. His eyes are burning red pin-holes, He looks
around at the spectacular rooftop view, then acknowledges the
two Terror Dogs and starts stroking them like house pets.

THE GHOSTBUSTERS
They stare at the apparition,

SPENGLER (recognizes him)
It's Shandor - the architect!

WINSTON
I thought he died!

VENKMAN
It doesn't seem to have slowed him down any.

STANTZ
I don't think it's Shandor.

He gets to his feet and speaks sharply to Gozer.

STANTZ (CONT'D)
Gozer the Gozerian?

GOZER
He looks up and seems to notice the
Ghostbusters for the first time.

STANTZ
He 'busts' Gozer.

STANTZ (forceful)
As a duly-constituted representative
of the City of New York, and on
behalf of the County and State of
New York, the United States of
America, the Planet Earth and all its
inhabitants, I hereby order you to
cease and desist any and all
supernatural activity and return at
once to your place of origin or next
parallel dimension.

VENKMAN (to Stantz)
Well, that ought to do it.

GOZER
He stands up to his full height and
regards Stantz curiously.

GOZER
Are you a god?

STANTZ (compulsively honest)
No.

GOZER
Then die! He raises his arms and
blows away the Ghostbusters with
searing bolts of energy.

THE GHOSTBUSTERS
Momentarily stunned, they tumble
all the way down the stairs and
almost fall off the edge of the roof.

WINSTON (to Stantz)
You should've said "yes!" He might
have been willing to negotiate.

Venkman gets to his feet first, really mad now.

VENKMAN (setting his wands)
Okay. That's it! I'm gonna turn this guy into toast. The
Ghostbusters leap into action. One by one they activate their
Proton packs and take up positions for an entrapment.

GOZER
He braces for the onslaught.

VENKMAN
He shoots a particle stream at Gozer.

GOZER
He leaps out of the way with superhuman agility and executes
a perfect double-flip with a half-twisting round-off at the
end.

VENKMAN
He can't believe his eyes.

VENKMAN
Agile bastard, isn't he?

STANTZ
Forget the trapping! Just blast him!

The others adjust their units and they all blaze away at
Gozer.

GOZER
He stands there calmly and absorbs the force of the streams.
There is a brilliant pink flash and Gozer disappears.

THE GHOSTBUSTERS
They stare for a long moment, finding it hard to believe that
they won. Then Winston lets out a triumphant whoop.

SPENGLER
He scans the temple with his PKE meter, not at all convinced
the danger has passed.

STANTZ
He bounds up the stairs.

STANTZ (jubilant)
We neutronized him! The guy's a molecular nonentity.

VENKMAN AND SPENGLER
He wants to believe it but sees the doubt on Spengler's face.

SPENGLER (reading the meter)
Not necessarily. There is a deep seismic rumble and the entire
building begins to vibrate. The Ghostbusters look around
nervously as the entire building starts to sway.

EXT. THE EAVES
Cement carvings and moldings around the edge of the roof
crack and break off.

EXT. THE STREET
The crowd screams and runs as cement debris rains down the
side of the building and crashes on the sidewalk.

THE GHOSTBUSTERS
They look up at the sky waiting for the big blow. An incredibly
loud thunderclap rocks the rooftop.

THE SKY
A bolt of lightning crackles from the swirling dark cloud and
strikes the rooftop.

The Ghostbusters stand there facing their new God like
Moses on Mount Sinai. And then Gozer speaks to them in a
voice that can be heard throughout Metropolitan New York
and parts of New Jersey.

GOZER
SUBCREATURES! GOZER THE
GOZERIAN, GOZER THE
DESTRUCTOR, VOLGUUS
ZILDROHAR, THE TRAVELLER
HAS COME. CHOOSE AND
PERISH.

VENKMAN (shouting to be heard)
Is he talking to us?

WINSTON
What's he talking about? Choose what?

STANTZ (to the heavens)
What do you mean "choose?" We don't understand.

GOZER
CHOOSE!!

SPENGLER
I think he's saying that since we're about to be sacrificed
anyway, we get to choose the form we want him to take.

STANTZ
You mean if I stand here and concentrate on the image of
Roberto Clemente, Gozer will appear as Roberto Clemente and
wipe us out?

SPENGLER
That appears to be the case.

VENKMAN (quickly)
Don't think of anything yet. Clear your minds. We only get one
crack at this.

GOZER
The choice is made. The Traveller has come.

VENKMAN (in a panic)
We didn't choose anything! (to the others) I didn't think of an
image, did you?

SPENGLER
No.

They look at Winston.

WINSTON
My mind's a total void!

They all look at Stantz.

STANTZ (guilty)
I couldn't help it! It just popped in there!

VENKMAN (desperately)
What? What popped in there?

STANTZ (pointing)
Look!

They all turn and look to the south.

GHOSTBUSTERS POV
Looking south past Columbus Circle, they see part of
something big and white moving between the buildings
accompanied by thunderous footsteps of almost seismic
proportions.

VENKMAN
He doesn't know what it is yet, but he knows it's coming.

VENKMAN (desperately)
What is it? Ray, what did you think of?

BROADWAY AND 55TH
The massive white shape passes behind some buildings,
offering a glimpse of what appears to be a fat, white arm.

STANTZ
He's about to go into shock.

STANTZ (babbling)
It can't be! It can't be!

COLUMBUS CIRCLE
The thundering footsteps continue to plod as the thing starts
to emerge from behind the buildings. Now we can see part of a
blue garment covering its enormous chest.

STANTZ
He recognizes the monster.

STANTZ
It's ... It's ... It's the STAY-PUFT MARSHMALLOW MAN.

Winston, Venkman and Spengler gape.

THEIR POV
They look across the roof tops and see a large, square, white,
bobbing, laughing head atop a massive body of similar puffed
white squares. The being is dressed in a tiny sailor's hat, red
bosun's whistle and lanyard and a little blue vest with a
button undone in the middle revealing a little white belly. It is
the cute, quintessential American brand symbol, looming as
large as Godzilla.

STANTZ (V.O.) (desperately apologizing)
I tried to think of the most harmless thing ... something that
could never destroy us ... something I loved from my
childhood.

THE GHOSTBUSTERS
They watch the Marshmallow Man plodding toward them.

VENKMAN
AND YOU CAME UP WITH THAT?

STANTZ
The Stay-Puft Marshmallow Man! He was on all the
packages we used to buy when I was a kid. We used to roast
Stay-Puft marshmallows at Camp Waconda!

VENKMAN
Great! The marshmallows are about to get their revenge.

THE STAY-PUFT MAN
He plods relentlessly uptown toward
the Ghostbusters' rooftop vantage
point. The ground rumbles as his big,
soft feet come down on the
pavement.

THE STREET
People are fleeing in panic as the
marshmallow feet pad along kicking
over lampposts and mail boxes.

A CAR
The driver jumps out just before an
enormous white marshmallow foot
comes down and flattens his
automobile.

THE GHOSTBUSTERS
They stand there helplessly
watching the laughing bobbing head
of the Stay-Puft Man as he comes toward them.

VENKMAN
What now?

SPENGLER (adjusting his thrower)
Full-stream with strogon pulse.

Venkman looks at Stantz. Stantz shrugs.

VENKMAN (decides)
I guess that's all we've got.

They step to the edge of the roof, moving like warriors now
ready to face the consequences.

EXT. THE STREET
Peck comes running up to the front of the apartment building.
People are fleeing the oncoming monster. Peck grabs a COP
who is just about to flee himself.

PECK (in a rage)
Are the Ghostbusters up there?

COP (desperate to get away)
Yeah!

PECK
I want you to go up on the roof and arrest them. This time
they've gone too far.

The Cop looks at Peck like he's insane, then sees the
Stay-Puft Man looming up at the end of the block.

COP (knocking Peck's hands away)
You arrest them, numb nuts! I'm getting out of here.

He runs off. Peck turns to face the monster.

THE STAY PUFT MAN
The ground shakes with every step as he reaches the building.
Then, using the church next door as a stepping stone, he
begins climbing the wall.

THE GHOSTBUSTERS
They look over the edge of the roof as
the Marshmallow Man climbs higher
and higher.

VENKMAN (shouts)
Hit him!

They each fire point blank at the
Stay-Puft Man.

THE STAY-PUFT MAN
He bellows with pain and rage as the
beams strike him right in the chest
and set his skin on fire. He begins to
burn with a blue flame that spreads
quickly across his torso and down his
arms. The Stay-Puft Man bellows
even louder, flailing its huge arms in
response to the searing flames that
are starting to engulf him.

THE GHOSTBUSTERS
They stare at the horrible
conflagration.

WINSTON
Good. Now we made him mad.

THE STAY-PUFT MAN
Carbonous, flaming hunks of melting
marshmallow are flying from his
arms as he waves them in wild rage.

THE STREET
Peck stands there paralyzed with
fear. A mass of flaming
marshmallow falls and flattens a
news stand nearby. Then a huge glob
of sticky toasted marshmallow
comes zipping down from above and
lands right on him, burying him up
to his neck in melted sucrose.

THE STAY-PUFT MAN
The flaming monster keeps coming
intent on their destruction. Most of
his chest has melted away revealing
horrid musculature and a skeletal rib
cage.

THE GHOSTBUSTERS
They square off and face him for the
last time, their weapons poised.

VENKMAN (calmly)
We're going to be killed by a hundred-foot marshmallow.

THE STAY-PUFT MAN
He is almost on them now, fully engulfed in flames, reaching
for them, ready to swat them with his burning fist.

VENKMAN (to the others)
On the count of three! One ... Two ...

SPENGLER (he has the best idea of his life)
No! Them! Shoot them! (he points at the Terror Dogs) Cross
the beams.

THE TERROR DOGS
They stand beside the portal literally petrified.

VENKMAN
He hesitates.

VENKMAN (protesting)
No! You said crossing the beams would be BAD. It'll kill her!
And us!

SPENGLER
Life is just a state of mind.

VENKMAN
But it's my favorite state.

STANTZ
Either way we're history.

THE STAY-PUFT MAN
His burning fist is starting to descend on the Ghostbusters.

VENKMAN
He chooses the only way out.

VENKMAN (shouts)
Now!!

THE GHOSTBUSTERS
They turn and fire at the two petrified Terror Dogs and blow
them to oblivion. The entire front of the temple is obliterated
along with the door.

THE STAY-PUFT MAN
With the destruction of his earthly portal, the flaming
monster is suddenly engulfed in a cyclonic wind that begins to
swirl around him like a fire-storm. The flames are whipped
higher and higher as the tornado begins to pick up rotational
speed. Then the Marshmallow Man seems to explode from
deep inside creating a flaming air burst high above the
rooftops.

THE ROOFTOP
The Ghostbusters are blasted off their feet.

THE SKY
The fireball reaches its maximum explosive force, then a
sudden jet of air pressure occurs like a titanic vacuum cleaner
in the sky and sucks the flaming mass of gasses and ash up
through our atmosphere and right out of our dimension. The
dark clouds disappear with it, leaving a beautiful clear blue
sky over the whole area.

THE TEMPLE
It now looks like an ancient ruin.

THE GHOSTBUSTERS
They are lying at the foot of the stairs. Everything is still. One
by one they get slowly to their feet and look around to see that
the crisis has passed.

STANTZ
Everybody okay?

Venkman looks up at the portal.

THE TERROR DOGS
They are still on the pedestals but charred almost beyond
recognition. Venkman mounts the stairs and gazes sadly at
the remains.

THE PEDESTAL
Venkman stands there mourning, then a slight movement
under the blackened skin of the Terror Dog catches his eye.
The movement gets stronger, then suddenly a human hand
pokes through the carbonous coating.

VENKMAN
Hope surges in him and he starts frantically tearing away the
black coating, finally revealing Dana alive and well under the
burnt skin of the Terror Dog.

STANTZ AND SPENGLER
They peel the charred coating off Louis and help him to his
feet.

LOUIS
He looks around wondering how he ended up on the roof of a
wrecked high-rise. He looks at his scorched and ripped suit
crusted with the still-smoking gobs of melted marshmallow.

LOUIS (amazed)
Jeez! Somebody must have spiked the egg salad.

VENKMAN
He helps Dana to her feet.

VENKMAN
Are you all right?

She looks around at the incredible scene.

DANA (totally confused)
Oh, sure. I'm getting used to this.

LOUIS (seeing Dana for the first time)
I'm innocent! Honest, Dana. I never touched you. Not that I
remember anyway.

DANA (getting annoyed)
All right, what happened to me?

VENKMAN
Nothing! We just got rid of that thing in your kitchen.

DANA
Really! Is it gone?

VENKMAN
Yeah, along with most of your furniture and a lot of your
personal possessions. This one took some work.

DANA (noting the wrecked temple)
Thank you. Next time I want to break a lease I'll know who to
call.

She hugs him.

VENKMAN
This is going to cost you, you know. Our fees are ridiculously
high.

DANA
Talk to my accountant. (she indicates Louis)

LOUIS
Oh, great! I bet we could write off all the damage as an Act of
God.

THE GHOSTBUSTERS
They look at each other and nod.

STANTZ
I'll go along with that.

EXT. STREET - NEAR THE APARTMENT - NIGHT

THE TWO BUMS
They hear the cheering down the street as they cautiously
inspect a massive mound of cooling sucrose.

FIRST BUM
Well, that definitely looks like marshmallow to me.

SECOND BUM (sniffing it)
Yeah, it's some kind of mallow-type substance - that's for
sure.

FIRST BUM
You have to wonder why anybody would dump a
marshmallow that size right in the middle of the street.

SECOND BUM
I wonder if there might not be a very large cup of hot chocolate
somewhere in the area.

FIRST BUM
That would definitely explain it.

EXT. THE STREET NIGHT
A happy throng of jubilant citizens is
gathered outside the lobby entrance
to the apartment building.

THE ENTRANCE
The battered but victorious
Ghostbusters emerge from the lobby.
Venkman and Dana are holding
hands. The crowd roars with
unrestrained joy and gratitude,
Janine runs over and hugs Spengler
enthusiastically. The Ghostbusters
wave and head for the Ectomobile
parked at the curb.

THE GHOSTBUSTERS
They get into the Ectomobile and
drive off with lights flashing and
sirens screaming as the crowd cheers
wildly.

THE END
000509
...
the black bird of anomie blather= a flood of data that has effectively manage to close off the word "fuck" and probably "bible" as well. 000509
...
flo Beautiful, beautiful, beautiful.

more of this please, perhaps one of you could do "beast master", or even the breakfast club.

That sound sarcastic but it isn't meant to be, seriously, more of this please.
011126
...
Tay Parker Ghostbuster is most definitely one of the greatest movies of all time. 030112
...
jane When there's something strange
in the neighbourhood
who you gonna call ?!
040619
what's it to you?
who go
blather
from