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