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Film > Ghostbusters > Ghostbusters: The First Cut
Ghostbusters
THE FIRST CUT

The first cut (also known as the Preview Cut, and in some cases the Assembly Cut or the Editor's Cut) is the very first cut of the film, dated February 17, 1984. It features alternate and deleted scenes, extended lines of dialog, no music, temp sound effects, and no special effects.

Editor Sheldon Kahn produced this cut for test audience screenings two to three weeks after principal photography had concluded. He had the studio put a copy onto a Betamax videotape so that he would have a reference in case director Ivan Reitman later wanted him to go back to something from this earlier cut. Kahn had actually forgotten all about this Betamax videotape until sometime around 2021, when he was searching for something else that he recorded on videotape which his daughter asked him to find. The original Betamax tape is currently on display at GhostCorps headquarters.

The first cut made its home video debut in the Ghostbusters Ultimate Collection 4K/Blu-ray set from Sony, released in 2022. It includes subtitles in multiple languages and audio commentary by associate Producer Joe Medjuck and editor Sheldon Kahn, which was recorded in September 2021 (as I personally confirmed with my source at Sony). Sony chose to retain the original 4:3 Letterbox formatting instead of chopping a bit of blackness off the top and bottom and reformatting it into 16:9 anamorphic widescreen.

As a sample of just how different this cut is, below is the montage after the guys bust the hotel ghost, which appears at 41:35. Spook Central VIPs get an exclusive bonus clip: The Ghost Montage (which appears at 1:17:25). Do be aware that *I* have reformatted the footage into widescreen for these video clips, and added the Spook Central watermark. This is not the way it looks on the Blu-ray.

Play Video

This is what Sheldon Kahn's original Betamax videotape looks like.

Image
This is the full text transcript of the movie. The transcription was done using computer software reading the English SDH subtitle track from the Ultimate Collection set. IT HAS NOT BEEN CHECKED FOR ERRORS OR PROPERLY FORMATTED. IF YOU WOULD LIKE TO DO THAT, FEEL FREE TO E-MAIL ME.

[people chattering]

[screaming]

[breathing heavily]

[whimpering]

[screaming]

[Peter] All right.

I'm gonna turn over the next card.

I want you to concentrate.

I want you to tell me
what you think it is.

Square.

Good guess. But wrong.

- [electricity crackles]
- [grunts]

Clear your head.

All right. Tell me what you think it is.

Is it a star?

- It is a star. Very good. That's great.
- [laughs]

Okay. All right.

Think hard.

What is it?

Circle.

[inhales sharply]

Close. But definitely wrong.

- [electricity crackles]
- [grunts]

[Peter] Okay.

- All right. Ready?
- Yeah.

- [Peter] All right.
- Okay.

What is it?

Come on.

Figure eight.

Incredible. That's five for five.
You can't see these, can you?

- No. No.
- You're not cheating me, are you?

No, I swear, they're just coming to me.

[laughs]

[Peter] Okay.

Nervous?

Yes. I don't like this.

Well, you have 75 more to go, okay?

What's this one?

It's- It's a couple of wavy lines.

I'm sorry. This isn't your lucky day.
[chuckles]

I know. Uh...

Wait. Um--

[babbling]

- [electricity crackles]
- [screams]

I'm getting a little tired of this!

You volunteered, didn't you?
We're paying you, aren't we?

Yeah, but I didn't know you
were gonna be giving me electric shocks!

What are you trying to prove here, anyway?

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

The effect? I'll tell you
what the effect is. It's pissing me off!

Well, then maybe my theory is correct!

- You can keep the five bucks. I've had it.
- I will, mister!

Well, you may as well get used to that.

That's the kind of resentment that your
ability is gonna provoke in some people.

Do you think I have it, Dr. Venkman?

You're no fluke, Jennifer.

This is it. This is definitely it!

Did those UV lenses come in
for the video camera?

And that blank tape, I need it,
the one you erased yesterday.

- Will you excuse me for a second?
- Sure.

I'm right in the middle of something, Ray.

I need more time with this subject.

Could you please give me an hour
or an hour and a half and then come back?

Peter, please, listen to me. At 1:40 p.m.
this afternoon, Eastern Standard Time,

at the main branch of the
New York Public Library on Fifth Avenue,

ten people witnessed a free-floating,
full-torso, vaporous apparition.

It blew books off shelves
from 20 feet away

and scared the socks off
some poor librarian.

I'm very excited. I'm very pleased.

I want you to get right down there,
check it out and get back to me.

No. Peter, you're coming
with us on this one.

Spengler went down there.

He took PKE valences.
Right off the top of the scale.

Buried the needle.
We're close on this one. I can feel it.

I know the feeling, Ray.

Spengler and I have charted and tracked
each and every reported psychic encounter

in the tristate area
for the past two years.

Now the graph we've developed definitely
points to a big upcoming occurrence.

Ray, as a friend, I have to tell you,
you've finally gone around the bend

on this ghost business.

You guys have been running your ass off

meeting and greeting every schizo
in the five boroughs

who says he has a paranormal experience.
What have you seen?

What do you mean "seen"?

Looked at with your eyes.

Of course you forget,

I was actually present at an unexplained
low-altitude rockfall once.

Ray, I've heard all about "the rockfall".

[Peter] Egon!

- [Egon] Oh, you're here.
- What have you got?

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

Egon, this reminds me

of the time you tried to drill a hole
through your head. Remember?

That would've worked
if you hadn't stopped me.

Hello, I'm Roger Delacorte.
Are you the men from the university?

Yes. I'm Dr. Venkman. Dr. Stantz. Egon.

Thank you for coming. I hope
we can clear this up quickly and quietly.

Let's not rush things.

We don't even know what you have yet.

I don't remember seeing any legs

but it definitely had arms,
because it reached out for me.

Arms? I can't wait
to get a look at this thing.

Alice, I'll ask you
a couple of standard questions, okay?

Have you or any member of your family

ever been diagnosed as schizophrenic
or mentally incompetent?

My uncle thought he was St. Jerome.

I'd call that a big yes.

Uh, are you habitually using drugs,
stimulants, alcohol?

- No.
- No, no. Just asking.

Are you, Alice, menstruating right now?

What has that got to do with it?

Back off, man. I'm a scientist.

- Ray, it's moving. Come on.
- [device beeping]

[Alice whimpering]

[device beeping]

[beeping continues]

Look!

This is hot, Ray.

[Ray] Symmetrical book-stacking.

Just like the Philadelphia
mass turbulence of 1947.

You're right. No human being
would stack books like this.

Listen!

Do you smell something?

[Egon sniffs]

- [Ray] Any jump on the valences?
- [Egon] No. Not yet.

[Peter]
Uh, is there a library coffee shop?

[device beeping]

Talk about telekinetic activity.
Look at this mess.

[Egon] Raymond, look at this.

[Ray] Ectoplasmic residue.

Venkman, get a sample of this.

It's the real thing.

Somebody blows their nose,
and you wanna keep it?

I'd like to analyze it.

[Ray] There's more over here.

[Egon] I'm getting stronger readings here.

[Peter] Whoa.

Oh, God.

Oh...

This way.

Come on.

Egon, your mucus.

[shouts]

[beeping continues]

This happen to you before?

Huh. First time?

[beeping intensifies]

It's here.

[whispering] A full torso apparition.
And it's real.

So, what do we do?

Could you come over here
and talk to me for a second, please?

Would you just come over here
for a second, please?

Right over here.
Come here, Francine. Come here.

- What do we do?
- I don't know. What do you think?

Stop that!

We've gotta make contact.
One of us should try to speak to it.

Good idea.

[sighs]

Hello.

I'm Peter.

Where are you from? Originally.

All right. Okay.

The usual stuff isn't working.

Okay. Uh, I have a plan.

I know exactly what to do.

Now, follow me.

Come on. Stay close.

I know. Do exactly as I say.

Get ready.

Ready? Get her!

[ghost growling]

[all screaming]

[screaming continues]

Did you see it?

What was it?

What did you see?

That was your whole plan. Get her.

It was scientific.

I just got overexcited.

But wasn't it incredible, Pete?
We actually touched the etheric plane.

You know what this could mean
at the university?

It's gonna be bigger than the microchip.
Ray, I'm very excited.

I wouldn't say
the experience was completely wasted.

According to these readings,
we have an excellent chance

of catching a ghost
and holding it indefinitely.

[Ray] This is great.

If the ionization rate is
constant for all ectopiasmic entities,

we could really bust some heads.
In a spiritual sense, of course.

Spengs, you serious
about this catching a ghost?

I'm always serious.

Egon, I'm gonna take back
some of the things I've said about you.

You-- You've earned it.

If you're right, if we could actually
catch a ghost and hold it,

I might win the Nobel Prize.

Don't say hello, Lesley.

If anybody deserves Nobel recognition,
it would be Spengler and me.

We're gonna be designing all the equipment
and doing the hard research.

Whoa! I introduced you!

If it weren't for me,
you never would have met!

That's gotta be worth something.

Hello, John.

The possibilities are unlimitless.

Hey, Dean Yeager.

I trust you're moving us
to better quarters on campus.

No, you're being moved off campus.

The Board of Regents
has decided to terminate your grant.

You are to vacate
these premises immediately.

This is preposterous.
I demand an explanation.

Fine. This university will no longer
continue any funding of any kind

for your group's activities.

But the kids love us.

Dr. Venkman, we believe 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 are a poor scientist, Dr. Venkman.

I see.

And you have no place in this department
or in this university.

[clears throat]
Does that include Dr. Stantz and me?

[Dean Yeager] You'd better believe it.

You said you "floored 'em"
at the Regents' meeting.

Ray, I apologize.

I guess my faith in the Board of Regents
was misplaced.

You know, I have to laugh.

They did this to Galileo.

It could've been worse, Dr. Venkman.

They took the astronomer Phileas
and staked his head to the town gate.

Ouch.

This is a major disgrace.
Forget MIT or Stanford now.

They wouldn't touch us
with a ten-meter cattle prod.

You're always so concerned
about your reputation.

Einstein did his best stuff
when he was working as a patent clerk.

- You know how much a patent clerk earns?
- No.

Personally, I like the university.

They gave us money, facilities,
and we didn't have to produce anything.

You've never been out of college.
You don't know what it's like out there.

I've worked in the private sector.
They expect results.

For whatever reasons, Ray,

call it fate, call it luck, call it karma,

I believe that everything happens
for a reason.

I believe that we were destined
to get thrown out of this dump.

For what purpose?

To go into business for ourselves.

[sighs]

This ecto-containment system
that Spengler and I have in mind

is gonna require
a load of bread to capitalize.

Where are we gonna get the money?

I don't know.

I don't know.

You're never gonna regret this, Ray.

My parents left me that house.
I was born there.

You're not gonna lose the house.
Everybody has three mortgages nowadays.

But at 19%?
You didn't even bargain with the guy.

Ray, for your information, the interest
rate alone for the first five years

comes to $95,000.

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 rich beyond our wildest dreams.

People are afraid to report
these kind of things.

Maybe. But no one ever advertised before.

[landlord] So, besides this,

there's another substantial
work area in the basement.

Office space, sleeping quarters
and showers on the next floor.

And you got your full kitchen
on the top level.

It's 10,000 square feet total.

It's 9,655.44 square feet.

What is he? Your accountant?

Well, he's my dad.

It just seems a little pricey for a unique
fixer-upper opportunity, that's all.

What do you think, Egon?

I think this building should be condemned.

There's serious metal fatigue
in all the load-bearing members,

the wiring is substandard.

It's completely inadequate
for our power needs.

And the neighborhood is
like a demilitarized zone.

Hey, does this pole still work?

Wow, this place is great!
When can we move in?

You gotta try this pole.

I'm gonna get my stuff.

Hey, we should stay here tonight,
sleep here. You know, to try it out.

- I think we'll take it.
- Good.

Say, what are you gonna call
your new business?

Ghostbusters.

Oh, well, this place is perfect for it.

[car horn honks]

Oh, hi.

- Oh, Dana, it's you.
- Oh, hi. Yes, Louis, it's me.

- I thought it was the drugstore.
- Oh, are you sick?

Oh, no. No, I'm fine. I feel great.

Just ordered some more vitamins and stuff.
I was just exercising.

I taped 20-Minute Workout on my machine
and played it back at high speed,

so it only took 10 minutes.
I got a great workout.

- Good.
- You want to come in for a mineral water?

Oh, I'd really like to, Louis,
but I have to go to rehearsal.

No sweat. I'll take a rain check on that.

I always have plenty of low-sodium
mineral water and other nutritious foods.

- But you already know that.
- Yeah, I know that.

Listen, that reminds me,
I'm having a big party for all my clients.

It's my fourth anniversary
as an accountant.

Even though you do your own tax return,
which you shouldn't do,

I'd like you to stop by,
being that you're my neighbor and all.

Thank you, Louis.
I'll really try to stop by.

Listen, that reminds me, you shouldn't
leave your TV on so loud when you go out.

The creep down the hall
phoned the manager.

That's strange.
I didn't realize I left it on.

You know what I did?
I climbed on the ledge,

I tried to disconnect the cable,
but I couldn't get in,

so you know what I did?
I turned up my TV real loud too,

- so everyone would think...
- Bye, Louis.

...both our TVs
had something wrong with them.

Okay, so I'll see you later.

Bye.

I gotta have a shower.

Are you troubled by strange noises
in the middle of the night?

Do you experience feelings of dread
in your basement or attic?

Have you or any of your family ever seen
a spook, specter or ghost?

[Ray] If the answer is yes,
then don't wait another minute.

Pick up your phone
and call the professionals.

[all] Ghostbusters.

[Ray] Our courteous and efficient staff
is on call 24 hours a day

to serve all
your supernatural-elimination needs.

[all] We 're ready to believe you.

[humming]

[exhales]

[humming continues]

[whirring]

[whirring continues]

[howling]

[screaming]

[Peter] You don't think it's too subtle?

You don't think people are gonna
drive down and not see the sign?

[siren wailing]

You can't park that here!

Everybody can relax, I found the car.

- How much?
- [Ray] Only 1,400.

Needs a little suspension work,
new shocks, drivetrain, transmission,

brake pads, brake linings, steering box.

- It's got tires, though, doesn't it?
- [Ray] Four of 'em.

[Peter] And the lights,
they don't make those anymore.

[footsteps approaching]

- Janine, any calls?
- No.

- Any messages?
- No.

Any customers?

No, Dr. Venkman.

It's a good job, isn't it?

Type something, will you?
We're paying for this stuff.

Don't stare at me.
You've got the bug eyes.

Janine?

Sorry about the "bug eyes" thing.
I'll be in my office.

You're very handy. I can tell.

I bet you like to read a lot too.

Print is dead.

Oh, that's very fascinating to me.
I read a lot myself.

Some people think I'm too intellectual,

but I think it's a fabulous way
to spend your spare time.

I also play racquetball.

Do you have any hobbies?

I collect spores, molds and fungus.

Hello?

[tool cranking]

Oh, excuse me. Is this-
This is the Ghostbusters' office?

Yes, it is. Can I help you?

I don't have an appointment.
I'd like to talk to someone, please.

I'm Peter Venkman. May I help you?

Um, well, I don't know.

What I have to say
may sound a little unusual.

Oh. That's all we get, day in, day out
around this place.

Come into my office, Miss...

Uh, Barrett. Dana Barrett.

And this voice said, "Zuul,"

and then I slammed
the refrigerator door and I left.

That was two days ago,
and I haven't been back to my apartment.

You don't generally see that
kind of behavior in a major appliance.

What do you think it was?

Well, if I knew what it was,
I wouldn't be here.

[Peter] Egon, what do you think?

She's telling the truth.
At least she thinks she is.

Well, of course I'm telling the truth.

Why would anyone
make up a story like that?

[Peter] Some are people
who just want attention.

Others are nutballs
who come off the street.

You know what it could be?

Past life experience
intruding on present time.

Could be erased memories
stored in the collective unconscious.

I wouldn't rule out clairvoyance
or telepathic contact either.

[chuckling] I'm sorry, I don't believe
in any of those things.

Well, that's all right. I don't either.

But there are some things that we do
in cases like this

that generally get us results.

Things like...

Well, we could go to the Hall of Records

and check out the structural details
in the building.

Maybe the building itself
has a history of psychic turbulence.

Right. Good idea.

I could look for the name "Zuul"
in the usual literature.

- Spates Catalog.
- Tobin's Spirit Guide.

- Yeah.
- [Peter] Might work.

Tell you what, I'll take Miss Barrett back
to her apartment and check her out.

I'll go check out
Miss Barrett's apartment.

[Dana] Okay.

Please, let me.

If somethings gonna happen here,
I want it to happen to me first.

That's the closet.

[Peter] They hate this.

[piano keys jingling]

I like to torture them.

That's right, boys. It's Dr. Venkman!

[device hissing]

Lot of space.

- Just you?
- Yes.

Good.

What is that thing you're doing?

It's technical.
It's one of our little toys.

I see.

You've got great taste.

Thank you.

That's the bedroom.
But nothing ever happened in there.

What a damn shame.

You know, you don't act like a scientist.

They're usually pretty stiff.

You're more like a game-show host.

Is this the kitchen?

- Dana, are these the eggs?
- Yes.

I was over there, and I heard
these eggs and they started to jump

and then they just started to explode
right out of their shells

- and fry right on the counter.
- [Peter] That is weird.

[Dana] And that's when I start to hear

that awful noise
coming from the refrigerator.

Dr. Venkman, you've come all this way.

- Would you like to check the refrigerator?
- I better check the fridge. Good call.

[Dana] No, it's the top part.

Oh, my God.

Look at all the junk food.

No, no. Look, this wasn't here.

- You actually eat this?
- Goddamn it! This wasn't here.

There was nothing here. There was a space
and there were flames,

and there was a building here.
I don't know where it was.

And there were creatures.
There were things in there.

They were growling.
And there was a voice that said, "Zuul".

I saw it. It was right here.

I'm sorry, I'm not getting any reading.

Well, are you sure
you're using that thing correctly?

I'm sure there are no animals in there.

[sighs] Well, that's great.

Either I have a monster in my kitchen,
or I'm completely crazy.

I don't think you're crazy.

Oh, good.
That makes me feel so much better.

[Dana sighs]

[Peter] I'm a qualified psychologist.

I have a degree.
I believe something happened here.

You don't believe anything happened here.
You didn't believe me at the office.

You just came over here
to see what you could get off me.

Dr. Venkman, please. I mean,
just because I'm a classical musician

doesn't mean I haven't been around.

I'm the chairman of the largest
paranormal removal company in America.

I believe something happened here.

I wanna help.

You think you can do something?

I'd stake my reputation on it.

Well, what do you wanna do?

What I'd like to do
is spend the night here.

Get out.

Let me tell you something about myself.

[laughs]

When I come home from work,
there's nothing there.

All I have is my work.

- Dr. Venkman, I--
- I meet you and I think,

"Here's someone
who has the same problem I do".

Yes, we both have the same problem. You.

I'm gonna go for broke.

I am madly in love with you.

I don't believe this.
Will you please leave?

And then she threw me out of her life.
She thought I was a creep.

She thought I was a geek,
and she probably wasn't the first.

You are so odd.

[sighs]

- No.
- I've got it!

[Dana] No, no, no.

- I'm gonna prove myself to you.
- All right.

- I'll solve your problem.
- Thank you.

Then you'll think, "Pete Venkman,
he can get things done".

Right.

- "I wonder what makes him tick".
- I wonder.

"I wonder if Pete would be interested
in knowing what makes me tick".

Yes.

I'll bet you're gonna be thinking
about me after I'm gone.

Yeah. That's a good bet.

No kiss?

God, what a woman.

To our first customer.

To our first and only customer.

I'm gonna need to draw some petty cash.

I should take her out to dinner.
We don't want to lose her.

Uh, this magnificent feast here
represents the last of the petty cash.

Hey, slow down. Chew your food.

[phone ringing]

Hello, Ghostbusters.

Yes, of course they're serious.

You do?

You have?

No kidding.

Uh-huh. Well, just give me the address.

Yes, of course.
Oh, they'll be totally discreet.

Thank you.

We got one!

[bell ringing]

It's a call!

[shouts]

Come on!

[Peter humming]

[Egon groans]

[car engine starts]

[siren wailing]

[tires squealing]

[siren continues]

[tires screeching]

Hey, anybody see a ghost?

- Uh, thank you for coming so quickly.
- Jesus!

The guests are asking questions,
and I'm running out of excuses.

Has it happened before?

Well, most of the original staff knows
about the 12th floor.

- The disturbances, I mean.
- Yeah.

But it's been quiet for years
up until two weeks ago.

It was never, ever this bad, though.

Did you ever report it to anyone?

- No. Heavens, no.
- No. Are you kidding?

The owners don't like us to talk about it.

No.

I hope we could take care of this quietly.

- It's done.
- Tonight.

Yes, sir. Don't worry.

We handle this kind of thing all the time.

What are you supposed to be,
some kind of a cosmonaut?

[chuckles] No, we're exterminators.
Somebody saw a cockroach up on 12th.

- That's gotta be some cockroach.
- Bite your head off, man.

- Going up?
- I'll take the next one.

You know, it's occurred to me we haven't
had a successful test of this equipment.

- I blame myself.
- So do I.

Well, no sense worrying about it now.

Why worry?

Each of us is wearing an unlicensed
nuclear accelerator on his back.

Yep. Well, let's get ready. Switch me on.

[proton pack powers up]

[elevator dings]

[maid humming]

[all shouting]

[maid] What the hell are you doing?

- Sorry.
- I'm sorry.

We thought you were someone else.

Successful test.

I guess so.

Uh, I think we'd better split up.

- Good idea.
- Yeah. We can do more damage that way.

[device beeping]

[Slimer grunting]

Venkman? Venkman!

[grunting continues]

[Ray] Disgusting blob.

I'm gonna have to hold him myself.

[powers up]

[Slimer grunting]

[Slimer roars]

[device beeping]

[Slimer panting]

[Peter] Come in, Ray.

Venkman! I saw it! I saw it!

It's right here, Ray.

- [Slimer grunting]
- It's looking at me.

[Ray] Ugly little spud, isn't it?

I think he can hear you, Ray.

Don't move. It won't hurt you.

How do you know, Doctor?

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

Say again.

[Ray] I don't know. I'm just guessing.
Where are you?

Where are you?

[screaming]

Venkman!

Venkman! Pete!

[groaning]

Venkman! What happened? Are you okay?

He slimed me.

That's great! Actual physical contact!

Can you move?

[Egon] Stantz, come in, please!

I feel so funky.

Spengler! I'm with Venkman.

He got slimed!

[Egon] That's great, Ray.
Save some for me.

It's down here, Ray.
It just went into a ballroom.

Okay, we'll be right there.

I'm dying to dance with this guy.

[guests chattering]

Okay, sir. If you and your staff
could please wait out here,

we'll take care of everything.

There it is. On the ceiling.

That's the one that got me.

All right, boys. Ready?

Throw it!

[chattering]

I did that. I did that. That's my fault.

It's okay. The table broke the fall.

- Well, they can fix it.
- Right.

There's something very important
I forgot to tell you.

- What?
- Don't cross the streams.

- Why?
- It would be bad.

I'm fuzzy on the whole good-bad thing.
What do you mean, "bad"?

Try to imagine all life as you know it
stopping instantaneously

and every molecule in your body
exploding at the speed of light.

Total protonic reversal.

Right, that's bad.

Okay, important safety tip. Thanks, Egon.

All right, Ray, take the left.
Egon, take the right.

Okay, Ray, give me one high and outside.

Egon, low and inside.

Ray!

- Egon!
- [shouting]

Okay, okay. Hold it, hold it, hold it!

I assure you, Mrs. Van Hoffman,
there is no problem with the room.

It'll be ready as soon
as your guests are with us.

The last throw took something out of him,
but he's gonna move.

I need some room to put the trap down.
Give me some room.

If you'll excuse me, please.

[doorknob rattles]

[whispering indistinctly]

Gotta get this in the clear.

Wait, wait, wait!

I've always wanted to do this.

And...

- [Peter] The flowers are still standing!
- [Ray] On my go-signal.

Spengler, I want a confinement stream
from you, okay? Go!

Okay. Hold him up there.
He's gonna move. Hold him up! Go!

- It's working, Ray.
- Start bringing him down.

You got him. Don't cross the stream.

Maybe now you'll never slime a guy
with a positron collider, huh?

Venkman, shorten your stream.
I don't want my face burned off.

All right, I'm opening the trap now.
Don't look directly into the trap.

I looked at the trap, Ray.

[Peter] You shouldn't have slimed me, pal.

[Ray] Turn your streams off
as soon as I close the trap.

Get ready. I'm closing it.

NOW!

[whirring crackling]

[beeps]

It's in there.

Hey.

[chuckles]
That wasn't such a chore, now, was it?

I want that door open now! Hurry!

Donald, stand over there.

We had some fun, but we gotta go.
It's all taken care of.

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

We got it!

What is it?
Will there be any more of them?

Sir, what you had there
was what we refer to as

a focused non-terminal repeating phantasm,
or a class-five full-roaming vapor.

Was a real nasty one too.

So nasty. It's the only reason
we're charging you.

For the entrapment, we're gonna have
to ask you for four big ones, $4,000.

But we are having a special this week
on proton charging

and storage of the beast.

That's only gonna come
to $1 ,000, fortunately.

$5,000? That's too much. I won't pay it.

That's all right.
We can just put it back in there.

We certainly can, Dr. Venkman.

No, no, no!

All right! Anything.

Thanks so much.

Thank you. Hope we can help you again.

Coming through!
One class-five free-roaming vapor.

Thank you very much, people.

[reporter 1] Hey, open that door,
will you? I gotta talk to this guy.

[all clamoring]

We've got one!

- Can we see it?
- What's in there?

- What happened in here?
- Can we see that?

[reporter 2] What happened in there?

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

What proof do you have
that what you saw was real?

- Yeah.
- Yeah.

Proof? Well, the manager of this hotel
just paid us $5,000

to remove something from the premises.

That could be proof enough.

So you're saying
that ghosts really do exist?

Absolutely.

Not only do they exists- Are you rolling?

Not only do they exist,
but they are everywhere.

That is why we are providing this service
to all the people in the tristate area.

Twenty-four hours a day,
seven days a week.

No job is too big. No fee is too big.

We are ready for everything.

We have the tools, we have the talent.

We are the brave, the best, the only...

- Ghostbusters!
- Ghostbusters!

Good morning, I'm Roger Grimsby.
Today, the entire Eastern seaboard

is alive with talk of incidents
of paranormal activity.

Alleged ghost-sightings
and related supernatural occurrences

have been reported
across the entire tristate area.

Seems everybody is willing to bring old
ghosts and skeletons out of the closet.

Report from New York...

[anchor] Thank you, Roger.

Well, everybody has heard ghost stories
around the campfire.

Heck, my grandma used to spin yarns
about a spectral locomotive

that she claimed would rocket past
the farm where she grew up.

But now, as if some unforeseen authority
had suddenly given permission,

thousands of people here
are talking about encounters

they claim to have had with ghosts.

[no audio]

[Larry King] Why did everything start
just when these guys went into business?

Should they be allowed to carry around
unlicensed proton mass drivers?

What's wrong with ghosts anyway?

Let's take some calls. Hi, I'm Larry King.

[caller] Hello, Larry?

Uh, listen, Larry,
I think what Dr. Spengler said

in his interview
with you last night was true.

The world is in for a "psychic shock".

'Cause my aunt reads coffee grounds
and she-

[Larry] Thanks a lot there.

[Janine] Ghostbusters. Please hold.

[phone ringing]

Ghostbusters. Hold please.

Ghostbusters. Can I help you?

Uh-huh.

Well, is it just a mist,
or does it have arms and legs?

Just a minute. Let me see.

Yeah. Well...

It looks like the first time that we could
get to you would be a week from Friday.

Yeah.

I'm sorry. We're totally booked till then.

All I can suggest to you
is that you just stay out of your house

until we can get to you.

Uh-huh. Yes, thank you.

Ghostbusters. Sorry to make you wait.

Um, excuse me.

The ad in the paper,
it just says, "Help wanted".

Um...

What's the job?

I really don't know, Mr. Zeddemore.

They just ask me to take the applications
and ask you these questions.

Okay-

Do you believe in UFOs,
astral projections,

mental telepathy, ESP,
clairvoyance, spirit photography,

full-trance mediums, telekinetic movement,
the Loch Ness monster,

and the theory of Atlantis?

[chuckles] No.

[clears throat] However, um,
if there's a steady paycheck in it,

I'll believe anything you say.

I don't think I can take this pace
much more, man.

[Ray] I gotta get some sleep. I'm dying.

[Peter] You don't look good.

I don't?

I don't think--
You didn't used to look like this.

Can you hold, please?

Here's the paper on the Brooklyn.
She paid with Visa.

Here's tonight's worksheet.

Oh, great. Two more free repeaters.

This is Winston Zeddemore.
He's here about the job.

Beautiful. You're hired.
Ray Stantz, Pete Venkman.

Congratulations.
- Can you help me, please?

Welcome aboard.

This is where we store all the vapors
and entities and slimers that we trap.

Very simple, really. A loaded trap here.
Open, unlock the system.

Insert the trap.

Release.

Close, lock the system.
Set your entry grid.

Neutronize your field.

And...

when the light is green,
the trap is clean.

The ghost is incarcerated here
in our custom-made storage facility.

I don't know where they get
these guest conductors.

Someone should tell him it's not gonna do
him much good to scream at us in German.

Well, I don't think the man is competent
to conduct a major symphony orchestra.

Can you wait a second here?

Dr. Venkman. What are you doing here?

- Ooh, that was a hot rehearsal.
- You heard that?

You are the best person in your row.

Thank you.

You're really good.

Most people can't pick me out
with the whole orchestra playing.

Oh, I don't have to take this abuse
from you.

I got hundreds of people dying
to abuse me.

I know. You're a big celebrity now.

Do you have some information for me?

Who's the stiff?

The stiff happens to be one
of the finest musicians in the country.

And he's a wonderful man. You'd like him.

What? Is he dying or something?

And he's a close friend of mine.

Now, do you have some information or what?

Well, yes,
but I'd rather give it to you in private.

I was thinking perhaps a fine restaurant
and a nice bottle of wine.

Well, why can't you tell me now?

I'll cancel the reservation, sure.

I found the name Zuul in the, uh...

Roylance Guide
to Secret Societies and Sects.

Have you read it?

No. I think you got the last copy.

Well, the name Zuul refers to a demigod
worshipped around 6000 BC by the--

What's that word?

- "Hittites".
- ...Hittites...

the Mesopotamians and the Sumerians.

"Zuul was the minion of Gozer".

Who's Gozer?

Gozer was very big in Sumeria.

- Big guy.
- Well, what's he doing in my icebox?

I'm working on that.
If we could get together Thursday night,

I'm thinking 9:00-ish, you know,
we could exchange information.

I can't see you Thursday. I'm- I'm busy.

Miss Barrett, you think there is something
wrong up here that says in your mind,

"He enjoys taking his evenings off
and spending it with his clients".

No. I'm making a special exception
in your case because...

I respect you.

It's corny,
but I respect you as an artist.

And as a dresser.

This is a very nice
coordination you have going today.

All right. See you Thursday. Call me.

Okay. I'll bring the Roylance Guide
and we can eat and read a little.

I'm gonna dress casual,
but I like what you do.

- So who the hell is that?
- He's just a friend.

- A friend?
- An old friend.

I'm sorry I didn't get to meet you, sir,
and I'm glad you're feeling much better.

You're still very pale, though.
A little sun.

Maybe a vacation. Some place nice.

Have you been to the Sandwich Islands?

Bye!

I'll see you Thursday.

9:00-ish.

There's a man from the EPA here
to see you. He's waiting in your office.

- EPA? What's he want?
- [phone ringing]

I don't know.

All I do know is I've been working
two weeks without a break

and you promised me you'd hire more help.

Janine, someone with your qualifications

would have no trouble finding
a topflight job

in either the food service
or housekeeping industries.

[continues ringing]

- Are you gonna answer that?
- I've quit better jobs than this.

Ghostbusters! What do you want?

Can I help you?

I'm Walter Peck.

I represent the Environmental
Protection Agency, the third district.

Great. How's it going over there?

Are you Peter Venkman?

Yes, I'm Dr. Venkman.

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

I have PhDs in parapsychology
and psychology.

I see.

And now you catch ghosts.

You could say that.

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

Well, I'm not at liberty to say.

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

Into a storage facility.

And would this storage facility
be located on these premises?

Yes.

May I see this storage facility?

No.

And why not, Mr. Venkman?

Well...

because you didn't use the magic word.

And what is the magic word, Mr. Venkman?

"Please".

May I please see the storage facility,
Mr. Venkman?

Why do you want to see
the storage facilities?

Because I'm curious.

I want to know more about
what you do here.

Frankly, there've been
a lot of wild stories in the media

and we want to assess
any possible environmental impact

from your operation.

For instance, the presence of noxious,

possibly hazardous waste chemicals
in your basement.

Now, you either show me
what is down there,

or I come back with a court order.

You go get a court order,

and I'll sue your ass
for wrongful prosecution!

You can have it your way, Mr. Venkman.

It's very simple.

[sighs] Spengler,
hows the protective grid holding up?

I'm worried, Ray.
It's getting crowded in there,

and all my recent data
points to something big on the horizon.

What do you mean, "big"?

Well, let's say this Twinkie
represents the normal amount

of psychokinetic energy
in the New York area.

According to this morning's PKE sample,

it would be a Twinkie 35-feet long,
weighing approximately 600 pounds.

[coughs]

That's a big Twinkie.

We could be on the verge
of a fourfold cross-rip...

a PKE surge of incredible,
even dangerous, proportions.

I agree.

We just had a visit from
the Environmental Protection Agency.

- How's the grid holding up?
- It's not good.

Tell him about the Twinkie.

[thunder rumbling]

[thunderclap]

[guests laughing, chattering]

- Oh, Dana, it's you.
- Hello, Louis.

You gotta come in here.
You're missing a classic party.

Yes, well, I would, Louis,
but I have a date coming.

You made a date... tonight?

Yes, Louis. I-- I forgot. I'm sorry.

Well, bring him along.

Okay, Louis.
Maybe we'll stop by for a drink.

Great.
Because we're gonna be break-dancing,

and I dug out my old Twister game.

I'll tell everybody you're coming.

Hey, let me in!

It's Louis! Somebody, let me in!

[thunder rumbling]

[phone ringing]

Hello?

Oh, Mom. Hello.

Um, I forgot. I'm sorry.

Well, no. Everything is fine. Yes.

No, just that one time.

I am.

I will.

I won't. Mother, I have to go. I, uh...

I have a date.

No one you know. It's, uh...

Well, he's a Ghostbuster.

Those guys on TV.

Yes. Well, I'll have to let you know.

Okay. Love to Dad.

Right. Bye. Bye.

[sighs]

[creaking]

[creaking continues]

Oh, shit.

[screaming]

- [growling]
- [screaming]

[growling]

Do you have any Excedrin
or Extra Strength Tylenol?

Gee, I just think I got generic.

You see, I can get 600 tablets
of acetylsalicylic acid

for the same price
as 300 of the name brand.

Pretty good financial advice.

This is real smoked salmon
all the way from Nova Scotia, Canada.

$24.95 a pound.

That's only $14.28 though, after tax.

I'm giving this small party
as a promotional expense,

which is why I invited clients
instead of friends.

How you doing? Why don't you have
some of the Brie at room temperature.

You think it's too warm in here
for my Brie?

Louis, I'm going home.

Don't leave yet.

Listen, maybe if we dance,
other people will start.

Okay-

[doorbell rings]

Oh, gee, don't move. I gotta get the door.

- Ted! Annette!
- Hi.

I'm glad you could come.
Give me your coats.

Everybody,
this is Ted and Annette Fleming.

- Hi.
- How are you?

Ted has a small carpet-cleaning
business in receivership.

Annette's drawing a salary from
a deferred bonus from two years ago.

They got 15,000 left on the house at 8%.

So they're okay!

So, does anybody want to play Parcheesi?

[terror dog growling]

Okay, who brought the dog?

- [roaring]
- [all screaming]

[screaming continues]

[screaming]

[snarling]

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

Help!

There's a bear in his apartment.

- What?
- A bear in his apartment.

[screaming]

Jesus.

[tires screeching]

I'm gonna bring this up
at the next tenants' meeting.

There's not supposed to be
any pets in the building.

[patrons chattering]

Let me in. There's gotta be a way in here.
I gotta get--

[shouting] Please! Somebody, let me in!

[shouting]

[whimpering]

Nice doggy. Cute little pooch.

Maybe I got a Milk-Bone.

[screaming]

[chattering]

[Peter] Hey, what happened?

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

Hi, I'm going up to Dana Barrett's.

Okay-

[people chattering]

Hello?

[sighs]

That's a different look for you, isn't it?

Are you the Keymaster?

Not that I know of.

Are you the Keymaster?

Yes.

I'm a friend of his.
He told me to meet him here.

I didn't get your name.

I am Zuul. I am the Gatekeeper.

Oh.

What are we doing today, Zuul?

We must prepare for the coming of Gozer.

Gozer, huh?

The Destructor.

Are we still going out?

You know, you could pick up the place
if you're expecting someone.

Do you want this body?

Is this a trick question?

I guess the roses worked, huh?

Take me now...

sub-creature.

We never talk anymore.

[grunting]

Easy. I make it a rule never
to get involved with possessed people.

[both moaning]

Actually, it's more of a guideline
than a rule.

You know, I can--

I want you inside me.

[laughing]

Go ahead. No, I can't.

Sounds like you got
at least two people in there already.

Might be a little crowded.

Come on, why don't you just quit
trying to upset and disturb Dr. Venkman

and just relax Lie down there.

Relax, put your hands on your chest.

What I'd really like to do
is talk to Dana.

I want to talk to Dana.

Dana, it's Peter.

There is no Dana. There is only Zuul.

Oh, Zuulie, you nut. Come on.

Come on, I want to talk to Dana. Dana.

Just relax. Come on. Dana.

Dana. Can I talk to Dana?

[in demonic voice] There is no Dana.
There is only Zuul.

What a lovely singing voice you must have.

Now, I'm gonna count to three, Zuulie.
And if I don't get to talk to Dana...

there's gonna be some real trouble
in this apartment, I think.

One.

[growling]

Two.

Two and a half.

[growling, groaning]

[roaring]

[growling]

Please come down.

[roars]

I am the Keymaster.

The Destructor will come.

Gozer the Traveler. The Destroyer.

[sniffing]

Gatekeeper.

I am Vinz.
Vinz Clortho, Keymaster of Gozer.

Volguus Zildrohar, Lord of the Sebouillia.
Are you the Gatekeeper?

Hey. He pulls the wagon,
I make the deals. You want a ride?

[growling]

Wait for the sign.
Then all prisoners will be released.

You will perish in flame.

- You and all your kind! Gatekeeper!
[screams]

What an asshole.

[screaming]

I must find the Gatekeeper.

- [tires screeching]
- [shouts]

- [car horns honking]
- [tires screeching]

Are you the Gatekeeper?

Hey, good looking.

Want some company?

I'm Vinz Clortho, Keymaster of Gozer.

Are you the Gatekeeper?

Sure, baby, I'm the Gatekeeper.

Zuul!

"Zuul"? What the hell are you doing,
you crazy? Idiot!

Get off of me.

Dropping off or picking up?

Dropping off.

Just a moment.

- [officer] You a Ghostbuster?
- [Egon] Yes.

We picked up this guy.
We don't know what to do with him.

Bellevue doesn't want him.
I'm afraid to put him in the lock up.

I know you guys are into this stuff,
so I figured we'd check.

All right.

Are you the Gatekeeper?

[device beeping]

You better bring him inside.

[Janine] You are so kind
to take care of that man.

You know, you are a real humanitarian.

[Ray] I don't think he's human.

[typing]

[typing]

What did you say your name was?

Vinz Clortho, Keymaster of Gozer.

According to this, his name's Louis Tully.
Lives on Central Park West.

Do you want some, uh, coffee, Mr. Tully?

Do I?

Yes, have some.

Yes, have some.

Vinz, you said before
you were waiting for a sign.

What sign are you waiting for?

Gozer the Traveler.

He will come
in one of the pre-chosen forms.

During the rectification
of the Vuldronaii,

the Traveler came
as a large and moving Torb.

Then, during the third reconciliation
of the last of the Meketrex supplicants

they chose a new form for him,
that of a giant Sloar!

Many Shubs and Zuuls knew
what it was to be roasted

in the depths of the Sloar that day,
I can tell you.

Egon.

Excuse me.

There's something very strange
about that man.

Look, usually I'm very psychic,

and I have a terrible feeling
that something awful's gonna happen.

I'm afraid you're gonna die.

- You have nice clavicles.
- [phone ringing]

I'll get it.

Hello?

Thanks, I've got it.

[Peter] Egon, it's Peter.

I have news from the world of Gozer.

[Egon] What is it, Peter?

[Peter] Do you remember Dana Barrett?

The attractive cellist
who came into our office a while back?

Yes. How is she?

She's ripe for the Bronx Zoo.

I just whacked her up
with about 300 cc's of Thorazine.

She's gonna take a little nap now,
but she says she's the Gatekeeper.

- Does that make any sense to you?
- [Egon] Some.

I just met the Keymaster.
He's here with me now.

Oh, wonderful.
We have to get these two together.

I think that would be
extraordinarily dangerous.

All right, well, hold onto him.
I'll be there in a while.

Good.

Thank you, Vinz.

We have to find Ray.
I need him here immediately.

Bad news, honey, I gotta go to work.

Hey, will you stay here in bed
until I get back?

[panting]

[Winston] Hey, Ray, do you believe in God?

Never met him.

Yeah, well, I do.

And I love Jesus's style, you know?

This roof cap is made
of a magnesium-tungsten alloy.

What are you so involved with there?

These are blueprints
for the structural ironwork

in Dana Barrett's apartment building,
and they're very, very strange.

Hey, Ray, do you remember something
in the Bible about the last days,

when the dead would rise from the grave?

I remember. Revelations 7:12.

"And I looked as he opened the sixth seal.

And behold, there was a great earthquake.

And the sun became as black as sackcloth.

And the moon became as blood".

"And the seas boiled. And the skies fell".

Judgment day.
Judgment day.

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

Myth?

Ray, has it ever occurred to you that
maybe the reason we've been so busy lately

is because the dead
have been rising from the grave?

How about a little music?

Yeah.

This way.

Excuse me.

Excuse me.
Just where do you think you're going?

Step aside, Miss, or you'll be arrested
for interfering with the police.

Oh, no. Hold on. I've seen TV.

I know you can't come in here
without a warrant or a writ.

Cease and Desist All Commerce order.
Seizure of Premises and Chattels.

Ban on the Use of Public Utilities
for Non-Licensed Waste Handlers

and a federal Entry and Inspection order.

Vinz, there's one more test
I'd like to perform.

[Janine] Egon.

I tried to stop them.
He says they have a warrant.

Excuse me, this is private property.

Shut this off. Shut these all off.

I'm warning you.

Turning off these machines
would be extremely hazardous.

I'll tell you what's hazardous.

You're facing federal prosecution

for a half-a-dozen
environmental violations.

Either you shut off these beams,
or we shut them off for you.

Try to understand, this is a high-voltage
laser containment system.

Simply turning it off would be
like dropping a bomb in the city.

Don't patronize me.

I'm not grotesquely stupid,
like the people you bilk.

At ease, Officer. I'm Peter Venkman.

I think there's been a misunderstanding
and I want to cooperate in any way I can.

Forget it, Venkman.
You had your chance to cooperate,

but you thought it'd be more fun
to insult me. Now it is my turn, wise-ass.

He wants to shut down
the protection grid, Peter.

You shut that thing down,

we're not gonna be held responsible
for whatever happens.

- You'll be responsible. Shut it off.
- No, we won't be held responsible.

Don't shut it off. I'm warning you.

Um, I've never seen anything like this.
I don't know-

Yeah, I'm not interested in your opinion.
Just shut it off.

[sighs]

My friend, don't be a jerk.

- Step aside.
- If he does that again, you can shoot him.

You do your job, pencil neck.
Don't tell me how to do mine.

- Thank you, Officer.
- Shut it off!

[panting]

[rumbling]

Oh, shit.

[rumbling continues]

Clear the building!

[people screaming]

[screaming continues]

Whoa!

- [Louis] This is it. This is the sign.
- [screaming]

[Janine] Yeah, it's a sign, all right.
We're going out of business.

[siren wailing]

Fire!

[person laughs]

[firefighter] Does it contain PCB
or tailings from styrene esters?

- [Egon] No.
- Any Polyfluoric groups?

- Put water on it.
- No water.

You got any kind of solvents or any kind
of concentrated sulfurs stored in there?

[people screaming]

[Ray] Holy shit! Come on!

Hold it. Hey.

Miss Melnitz
will explain everything to you.

[Janine] Officer, I-- I--

We got problems. Big trouble.

- What happened?
- Storage facility blew.

- He shut off the protection grid.
- Oh, great.

- That's bad, isn't it?
- Yeah.

Where's the Keymaster?

Oh, shit.

- Who's the Keymaster?
- Let's go. Come on.

[Walter] Hold it!
I want this man arrested!

These men are in criminal violation
of the Environmental Protection Act.

This explosion is a direct result of it.

And you turned off the power.

- Fascist!
- There was another guy here.

You have to find this man
and bring him back here.

He's a little guy
with a very determined look on his face.

- They're using drugs.
- Your mother--

- Hey! Hold it! Hold it!
- Keep you hands off me!

[all screaming, clamoring]

[screaming continues]

[thunderclap]

Columbia Building, 57th Street.
I'm in a hurry, so let's not dawdle.

[tires squealing]

[ghosts roaring]
- [all screaming]

[screaming continues]

[car horns honking]

Hey. guard!

Look, I want to make a phone call.

I just work with these guys.
I wasn't even there.

The structure of this roof cap
is exactly like the telemetry tracker

that NASA uses to identify
dead pulsars in deep space.

Cold-riveted girders
with cores of pure selenium.

Everybody getting this so far?

So what? I guess they don't
build them like they used to.

No. Nobody ever made them like this.

The architect was either
a certified genius or an authentic wacko.

Ray, pretend for a moment that
I don't know anything about metallurgy,

engineering or physics and just tell me
what the hell is going on.

You didn't study one word, did you?

The whole building
is a huge superconductive antenna

that was designed
and built expressly for the purpose

of pulling in
and concentrating spiritual turbulence.

Your girlfriend lives
in the corner penthouse of spook central.

She's not my girifriend.

I find her interesting because she's
a client and sleeps above her covers.

Four feet above her covers.
She barks, she drools, she claws.

It's a freak show with the girl.
Every night is Halloween.

You know girls like that? That's all.

It's just unusual.
I like to go hang out and watch.

It's not the girl, Peter,
it's the building.

Something terrible
is about to enter our world,

and this building is obviously the door.

The architect's name was lvo Shandor.

I found it in Tobin's Spirit Guide.

He was also a doctor.

Performed a lot of unnecessary surgery.

And then, in 1920,
he started a secret society.

Let me guess.

- Gozer worshippers.
- Right.

[Egon] After the First World War,

Shandor decided
that society was too sick to survive.

And he wasn't alone. He had close
to a thousand followers when he died.

They conducted rituals up on the roof.

Bizarre rituals intended to bring about
the end of the world.

And now it looks
like it may actually happen.

? So be good for goodness' sake, whoa ?

We have to get out of here. We've got
to get a judge or somebody immediately.

Hey, wait a minute. Hold it!

Are we actually gonna go
before a federal judge and say

that some moldy Babylonian god
is gonna drop in on Central Park West

and start tearing up the city?

Sumerian, not Babylonian.

Yeah, big difference.

[sighs] No offense,
but I gotta get my own lawyer.

Okay, Ghostbusters. Where are you?

The mayor wants to see you guys.
The whole island's going crazy. Let's go.

I gotta split. The mayor wants
to rap with me about some things.

[all clamoring]

[door opens]

I am the Keymaster.

I am the Gatekeeper.

[people screaming]

[car horn honks]

- Hey, get back. Stay back.
- Stay back.

- Stay back. Let's go. Stay back.
- Stay back.

[reporter] What are you gonna do
about all these ghosts?

- [officer] Stay back. Stay back.
- [reporter] What about all these ghosts?

I've got a city blowing up,
and you guys are not giving me answers.

We're blocking the bridges, the roads...

The Ghostbusters are here, Mr. Mayor.

The Ghostbusters. Okay, the Ghostbusters.

Hey, and where's this Peck?

Peck. I am Walter Peck, sir,
and I'm prepared to make a full report.

These men are consummate snowball artists.

They use sense and nerve gases
to induce hallucinations.

People think they're seeing ghosts,
and they call these bozos,

who conveniently show up to deal
with the problem

with a fake electronic light show.

Everything was fine with our system

until the power grid
was shut off by dickless here.

They caused an explosion.

Is this true?

Yes, it's true. This man has no dick.

- Whoa!
- Hey, wait a minute.

Hey, come on. Break this up. Break it up!

- All right.
- [Peter] That's what I heard.

[mayor] This is City Hall.

Now, what am I gonna do here, John?
What is this?

All I know is that was no light show
we saw this morning.

I've seen every form of combustion
known to man...

but this beats the hell out of me.

The walls in the 53rd Precinct
were bleeding. How do you explain that?

Good afternoon, gentlemen.

Oh, Your Eminence.

[sighs]

How are you, Lenny?

You're looking good, Mike.

We're in a real fix here.
What do you think I should do'?

Lenny, officially,
the church will not take any position

on the religious implications
of these, uh, phenomena.

However, since they've started,

people have been lining up
in every church in this city

to confess and take communion.

Yes,
we've even had to put on more priests.

Personally, Lenny,
I think it's a sign from God.

But don't quote me on that.

I think that's a smart move, Mike.

I'm not gonna call a press conference
and tell everyone to start praying.

[clears throat] Um...

I'm, uh, Winston Zeddemore, Your Honor.

Look, I've only been with the company
for a couple weeks,

but I gotta tell you,
these things are real.

Since I joined these men,
I have seen shit that'll turn you white.

You can believe Mr. Pecker.

My name is Peck.

Or you could accept the fact

that this city is headed
for a disaster of biblical proportions.

Biblical?
- What do you mean, "biblical"?

- What he means is Old Testament.
- Yes.

- Real wrath-of-God-type stuff.
- Exactly.

Fire and brimstone down from the sky.
Rivers and seas boiling.

Forty years of darkness!
Earthquakes! Volcanoes!

[Winston] The dead rising from the grave!

Human sacrifice! Dogs and cats
living together! Mass hysteria!

Enough! I get the point.

But what if you're wrong?

If I'm wrong, nothing happens.
We go to jail, peacefully, quietly.

We'll enjoy it.

But if I'm right,

and we can stop this thing...

Lenny...

you will have saved the lives
of millions of registered voters.

I don't believe you're seriously
considering listening to these men.

Get him out of here.

Bye.

I'll fix you, Venkman. I'm gonna fix you.

I'm gonna get you a nice fruit basket.

- I'm gonna miss him.
- [Walter] All right. All right.

We got work to do.
Now, what do you need from me?

Just let us kick some ghosts, will you?

[all shouting]

[mayor] I don't understand it.
Why here? Why now?

What goes around,
comes around, Your Honor.

That big lazy Susan of karma
just keeps spinning.

Sometimes you grab
the wrong end of the stick.

Maybe it's nature's way
of telling us to slow down,

hold back on the old pleasure throttles.

You have to admit, it is kinda humbling.

We're humble already.

I want you to take this.

What is it?

It's a souvenir from the World's Fair
at Flushing Meadow in 1964.

It's my lucky coin.

I shouldn't take it.
We might not be coming back.

Take it anyway. I got another one at home.

Janine. Didn't your mama ever tell you
not to get involved with no Ghostbuster?

Now go on home. Be gone.

Come on, let's run some red lights!

[sirens wailing]

Let's go! Let's go! Let's go!

[sirens wailing]

[all clamoring]

Repent! Repent! Repent!

Repent! The end is near!

Repent! Repent!

Repent! Repent!

[all cheering]

[cheering continues]

[siren wailing]

Hello, New York.
Yeah, we're the Ghostbusters.

Hello, everybody!

Dr. Ray Stantz, would you please?
The heart of the Ghostbusters.

- [chanting] Ghostbusters! Ghostbusters!
- Thank you.

They love you. They love you here.
Thank you for coming out. Where you from?

Hopefully we'll get out of here,
have a drink in a few minutes, huh?

Love you, folks! What an outfit!

The Ghostbusters. Come on!

Slam books, everybody.

Okay, whatever happens,
let's be professionals.

Let's get smart.

Let's hop on a plane right now

and go to Australia,
Indonesia until this blows over.

You know, you could have a bright future
with this company,

except for that attitude.

I was just this moment considering you
for a major promotion within the company,

and now I don't know.

Come on, guys.
Let's do this one and go home.

Right.

[crowd chanting] Ghostbusters!
Ghostbusters! Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!
Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!
Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!
Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!
Ghostbusters! Ghostbusters!

- Ghostbusters! Ghostbusters!
- [thunderclap]

Ghostbusters! Ghostbusters!

Looks like we might have to put
a little overtime in on this one.

Ghostbusters! Ghostbusters!

[all screaming, clamoring]

[Ray groaning]

What happened?

They killed-- Tried to-- Tried to kill us!

How's that, man?

- You're dead, man!
- It tried to kill us!

- You okay?
- No.

[Peter] It was a cheap shot.
You all saw it.

[crowd chanting] Ghostbusters!
Ghostbusters! Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!
Ghostbusters! Ghostbusters!

You're gonna wish
you never came to this city, pal!

- Yeah!
- You should've stayed in Jersey, buster!

- You all right?
- Yeah.

- You okay?
- Yeah.

Y'all wanna play rough?

- Yeah! Let's go!
- Let's get 'em!

- Come on!
- [all] Go!

[crowd cheering]

Twenty-two.

Is this it?

[Peter] Yep.

[groans]

Art deco. Very nice.

- Where is it?
- It's at the end of the hall.

[groans]

[thunder rumbling]

[thunderclap]

[thunder rumbling]

[wind howling]

Hey, where do these stairs go?

They go up.

Okay, go ahead. Come on. Go ahead.

Watch it. Go ahead.

Go ahead.

[thunderclap]

Wow.

[electricity crackling]

Dana.

[all shout]

[Peter] Okay, so she's a dog.

It's a girl.

- [Egon] It's Gozer.
- [Winston] I thought Gozer was a man.

- It's whatever it wants to be.
- Whatever it is, it's gotta get by us.

Right.

Go get her, Ray!

[terror dog growling]

[wind howling]

[Ray] Gozer the Gozerian?

Good evening.

As a duly designated representative
of the city, county and state of New York,

I order you to cease
any and all supernatural activity

and return forthwith
to your place of origin,

or to the nearest convenient
parallel dimension.

That oughta do it. Thanks very much, Ray.

Are you a god?

No.

Then...

die!

[all shouting]

[shouting continues]

[all grunting]

Ray, when someone asks you
if you're a god, you say, "Yes!"

All right. This chick is toast!

- Got your stick?
-[all] Holding it.

Heat them up!

- [all] Smoking!
- [hissing]

- Make them hard.
- [all] Ready!

Let's show this prehistoric bitch
how we do things downtown.

[snarling]

Throw it!

- Nimble little minx, isn't she?
- [Egon] We better go full stream.

Aim for the flattop!

Wasn't so hard.

We neutronized it.

You know what that means?
A complete particle reversal.

And we had the tools. We had the talent!

It's Miller time.

Ray, this looks extraordinarily bad.

- Oh, no.
- [Peter] What?

[rumbling], creaking]

[people shouting, screaming]

[Gozer] Sub-creatures.

Gozer the Gozerian,

Gozer the Destructor,

Volguus Zildrohar the Traveler has come.

Choose and perish.

"Jews and berries"? She talking to us?

I think that was "choose and perish".

Choose what?

What do you mean, "choose"?
We don't understand.

[Gozer] Choose.

Choose the form of the Destructor.

Oh, I get it. I get it. Oh, very cute.

Whatever we think of.
If we think of J. Edgar Hoover,

J. Edgar Hoover will appear
and destroy us, okay, so empty your heads.

- Okay.
- Empty your heads.

Don't think of anything.
We've only got one shot at this.

[Gozer] The choice is made.

Whoa, whoa, whoa!

[Gozer] Traveler has come!

Nobody choosed anything!

- Did you choose anything?
- No.

- Did you?
- My mind is totally blank.

I didn't choose anything!

I couldn't help it.

It just popped in there.

What? What just popped in there?

I-- I tried to think-

Look!

- No! It can't be.
- What is it?

- It can't be.
- What did you do, Ray?

Oh, shit.

It's the Stay Puft Marshmallow Man.

[tires screeching]

[car horns honking]

[people screaming]

Get outta here!

[screaming continues]

Well, there's something
you don't see every day.

He was on all the packages.

We used to roast Stay Puft marshmallows
by the fire at Camp Waconda.

[Peter] Ray has gone bye-bye, Egon.
What have you got left?

[Egon] Sorry, Venkman.

I'm terrified beyond the capacity
for rational thought.

[all screaming]

[Walter] Hey!

You! Come here! Come here!

Are the Ghostbusters up there?

- Yeah, on the roof!
- Are they up there?

- They're on the roof.
- Arrest them!

- You arrest them!
- I'm getting outta here!

No!

Nobody steps on a church in my town
and gets away with it.

Let's roast him! Roast him!

[protons packs firing]

[all screaming]

[grunting]

Funny, huh? Kind of a bad way to go out.

Killed by a 100-foot tall marshmallow man.

I have a radical idea.
The door swings both ways.

We could reverse the particle flow
through the gate.

[Ray] How?

We'll cross the streams.

Cross the streams.

There's definitely
a very slim chance we'll survive.

Jesus.

And wherever we go, whatever happens,
we'll be together.

Let's do it.

This job is definitely not worth
$11,500 a year.

See you on the other side, Ray.

[proton pack powers up]

Nice working with you, Dr. Venkman.

[proton pack powers up]

[grunts]

[grunts]

- Cross them all!
- Spengler!

[all shouting]

[explosion]

[all screaming, clamoring]

[explosion]

[Ray] Winston.

- Are you all right?
[Winston chuckles]

Yeah.

Yeah.

Venkman?

Spengler!

Venkman!

- Venkman!
- [Winston] Hey, Venkman!

[Ray] Spengler!

[Egon] Here!
[Ray] Oh!

- Venkman!
- Where's Venkman?

[Egon] I don't know.

Venkman!

- [Ray] Venky!
- [Peter] Yeah, where are you?

- [Ray] Oh, thank God.
[chuckles]

- You okay?
[Egon] I'm all right.

- You all right?
- I'm all right. You?

Yeah. You okay?

I'm fine.

Look!

[grunts]

[groans]

[Louis] Hello?

- Go check on that little guy.
- [Louis] Help!

[groaning]

What happened?

[groans]

[grunts]

Oh, where am I?

Oh.

Hi.

[Egon] You'll be all right.

Boy, the superintendent's gonna be pissed.

Are you okay?

Who are you guys?

We're the Ghostbusters.

Who does your taxes?

What happened?

Dana, it's you!

Louis?

Did-- Did you and I...

You know, did we...

No, Louis.

No.

[sighs]

[Ray] How about a cup of coffee?

I don't know. I'm sure that...

Hey, don't worry about it.
A million fishes in the sea.

You know, Mr. Tully,
you are a most fortunate individual.

[Louis] I know.

[Ray] You have been a participant

in the biggest inter-dimensional cross rip
since the Tunguska blast of 1909.

[Louis] Felt great.

[Egon] We'd like to get a sample
of your brain tissue.

[Louis] Okay.

I love this town!

[laughs]

[crowd cheering]

We're the Ghostbusters!

We're in the yellow pages!

[cheering continues]

- [Janine] Egon!
- Janine.

You're safe!

What's going on?

Does anybody want to interview me?

I'm an eyewitness. I was up there.

Where-- I wanna go with them in the car.
This is the full text transcript of everything that Joe Medjuck and Sheldon Kahn said while watching the film back in September 2021. The transcription was done using computer software reading the English SDH subtitle track from the Ultimate Collection set. IT HAS NOT BEEN CHECKED FOR ERRORS OR PROPERLY FORMATTED. IF YOU WOULD LIKE TO DO THAT, FEEL FREE TO E-MAIL ME.

Hi, my name is Joe Medjuck.

Along with the late Michael Gross,

I was the associate producer
of Ghostbusters.

And I'm here with the great Shelly Kahn.

And this was the first of many films
that Shelly cut for Ivan Reitman.

We worked together
for the next 30-plus years,

and we haven't seen this cut
for 38 years, I believe.

So I'm curious, Shelly,
where does this come from?

'Cause you were cutting on film.

Once you made a change, it was a new film.
So how do you have this?

[Kahn] When we put the film together,
completed the assembly,

I made a copy of the picture on a VCR,

and, uh, I kept it for reference
because this is the first cut.

This is my basic first cut.

A first cut is the day after you shoot,
I start to cut.

We see the film,

and the director and I talk about
the scene that he shot the day before,

which we're watching,

and I make notes on what
he liked and did not like

about what he shot the day before,
and I start cutting.

And this is that cut.

It's usually called the first cut
or the editor's cut or whatever.

But working with Ivan,
which was a wonderful experience for me

'cause it was my first experience
with Ivan,

is that he would come in during shooting

and sit down and look at the scene
I am working on or have cut

and make comments,
and then I would make the changes.

And so, like two weeks
after we finished shooting,

we could run the whole movie
and take a look at it,

and it had some of his advice
and, uh- and how I-

of how I put it together.

And we then previewed this cut.

This is the first cut,
and this is the cut that we previewed

in order to get an idea
if the audience is enjoying the picture,

what they like, what they don't like,
making notes about that

and making changes
dependent upon the audience that we had.

And the first audience we had
was like 300 people at Warner Brothers,

and they went crazy.

They loved the movie.

So we knew we were in good shape,
but we still had a lot of work to do,

especially since
there were no special effects in this cut,

as you're going to see.

[Medjuck] You may have thought
you saw a couple of special effects,

optical effects with the books crossing
and the cards blowing out.

But those, in fact, were done live,
practically, by Chuck Gaspar and Joe Day.

And they were done live.

We were shooting in the basement
of the Los Angeles Public Library.

The upstairs stuff is really
at the New York Public Library.

The downstairs stuff in the stacks
was the Los Angeles library.

So anything you see that looks
like a special effect is done live,

except for the scenes--

You'll see scenes in black and white.

And that means those were scenes

which the effects, Boss Film,
had not yet done the optical effects.

But, Shelly, my memory is,
and I can't believe this as I say it,

that we screened the film for an audience
three weeks after we finished shooting.

And when I tell people that,
I'm sort of embarrassed 'cause I think,

"That can't be true. That would be
the fastest screening in history".

[Kahn] This was the fastest screening
in history.

And it was two or three weeks
after we finished shooting.

Uh, we wanted to get more information

from the audiences,

uh, as to what they like
and did not like about the picture

so that we could work
on those particular scenes.

[Medjuck] And because the film
had no special effects ready yet,

it meant that we were gonna see
how characterization and humor worked.

And obviously like in a scene like this,
it was working.

I remember I got to the screening room,
which was on the Burbank Studios lot,

and we used a large screening room there,
as Shelly said,

and we got a very raucous crowd.

And Ivan arrived after me,

and I turned to him and said,
"We got a real live audience".

I said, "if they like the movie,
we're gonna know.

If they don't like it,
they're going to kill us".

[chuckles] I said, "They're very active,
and they loved it".

[Kahn] Absolutely.

They did everything
but pull the chairs out of the sockets

of the small theater
that we used that night.

And we were so happy
because we were nervous.

We did not know
how audiences would respond to the film.

[Medjuck] And I also think that
this was shot at Columbia.

By the way, the university
is never described as Columbia

because we weren't allowed to,
by our contract,

though they now brag about the fact
that we shot there.

But this was a cover set,
and we were going so fast.

And that's another reason
it's amazing Shelly got this done so fast,

because we were on fire.

Ivan was really in the zone.
The guys were great.

And we had a couple of days
in case it rained.

We had a couple of sets set up,

and then I guess we thought we'd stay
a couple of extra days in New York.

But, instead, we were going so fast,

we used up the cover set
and returned to Los Angeles.

Spengler and I have charted and tracked
each and every reported psychic encounter

in the tristate area
for the past two years.

Now the graph we've developed definitely
points to a big upcoming occurrence.

Ray, as a friend, I have to tell you

you've finally gone around the bend
on this ghost business.

You guys have been running your ass off

meeting and greeting every schizo
in the five boroughs

who says he has a paranormal
experience. What have you seen?

What do you mean "seen"?

Looked at with your eyes.

[Medjuck] We always thought
this was the funniest line.

We'd always laugh.

It never got a laugh in screenings.

That line is no longer in the movie.

All the time we were shooting,

we would go around saying,
"Looked at with your eyes",

and it's not in the final cut
of the movie.

- Oh, you're here.
- What have you got?

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

Egon, this reminds me

of the time you tried to drill a hole
through your head. Remember?

Would've worked if you hadn't stopped me.

I'm Roger Delacone.
Are you the men from the university?

Yes. I'm Dr. Venkman. Dr. Stantz. Egon.

Thank you for coming. I hope
we can clear this up quickly and quietly.

Let's not rush things.

We don't even know what you have yet.

I don't remember seeing any legs

but it definitely had arms,
because it reached out for me.

Arms? I can't wait
to get a look at this thing.

[Medjuck]
This is also the New York Public Library.

We were shooting before they opened.

We were supposed
to spend two days doing it.

It was going so well,
Ivan turned to me and said,

"Get me more time.
I can finish all this in one day".

I'd call that a big yes.

Uh, are you habitually using drugs,
stimulants, alcohol?

- No.
- No, no. Just asking.

[Kahn] This is a scene, as I recall, we cut down

because it was just too much dialogue.

But it works.

Back off, man. I'm a scientist.

Kept that line, of course.

Ray, it's moving. Come on.

Now you'll see how the guys have to react
when there's nothing there.

[Kahn] And I must say,

the audience understood everything
that wasn't there.

- When the guys shoot the proton pack guns...
- [Medjuck] Yeah.

...nothing came out
because that was months and months later

that we finally got that material.

[Medjuck] This was Ivan's idea
on the way to the set.

Ivan had this idea. He came and said,
"Let's have a pile of books".

And I would say, "Hey, vertical stacking".

You're right. No human being
would stack books like this.

- Listen!
[instrument warbling]

Did you add the sound effect, Shelly?

[Kahn] I did, yes.

What you're hearing is stuff that I found,
sound effects I found and threw in

just so that we had some reference
to what, you know, they were doing.

Talk about telekinetic activity.
Look at this mess.

[Medjuck] I think you added
some closeups here later, in later cuts.

Venkman, get a sample of this.

It's the real thing.

Somebody blows their nose,
and you wanna keep it?

I'd like to analyze it.

[Ray] There's more over here.

[Egon] I'm getting stronger readings here.

Oh, God.

Oh.

This way.

Come on.

[Medjuck] It's amazing how close it is
to the final film so far.

This happen to you before?

Huh. First time?

[Medjuck] Although the reason
the title was done is they'd done it

for the trailer.

So that was one optical
you'd claim was done.

[Kahn] Right.

[Medjuck] And here,
you'll soon go to black and white,

which means it's a scene
we sent to Boss Films,

Richard Edlund and his crew,
to put a ghost into.

So, what do we do?

[Kahn] And the head of Boss Films
was a man by the name of Richard Edlund.

[Medjuck] Yes.

[Kahn] And he told me, "Less is more".

[Medjuck chuckles]

[Kahn] ...meaning that don't make the shots

with the optical effects too long

because each frame costs a fortune.

So be very careful and very, uh, whatever

with how you cut the film
and how much of the effect you put in.

Right now, we're over the shoulder
of the ghost to the boys.

Where are you from? Originally.

This is Bill's point of view.

All right. Okay.

The usual stuff isn't working.

Okay, I have a plan.

I know exactly what to do.

Now, follow me.

Come on. Stay close.

Now, you're over the shoulder
of the boys to the ghost.

[Medjuck] Yeah.

So, do you have storyboards for that?

- Did you know that's what-
-[Kahn] I did not.

You may have had them on the set,
but I didn't have them.

[Medjuck] I don't think you did have them,
but the Boss Film guys were there,

so they were telling us, you know,
how their shot would work.

What did you see?

That was your whole plan. Get her.

[Medjuck] You'd already started
overlapping the dialogue, I see.

- [Khan chuckles]
- The scene before.

So, did you send Ivan videotape...

- [Kahn] No.
- ...when he was in New York?

[Kahn] I don't believe so.

I came one time to New York

when you were a couple of weeks
into shooting,

and I brought some videotape

of what I was cutting,
and he would comment on that.

[Medjuck] How would you do the videotape,
just film your flatbed editor?

[Kahn] Uh, I would take it down
to the camera department,

and they would do it...

-[Medjuck] They would do a video for it.
-...at Warner Brothers.

[Kahn] They would make my videos, right.

If we could actually
catch a ghost and hold it,

I might win a Nobel Prize.

Don't say hello, Lesley.

- This is cut out of the picture, I think.
- [Medjuck] Yeah, it's funny.

[Kahn] I don't remember
this scene anymore.

This particular part of the scene.

If it weren't for me,
you never would have met!

But the movie, uh, was probably,

uh, over two hours long,

and we knew it was too long
for this kind of film.

And we cut things down and cut things out,
which I will talk about.

[Medjuck] We cut some good stuff.

- That was funny.
- [Kahn] What can I tell ya?

I trust you're moving us
to better quarters on campus.

No, you're being moved off campus.

The Board of Regents
has decided to terminate your grant.

You are to vacate
these premises immediately.

This is preposterous.
I demand an explanation.

Fine. This university will
no longer continue

any funding of any kind
for your group's activities.

- [Kahn] Love this guy.
- [Medjuck] Yeah.

[Kahn] He was perfect.

Dr. Venkman, we believe the purpose
of science is to serve mankind.

[Medjuck] This guy has headphones on,
and we added a song very quietly,

which we then put
on the soundtrack record.

Because in those days, you had
to actually have the song in the movie

to have it in the soundtrack record.

You are a poor scientist, Dr. Venkman.

I see.

And you have no place
in this department or in this university.

Does that include Dr. Stantz and me?

[Kahn] You may notice that there's,
so far, been like no music in the picture.

That's because
it hadn't been composed yet.

The composer had not even seen
the picture up to this point.

And I think we invited him
to the screening,

and that's the first time he saw the--

[Medjuck]
That was Elmer Bernstein, of course.

[Kahn] Correct.

- The famous Elmer Bernstein.
- [Medjuck] The great Elmer Bernstein.

It could've been worse, Dr. Venkman.

They took the astronomer Phileas
and staked his head to the town gate.

[Kahn]
In order to get this cut this fast, Joe,

we worked from like 8:30
in the morning until midnight,

1:00 in the morning many, many nights.

Real long hours because I knew that
we had to cut this as fast as possible

because we had
a very short postproduction schedule.

And, luckily, a lot of the material
was shot at the studio.

They were on sets,

so during a change of a set
or a lighting change,

which would take 30, 40 minutes,

Ivan would run up to the editing room,
and we would discuss,

and he'd look at what I cut
and make suggestions,

and we would make those changes.

So this first cut contained
a lot of material

that Ivan had looked at with me
and made changes with me.

And that's why we were able to,
two or three weeks after shooting,

run the thing for the audience.

[Medjuck] So did we screen it
with no temp track?

It works well. I'm watching it.

I'm shocked how well it works
with no temp track, with no music track.

[Kahn] Right, right.

[Medjuck] This was shot the same day
we shot the library sequence in New York.

I remember Laszlo complained,

"It's gonna look terrible.
It's too late in the day".

We'd started about 6:00 in the morning
shooting in the library,

and late in the afternoon,

we went outside and just down the street
and shot this scene.

You'll notice it's all one take.

So you can't brag
about the editing in this, Shelly.

- [both chuckle]
- [Kahn] That was my best editing.

[Medjuck] Yeah.
But you got to choose the take.

Here we are, the famous--

Uh, the outside is New York.
The downstairs is in Los Angeles.

They're in the same style,
the two firehouses.

They're both real firehouses.

[Kahn] And when this was shot,

we weren't sure if the movie
was gonna be called Ghostbusters.

[Medjuck] Right.

[Kahn] Somebody else had that title,

and we were trying
to get the title cleared for us also.

And we had the sign
outside the building in New York.

We had one that said, "Ghostbusters,"
and one that said...

- [Medjuck] "Ghostbreakers".
- ..."Ghostbreakers".

[Medjuck] Yeah, and after the big scenes--

'Cause we shot all
the end of the movie in New York.

So, fairly early in the schedule,

I phoned the studio and said,
"We can't do this.

We have hundreds of extras
out here yelling, 'Ghostbusters.'

- I can't do it twice".
-[Kahn] Right.

[Medjuck] "You have to clear
the rights to this".

And Frank Price, you know,
who had been head of Columbia,

and then moved to Universal,

where he was able to arrange for us
to get the rights to use the title.

Ghostbusters.

Well, this place is perfect for it.

Yeah, so I think by the time--
Again, black and white, it means--

What would be the special effect here?

- Oh, John DeCuir added a gargoyle.
- [Kahn] Gargoyles on the building.

[Medjuck] Yes, I'm sorry.

John DeCuir added some real gargoyles
in some places,

but the special effects guys added
a gargoyle to the top of the building.

And enter Sigourney Weaver in New York.

[Kahn] And there's no music.

- I can hear the music.
- [Medjuck] Me too.

- I'm so used to seeing it with the music.
- [Kahn] Right.

[Medjuck] But it's amazing.

I mean, the music's wonderful,
but it's amazing how well it works.

And here comes Rick Moranis.
This is all on the set.

We built the hallway.
We built the room for Sigourney.

I always thought Dana couldn't afford
this apartment as a violinist,

but what the heck.

- Got a great workout.
- Good.

You want to come in for a mineral water?

I'd like to, Louis,
but I have a rehearsal.

No sweat. I'll take a rain check.

[Kahn] You sure she doesn't have
a machine gun in that case?

- But you already know that.
- I know that.

Listen, that reminds me,
I'm having a party for my clients.

My fourth anniversary as an accountant.

Even though you do your own tax return,
which you shouldn't,

I'd like you to stop by,
since you're my neighbor.

Now, the effect you're about to see

with Sigourney, with the eggs
and all that kind of stuff,

they were done on the set--

they're not special effects-

that were created by Richard Edlund
and his company.

...so I turned up my TV real loud too

- so everyone would think...
- Bye, Louis.

[Medjuck]
This is why it will all be in color.

- I think.
- [Kahn] Right. It should be in color.

[Medjuck] I think we added
maybe some light,

but I think it was even real light
behind the kitchen door.

[Kahn] Now, the only thing
that you'll see black and white coming up

is when she opens the refrigerator door-

[Medjuck] Right, you'll see what it says.
It's funny.

[Kahn] And you'll see what it says there
because we didn't have the shot.

And I want you to know when she opens
the refrigerator door and screams,

the first audience that saw the picture,
they screamed,

and I have no idea
what was in their imagination

of what they thought was
in the refrigerator,

but we never could make it better
than what their imagination saw.

[Medjuck] I think it was because
they thought it was funny

that it said, you know, what it says,
and that also we build up to it.

It's such a buildup, the way
the camera moves in and everything.

But this, of course, by the way,
was before the days of CGI,

so the optical effects are opticals.

They're done in cameras,

you know, at the special effects house
with double exposures and things.

We couldn't do anything after the fact,
but this was done live.

This was going on
on the set with special equipment

that our practical special effects
team had worked out.

So Sigourney is reacting
to something really happening.

[Kahn] Right.

[Medjuck] And Ivan did a great job.

You've got the steam coming up before her,

and she turns to the fridge.

[Kahn] Wait till you see what she sees
in the fridge. Oh, my God.

[chuckles]

[Medjuck]
I wonder why this was in black and-

Oh. Oh, oh.
What-- I think we had a scene missing.

- [Kahn] We did.
- Yeah, a slug in it.

[Kahn] It said, "Scene missing".

You don't think it's too subtle?

You don't think people
are gonna drive down...

- So that sign, "Ghostbusters"...
- [Medjuck] Yeah.

...we also did a take with "Ghostbreakers".
The sign saying, "Ghostbreakers".

[Medjuck] We said,
"We can't keep doing this".

And this is an elaborate shot
to do that with.

You can't park that here!

Here's the Ectomobile
before it's been painted.

Everybody can relax, I found the car.

How much?

Only 1,400.

Needs some suspension work, new shocks...

drivetrain, transmission, brake pads,
brake linings, steering box.

- It's got tires, though, doesn't it?
- Four of 'em.

[Kahn] Joe, I think you guys
only spent ten days in New York shooting.

[Medjuck] No, it was longer than that.

We went twice, actually,
'cause we cheated.

We did some- We went for
what was supposed to be a scout,

and we did some shooting
with Rick Moranis.

[Kahn] Right.

That was the first things you shot.

- [Medjuck] Yeah.
- [Kahn] Right. I remember cutting.

That was the Rick Moranis stuff
with the horse and all that kind of stuff.

[Medjuck] Bill wasn't even in town then,

- I don't think.
- [Kahn] No.

[Medjuck] Bill wasn't even
in the country then, I think.

[Kahn] He was in India.

[Medjuck] We were supposedly just doing
some crowd scenes and some scouting,

and we said, "Let's shoot".

[Medjuck chuckles]
- You're very handy. I can tell.

I bet you like to read a lot too.

Print is dead.

That's very fascinating to me.
I read a lot myself.

Some people think I'm too intellectual,

but it's a fabulous way
to spend your spare time.

I also play racquetball.
Do you have any hobbies?

I collect spores, molds and fungus.

[Medjuck] This is a famous line,

which I think is revived in Afterlife,

or referenced in Afterlife.

Hello?

All this was shot not on the set.

All this was shot in downtown Los Angeles.

[Kahn] At a fire station, wasn't it?

[Medjuck] Well, an abandoned fire station.

[Kahn] Right, an abandoned fire station.

Excuse me. Is this-
This is the Ghostbusters' office?

Yes, it is. Can I help you?

[Medjuck] Shelly, so far, I can't get over
how much of this is in the final film.

[Kahn] Well, that's because Ivan
and I worked hours together.

That's why we worked so late at night.

You'd finish shooting at 7:00,
and Ivan would sit with me,

and we would sit and talk
and make changes,

so that the first cut was a combination
of the editor's cut

and some of the material
that Ivan wanted changed

and that kind of thing.

[Medjuck] Now, in an editor's cut,

do you put in everything
so that the director can see it,

even though it might--

Normally, if the director wasn't working
with you during it--

even if you didn't think
it's that good or that necessary?

[Kahn] A lot of times, yes.

On this particular movie,
I knew we were on a very tight schedule,

so I tried to make the first cut

as close to what I thought
the finished cut would be.

Certain scenes we took out,
and all that kind of thing,

that I knew that weren't working.

But, uh...

[Medjuck] Yeah, there were some scenes
that never even made this cut.

I remember that there were
a couple of scenes we shot

that don't even show up
in this very first cut.

[Kahn] That's because Ivan and I
during dailies...

[Medjuck] Had seen them, yeah.

[Kahn] I remember saying to Ivan,
"This will never make the movie,"

and him agreeing with me,
and I never cut it for the movie.

I'll take Miss Barrett back
to her apartment and check her out.

It's the two bums in Central Park...

[Medjuck] And the hotel scene
I don't think is in this.

[Kahn] The hotel scene, by the way,
yes, I cut that.

- [Medjuck] Oh.
- [Kahn] But when I saw it,

it wasn't with Bill and the boys
and our main stars

and just was too long,

and, between you and me,
stopped the movie.

[Medjuck] Yeah. Did, um--

How much would be the normal time
you would have for editing a movie

from the end of shooting
till the movie was looked?

- [Kahn] Six months.
- Six months.

So we finished this in February,
and the movie came out in early June.

[Kahn] Correct.

[Medjuck] So you had like more than,

you know, a month and a half
or so less than normal.

Which was driving
the special effects guys crazy,

'cause this was really fast
for a special effects movie.

[Kahn] Well, to be honest with you,
as Ivan shot, uh...

we would cut the special effects shots
first as he shot them

so we could get them to Richard Edlund
as fast as possible.

And again, as I said,

uh, I made the shots
as short as I thought possible

because less is more,

and, uh, tried to get them
as close as possible

to what would be the final images
in the movie.

- [Medjuck] Did--
- [Kahn] Now, on a normal movie, uh,

it's not necessarily the way
you would work,

trying to get the effects shots first,
especially if they have time,

so that you can see
how it really evolves in the movie.

Uh, but in this case,

we had to guess exactly what was going on,
and how long the shots should be.

[Medjuck] And you cut this
on a flatbed editor, right?

You used them
before most people in Hollywood.

[Kahn] Right. It was called a KEM,
K-E-M, flatbed editor,

which was great

because the old Moviola would have taken
twice as long to cut as the flatbed.

And you could see the picture
like a big television screen

instead of the small, tiny thing
that you have on a Moviola.

[Medjuck] But many people were still
using Moviolas, weren't they, in 1983?

[Kahn] Absolutely.

- Most people were using Moviolas.
- [Medjuck] That's what I thought.

I mean, one of the things
Ivan really liked about you

was he'd been used to working
on a flatbed editor in Canada,

and so many editors in this

were still using Moviolas here.

And speaking of Moviola, Steven Spielberg,
I don't know if he still does,

but for a long time,
continued to edit on them.

And his editor, Michael Kahn-

What is your relationship to Michael Kahn?

[Kahn] We are very good friends.

And everyone thinks that we're brothers,
and we let it go.

- [Medjuck laughs]
- Okay, we're brothers.

You know, his last name is spelled
exactly like mine,

and we laugh at the fact
that people sometimes confuse us,

that's all, thinking that I cut
the Steven Spielberg pictures,

and he cut Ivan's pictures.

But that's okay. We're fine with that.

[Medjuck] And I should say that

Shelly, by the way, kept busy between
Ghostbusters I and Ghostbusters II.

He edited Out of Africa,
amongst other things.

I'm the chairman of the largest
paranormal removal company in America.

[Kahn]
Well, before I started working with Ivan,

I was working with Sydney Pollack,
Howard Zieff and Robert Mulligan,

three very fine directors.

And when I started,
after we finished Ghostbusters,

Ivan wanted me
to become part of the company.

And I thought about it for a while,
and I said, "Okay, fine".

And then when Sydney did Out of Africa,
we had some downtime.

So I went and helped him on that picture,
as you mentioned.

Yes, we both have the same problem. You.

The relationship between a film editor
and a director is very, very close.

It's sort of like man and wife
because when you're on the set,

there are 50 to 60 people asking
the director questions

and trying to get what their department
has to do and all that kind of thing.

But when you funnel down
to the editing room after shooting,

it's the editor and the director.

- I'll solve your problem.
- Thank you.

Then you'll think, "Pete Venkman,
he can get things done".

Right.

- "I wonder what makes him tick".
- I wonder.

"I wonder if Pete would be interested
in knowing what makes me tick".

Yes.

I'll bet you're gonna be thinking
about me after I'm gone.

And I must say

that the relationship between Ivan and I
was honestly like brothers.

We really enjoyed what we did and had
a lot of fun putting the picture together,

and were scared to death not knowing
how audiences would react to it

when we were putting it together.

But we knew we had something good
but had no idea how good

or how it would be conceived by audiences.

Or how it would be conceived by audiences.

- [Medjuck] Yeah.
Received, rather.

[Medjuck]
We were very confident in the movie,

but we didn't know
it would be as big as it was.

By the way, there were a lot of skeptics
at the time who said, you know,

"You can't make a big budget,
comedy, special effects movie".

Um, they don't tend to turn out well.

But we had faith in the guys,
and the studio did.

To be honest,
the studio was very supportive.

You know, you hear lots of stories about...

you know, studios interfering
and trying to change things.

Frank Price and the people working
with him were just completely supportive,

left us alone and helped us
whenever we needed help.

And, you know,
we've had other experiences, but...

We got one!

The famous, "We got one".

[bell ringing]

It's a call!

[shouting]

Come on!

[Peter warbling]

[Medjuck] We actually bought--

We actually had someone do a song
to be called "Ghostbusters".

Phil Ramone, the great producer
in New York, got the song for us...

[siren wailing]

...and we used part of it in the trailer,
in an early teaser trailer.

Otherwise, it's never been used.

People online have found it.

This is the Sedgewick Hotel,

which is really the Biltmore
where we shot many, many films.

A lot of Dave was shot here.

Um...

Ghostbusters.

They're very used to people shooting
films, being in downtown Los Angeles.

And it's a great floor to shoot on.

It's a flat floor. We could put a dolly
on it and move it really well.

...knows about the 12th floor.

- The disturbances, I mean.
- Yeah.

But it's been quiet for years
up until two weeks ago.

It was never, ever this bad, though.

Did you ever report it to anyone?

- No. Heavens, no.
- No. Are you kidding?

[Kahn] Now, you will notice that,
coming up soon,

that Bill Murray meets
one of the ghosts, Slimer.

[Medjuck] Yes.

[Kahn] And Danny asks him what happened,
and he said, "I was slimed".

Well, Bill also said two
or three other lines.

We didn't know what was funny,
"I was gummed," "I was slimed,"

and one or two others.

So what we did is we...

Each preview that we had of the picture,

we'd change the line to see
which was funniest to the audience,

and "I was slimed" ended up being
the funniest line,

and that's why it's in the picture.

And then later in this scene
when they capture the ghost,

and they come out of the catering room,

Bill Murray says,
"We came, we saw, we kicked its ass".

He also opened the door,
came out of the door

and said two or three
other different lines.

[Medjuck] He said about eight, actually.

My memory is Ivan just kept saying,
"Go back in. Say something else".

You know, so the one he finally says
wasn't the first one either.

[Kahn] Right.

[Medjuck] And they were great together.
They would all work on the line.

It wasn't like Bill would work by himself.

Danny and Harold would work with him.

Rick Moranis said that,
that it was wonderful.

So you can see part of this was practical.
There were explosions going off.

But Rick commented on that,
how everyone was--

You know, they were all used to
The Second City kind of comedy

where you help each other,
you feed lines to each other,

you set each other up.

Successful test.

I guess so.

I think we'd better split up.

- Good idea.
- Yeah. We can do more damage that way.

And I think we actually did this
with the explosions at the Biltmore,

which is crazy, as I think about it.

- [Khan chuckles] But it worked.
- [Medjuck] What were we thinking?

And by the way,

your picking "I was slimed"
is why Slimer became known as Slimer.

He wasn't called Slimer originally.

I always point out how
you can see the difference in society.

The Ghostbusters smoke
all through the Ghostbusters I.

By Ghostbusters II,
they aren't smoking anymore.

So that's the shot
where Danny sees the ghost.

[Kahn] Right.

[Medjuck] The ghost that I think we were
actually calling Potato Head at that time

or Onion Head
before we started calling him Slimer.

Slimer really started
with The Real Ghostbusters TV show.

You can see there were real lights--

[Kahn] This is black and white because-

- [Medjuck] And you can see there's no--
- The stream-

[Medjuck]
And there were real lights on the guns.

[instrument warbling]

[Medjuck] So, as I was saying,
when he comes out of the catering room,

he says three or four different lines,
I don't remember.

And we previewed each one
that we thought was funny to see, again,

which line the audience laughed at most,
and that's what we used.

It's looking at me.

Ugly little spud, isn't it?

[Medjuck] Now, remind you again,
we've said this a lot,

this is what we screened for an audience.

So, they don't see Slimer.
They don't see anything.

They only see the reactions.

Like, they saw just that,

the black-and-white shot
and then these color shots.

But they, so far, have not seen
one optical special effect.

Venkman!

There were a lot of them in the movie.
They're all to come.

[Kahn] And they loved it,

because I don't know
what it was in their imagination,

but they loved
what was going on on the screen,

even though they couldn't see it.

[Medjuck]
Well, and the guys' reactions are so good.

[Kahn] Let's see what he says here.

Spengler! I'm with Venkman.

He got slimed!

"He got slimed".

Here, we use slimed,
which was in the first version.

We thought that was the funniest line,

but we wanted to make sure
with the audience.

Okay, sir. If you and your staff
could please wait out here,

we'll take care of everything.

Uh, we see the ghost eating,
and he's up on the chandelier,

but he's not there in this particular cut

because of the fact
that it's a special effect.

All right, boys. Ready?

Throw it!

I did that. I did that. That's my fault.

It's okay. The table broke the fall.

- Well, they can fix it.
- Right.

There's something very important
I forgot to tell you.

- What?
- Don't cross the streams.

[Khan chuckles]

- Why?
- It would be bad.

I'm fuzzy on the good-bad thing.
What do you mean, "bad"?

Try to imagine all life as you know it
stopping instantaneously

and every molecule in your body
exploding at the speed of light.

Total protonic reversal.

Right, that's bad.

Okay, important safety tip. Thanks, Egon.

All right, Ray, take the left.

[Medjuck] As much as we talk about,
you know, lines that were changed,

and they tried different things,
most of this is in the script.

It really does follow the script.

Um, the guys, Danny and Harold,
worked on the script all summer

before we started shooting.

And most of the lines, great lines
like that, had been worked out.

You know, they weren't just guys
getting together and making lines up.

Okay, okay. Hold it, hold it, hold it!

And you can see
as well as the optical effects,

we had some practical effects
like sparks and fire going all the time.

I need some room to put the trap down.
Give me room.

If you'll excuse me, please.

[Kahn] A funny thing to me
about this scene is that

when they capture the ghost,

at one point, Bill Murray says,
"Nudge it a little more to the left,"

meaning the gun kind of thing.

And where he got that expression is
in the editing room

when he'd come up and work with me,
he would like what I cut,

and I'd say, "No, no.
I want to nudge it a little bit more".

And I'd always tell him,
"Let me nudge it. I wanna nudge it".

So he went back to the set
during this scene,

and he used that line with Bill Murray.

Unfortunately, we thought
it was going to be a very funny line,

and the audience never laughed at it,
so we cut it out.

[Medjuck] Yeah, it was like,
"Looked at with my eyes".

"What do you mean seen?"
"Looked at with eyes".

[Kahn] Again, this is black and white
because in the finished movie,

there are certain effects going on.

[Medjuck] I think there's steam coming--

what looks like, you know,
ecto coming out of it or something.

I want that door open now! Hurry!

Donald, stand over there.

We had some fun, but we gotta go.
It's all taken care of.

- See?
- [Kahn] You see?

That's a different line
than what's in the movie.

[Medjuck] Yeah.

What is it?
Will there be any more of them?

Sir, what you had there
was what we refer to as

a focused non-terminal repeating phantasm,
or a class-five full-roaming vapor.

Was a real nasty one too.

So nasty. It's the only reason
we're charging you.

For the entrapment, we're gonna have
to ask you for four big ones, $4,000.

But we are having a special this week
on proton charging

and storage of the beast.

That's only gonna come
to $1,000, fortunately.

$5,000? That's too much. I won't pay it.

That's all right.
We can just put it back in there.

We certainly can, Dr. Venkman.

No!

All right! Anything.

Thanks so much.

Thank you. Hope we can help you again.

Coming through!
One class-five free-roaming vapor.

[Kahn] And you notice we cut out the scene

with the man and woman
in the apartment in this version,

'cause we knew it wasn't working.

[Medjuck] It was a scene we'd shot
but which never ended up in the movie.

- [Kahn] Right.
- There was about three scenes we shot

that never end up in the movie,
three sequences.

[Kahn] And there are other sequences
that we'd cut down into a montage.

[Medjuck] Yeah.

Most of the montage was
the one you're about to see.

That could be proof enough.

Are you saying
that ghosts really do exist?

Absolutely.

Not only do they exist- Are you rolling?

Not only do they exist,
but they are everywhere.

That is why we are providing this service
to all the people...

[Kahn] We cut this scene down too.
I don't know if this dialogue is

-in the picture.
-[Medjuck] I don't remember this in it.

I remember this part.

We are ready for everything.

We have the tools. We have the talent.

We are the brave, the best, the only...

Ghostbusters!
Ghostbusters!

Morning, I'm Roger Grimsby.

And this, of course,
is where you expect to hear the song,

- which hadn't been written yet.
- [Kahn chuckles]

[Medjuck]
Ray Parker's song had not been written.

We'd shot everything
on the TV screen before,

so it wasn't an optical to put it in.

We could just play it back.

...out of the closet.

Report from New York.

Thank you, Roger.

Everybody has heard ghost stories
around the campfire.

Heck, my grandma used to spin yarns
about a spectral locomotive

that she claimed would rocket past
the farm where she grew up.

But now, as if some unforeseen authority...

[Medjuck] Most of this with the Ectomobile
was all shot in one day.

We'd been on the street
on Central Park West the night before,

and then we were again that night.

But we woke up around 10:00
and went out and did all this shooting.

And one day,
Danny was driving the Ectomobile.

We had a follow car, and that was it.

This is a different montage.

You reshot the montage a lot,
recut the montage after this, Shelly.

- [Kahn] Right.
- I remember.

[Kahn] Well, the one thing,
if I'm not mistaken,

is that Mike Gross had
these magazine covers...

[Medjuck] Yeah, that we put in this too.

[Kahn] ...that I saw.

And what I did actually is--

[Medjuck] Here's a big scene
that we cut out eventually.

This was quite funny.

[Kahn] It's cute, but audiences
didn't laugh that much at the scene,

- so we said, "Goodbye".
- [Medjuck] Yeah.

I think we shot this
before Bill even arrived

or maybe it was the day
Bill arrived in town, I remember.

[Kahn] But, as I was saying,

we had these fake covers
of different magazines,

and I saw them on his desk and I said,
"I wanna photograph them".

So I took it to Pacific Title.

They photographed it, and I said--

I then decided
I'm going to put them into this montage,

and use that as the glue of the montage.

- [Medjuck] Right.
- It'll start with a photo.

A photo will go across the screen,

and then you'll see a little bit
of action, of the boys,

and then another photo, and--

[Medjuck] I can see
why you cut doing this twice.

[chuckles] You no longer have
this twice in the movie.

- [Kahn] Right, it's just too much.
- I think the girl coming out is in.

This was a shot done later
after we'd left New York.

I remember Peter Giuliano, our AD,
got this shot done,

and then the car broke down. [chuckles]

[Kahn] I, as an editor,
looking at the scene,

it's way too long for a montage.

[Medjuck] I can see why you cut it.
I can't believe we screened it with this.

That's me. There I am.
I finally made the movie.

I'm the guy looking at Harold.

[Kahn] At least most of your back
made the movie.

[Medjuck]
I got to turn around a little bit.

[Kahn] Yeah.

This isn't in the movie either...

- [Medjuck] I think you're right.
- ...whatever it is.

[Medjuck] I think there's
another shot of them. Yeah.

That's taken from the other scene--

[Kahn] Again, trying to use all of
the material that was shot, you know?

And we used it, and then we said,
"Wait, that's too long,

and we gotta find a way to, uh,
make it work".

And we did.

I think what Dr. Spengler said

in his interview
with you last night was true.

The world is in for a "psychic shock".

'Cause my aunt...

- And again, this is too long with her.
-[Medjuck] This is not in the movie.

And here comes Ernie Hudson.

[Janine] Ghostbusters. Please hold.

Ghostbusters. Hold please.

[Medjuck] Do you have any memory
of how long this cut is?

[Kahn] This cut is just under two hours.

[Medjuck] And what's the final movie,
do you remember?

[Kahn] The final movie is
a little bit less, not a lot less.

[Medjuck] No, it's extraordinary to me
how close this is to the final movie.

[Kahn] Joe, that's called good editing.

[Medjuck] Yeah.

[Kahn chuckles]

Yeah.

I'm sorry. We're totally booked till then.

All I can suggest to you
is that you just stay out of your house

until we can get to you.

Uh-huh. Yes, thank you.

Ghostbusters. Sorry to make you wait.

Um, excuse me.

The ad in the paper,
it just says, "Help wanted".

What's the job?

I really don't know, Mr. Zeddemore.

[Kahn] I would also like to mention
to anyone that's watching this

that the amount of material
that was shot for this movie

was 250,000 feet of film.

And that's what I had to go through
in order to build the whole picture.

And what you see in the movie theater,

a two-hour version of a movie,
that's 10,000 feet.

So, 240,000 feet of film is never seen.

Most of it is more takes
of the same people saying lines

or changing the lines kind of thing.

But we pare it down, finally,
from 250,000 to 10,000 feet.

Here's tonight's worksheet.

Great. Two more free repeaters.

[Medjuck] That's a shooting ratio,
as they used to say, of 25-to-1.

- [Kahn] Right.
- Which is probably--

Now, is that standard for a movie,
or do you think that's high?

[Kahn] Well, I must tell you that,
on certain other movies that I've done,

I've had as much as
a million feet of film...

[Medjuck] Wow.

...to pare down to 10,000 feet,
or two hours.

[Medjuck] That'll be a shooting ratio
of 100-to-1.

[Kahn] Right.

[Ray] Insert the trap.

Release.

[Medjuck] One of the things
I just remembered,

the reason the special effects shots
are in black and white

is they were originally shot
on 65 millimeter.

In order to do
the special effects optically,

the bigger the piece of film
you have to work with, the better.

So, Richard Edlund brought his own crew,
which had a 65-millimeter camera,

and they would shoot any shot that needed
to have special effects added to it.

And then they would send the reduction
to Shelly for him to use for editing,

which would be in black and white,
just to, I guess, presumably save money.

I'm sure it would.

- Ooh, that was a hot rehearsal.
- You heard that?

You are the best person in your row.

Thank you.

You're really good.

Most people can't pick me out
with the whole orchestra playing.

Oh, I don't have to take this abuse
from you.

[Medjuck] What you see here,
this is really in Lincoln Center.

Because of the fountain there,
everything you're hearing is looped.

If the fountain was on camera,
it was making too much noise,

which was driving Gene Cantamessa,
our sound man, crazy, of course.

But it meant that Bill
would do it all this way,

but then they would have to ADR it,

both what he and Sigourney were saying.

Really good job of ADR, I would say.

[Kahn] Yes.

ADR, by the way,
stands for automatic dialogue--

- [Medjuck] Automated dialogue replacement.
- Right.

...Roylance Guide
to Secret Societies and Sects.

Have you read it?

No. I think you got the last copy.

[Medjuck] And the close-ups of Bill
and Sigourney would be done

when we turned the fountain off,

and then the sound effect
would be added for all of it,

which would go through to even it out.

So the sound is the same.

If it's an artificial sound effect,
the sound is the same

whether the fountain's going or not going.

I shouldn't say artificial.

Uh, Gene Cantamessa probably,

you know, told everyone,
"Okay, everyone be quiet.

I wanna get the sound of this fountain".

And he would give us footage
or audiotape of the sound of the fountain

and then that would be run by Shelly or
the sound guys through the entire scene,

whether there's a close-up
or whether the fountain's on scene or not.

[Kahn] But much softer than
what it really sounds like

if you were standing there
so that we could hear the dialogue.

See you Thursday. Call me.

Okay. I'll bring the Roylance Guide
and we can eat and read a little.

I'm gonna dress casual.
But I like what you do.

[Medjuck] My guess is that
the dressing line is a Bill ad-lib,

because he'd always like talking about
what people wore.

You can see in this cut,

the sound isn't as even as it would be
in the final movie.

Like in the close-ups,
you don't hear much fountain,

whereas in the final movie,
it would all be evened out.

[Kahn] Yeah, we do ADR
at the end of the movie.

We don't do it individually as we--

[Medjuck] I think, also, you later added
Bill turning around,

like the guys roller skating.

[Kahn] Right. Exactly.

It was fun, you know, to see him doing it.

Janine, someone with your qualifications

would have no trouble...

I don't even think--
Is this scene in the picture?

- I don't remember.
- [Medjuck] Yeah, it is.

- [Kahn] It is?
- I remember it.

[phone ringing]

- Are you gonna answer that?
- I've quit better jobs than this.

Ghostbusters! What do you want?

Can I help you?

- Oh, yeah.
- [Kahn chuckles]

[Medjuck] I remember,
"Ghostbusters. What do you want?"

I represent the Environmental
Protection Agency, the third district.

Great. How's it going over there?

Are you Peter Venkman?

Yes, I'm Dr. Venkman.

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

Well, I have PhDs in parapsychology
and psychology.

[Medjuck] Shelly, so how did
we come across this videotape?

- I mean-
- [Kahn] Very interesting.

I was looking for something
that I had shot a long, long time ago

for my daughter, not a movie,
but something I had on videotape,

and all of a sudden,

I'm looking through all my old videotapes
that I had kept,

and I see Ghostbusters: First Cut.

I was shocked that I had it.

I didn't even remember bringing it home,

'cause usually we box
this kind of stuff up

and send it with all the film
that we did not use.

But this got into my own personal stuff,

and I made it because
we were working so fast

that I wanted a copy of what
my first cut was just for reference

in case Ivan were to say,

after we've recut a scene
three or four times,

"Gee, Shelly,
I liked the first thing you did better.

Let's go back to that".

And you start to think to yourself,

"Oh, my God. How am I going to remember
how I cut it the first time?"

So I had the studio make me
this copy just for reference.

And, surprise of surprises, I had it. So...

[Medjuck] Are those marks on the, uh-

[Kahn] That shows reel ending.

- [Medjuck] Yeah.
- Those marks were for reel ending

so that the projectionist would know
to cut to the next reel,

start it up and run it
so it continues all the way through.

A reel of film is usually like 1600 feet,

which is about 20 minutes long,
1600 to 1800 feet.

And then a movie is made up of five
or six reels that we send to the theater.

I agree.

We just had a visit from
the Environmental Protection Agency.

- How's the grid holding up?
- It's not good.

Tell him about the Twinkie.

[thunderclap]

[Medjuck] So here is obviously another,
you know, Boss Film shot.

They would've done this actually
without us there.

I think they just went off and...

[Kahn] I believe this is the shot
of the building.

[Medjuck] Yeah.

Now, this was done on a set.
That's why it's in color.

And it was the set we built.

It was the biggest stage
we could find on the Burbank lot.

And it was so big that there's one shot
where we had to open the door

and pull the camera outside it
in order to get the building in the shot.

[Kahn] I remember shooting this day, Joe.

My wife and I were on the set,
right behind the camera,

watching all this action going on.

[Medjuck] So these, as you can see again,
were done practically.

This is not an optical effect.

The light was really inside
the Terror Dog statue.

[muffled shouting]

- Oh, Dana, it's you.
- Hello, Louis.

You gotta come in here.
You're missing a classic party.

Yes, well, I would, Louis,
but I have a date coming.

[people chattering]

You made a date... tonight?

Yes, Louis. I- I forgot. I'm sorry.

- [Medjuck] He was so good in this part.
- [Kahn] Yeah.

Well, bring him along.

Okay, Louis.
Maybe we'll stop by for a drink.

Great.
Because we're gonna be break-dancing,

and I dug out my old Twister game.

I'll tell everybody you're coming.

Hey, let me in!

It's Louis! Somebody, let me in!

[Kahn] And these special effects
that you're going to see

were done all practical.

[Medjuck] Yeah, you can see,
they'll all be in color.

There's one, uh...

Oh, no, I think it's all practical.
I think you're right.

There were guys underneath the... the, uh-

- [Kahn] Chair?
- The chair.

[phone ringing]

Hello?

Oh, Mom. Hello.

I forgot. I'm sorry.

Well, no. Everything is fine. Yes.

No, just that one time.

I am.

I will.

I won't. Mother, I have to go.

[Medjuck] This was all one take for-
Well, no, a lot of that.

No one you know. It's...

So you must have added some sound effects,
Shelly, for the screening.

[Kahn] I hope so. I don't remember.

Okay. Love to Dad.

Right. Bye. Bye.

[sighs]

[Medjuck] So again, the light is not
an optical effect. It's, uh...

- [Kahn] Practical.
- Practical.

- [Kahn] And the door is practical.
- Yeah.

- [Kahn] What was it? A rubber door?
- Yeah, something like that.

And the guys were inside,
pushing it around and things.

Oh, shit.

[screaming]

- [growling]
- [screaming]

[Medjuck] It was a mechanic arm, you know.

Wow. And the Terror Dog was practical.
There were guys there.

- Yeah.
- [Kahn] All practical.

[Medjuck] I like the thing--
and cutting down to the shot

of the carpet being, uh...

- [Kahn] Scrunched.
- Yeah.

[Kahn] By the way, one of the things
you have- you had to do this--

to do a videotape of it.

Nowadays, with people cutting digitally,
they can keep all their early cuts.

- [Medjuck] Right.
- But you would literally cut the film.

Once you changed it, you couldn't go--

you know, you couldn't see
the earlier one you'd done.

So it is of the many advantages
of editing digitally.

You can go back
and see what you've done before.

[Louis] $24.95 a pound.

That's only $14.28 though, after tax.

I'm giving this small party
as a promotional expense,

which is why I invited clients
instead of friends.

How you doing? Why don't you have
some of the Brie at room temperature?

You think it's too warm in here
for my Brie?

Louis, I'm going home.

Don't leave yet.

Listen, maybe if we dance,
other people will start.

Okay-

[doorbell rings]

Oh, gee. Don't move. I gotta get the door.

- Ted! Annette!
- Hi.

I'm glad you could come.
Give me your coats.

Everybody,
this is Ted and Annette Fleming.

- Hi.
- How are you?

Ted has a small carpet-cleaning
business in receivership.

Annette's drawing a salary from
a deferred bonus from two years ago.

They got 15, 000 left on the house at 8%.

[Medjuck] And again, this was practical.

- [Kahn] Yeah. That's why it's in color.
- Yeah, there's a real creature.

[Medjuck] Now,
the next thing is the first-

you're gonna see an optical effect.
It'll be in black and white here.

So the part that you see,

like the falling down,
the door crashing open,

all that was practical, was being shot.

This is practical.

[Kahn] And the dog jumping
out of the room.

[Medjuck] This is not, obviously. Yes.

That did go across there.
No, that's a practical. I'm surprised.

[snarling]

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

Help!

[Kahn] I have a feeling this is
not in the picture, those two shots.

[Medjuck] It is, yeah.

- [Kahn] Is it in the picture?
- No, it is. Yeah.

This is the dog running across.

I'm gonna bring this up
at the next tenants' meeting.

There's not supposed to be
any pets in the building.

I'm sure Richard Edlund would have liked
us to cut a few of the optical shots,

but we didn't do many of them.

I always like-
John DeCuir added that statue

outside the Tavern on the Green.

The, uh...

There's a motif going through
of things being under construction

and of gargoyles and things.

[shouting] Please! Somebody, let me in!

[shouts]

[whimpering]

Nice doggy. Cute little pooch.

Maybe I got a Milk-Bone.

[screaming]

- [screaming continues]
- [chattering stops]

[chattering resumes]

[Peter] Hey, what happened?

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

[Kahn] As a film editor,
it's very funny, Joe,

I don't really like looking at movies
that I have done

because, in honesty, I look at it and say,

"Gee, I should have done this
instead of that".

[Medjuck] Yeah, you could've--
you could've tightened it up.

[Kahn] Exactly.

That's what I always thought
about the scene we just saw

at Tavern on the Green.

[Medjuck] But you're seeing it
with no music and the effects not done.

That's a different look for you, isn't it?

Are you the Keymaster?

Not that I know of.

[Medjuck] I think you would have
cut around to his face. Maybe you didn't.

- In the final.
- [Kahn] I don't know if I had around

to his face.

I have a feeling we didn't shoot that.

[Medjuck] No, or you would've used it.

[Kahn] 'Cause I would have
used it somewhere.

He told me to meet him here.

I didn't get your name.

I am Zuul. I am the Gatekeeper.

Oh.

What are we doing today, Zuul?

Now, Joe, do you remember this?

[Medjuck] I do. I absolutely remember
what happens next.

[Kahn] What happens next is that
she starts to raise up out of the bed.

And the device that we used

was what magicians use
to do that same effect.

So when we're looking at the dailies,
which we do-

which dailies are the material
Ivan shot the day before.

It gets processed and a print is made.

And we're looking at the dailies,
and I say to Ivan and Joe,

"You're gonna have to reshoot this".

And he said, "What? What's wrong?
Why do we have to reshoot this?"

[Medjuck] And then Shelly said, "Look over
on the left-hand side of the screen,"

- and you can see the shadow...
- [Kahn] Of the device.

...of this machinery
they were using to lift her.

Ivan had done two Broadway shows
with the magician Doug Henning,

and he knew about these machines

that made people levitate
or appear to levitate.

So we just used one of them.

Again, it was a practical shot,
not an optical shot.

We thought it had worked fine.

Then once Shelly said, "Look over
to the left. You'll see a shadow,"

that's all we could see.

You couldn't turn your eyes away from it.

So we went two days later
and had to reshoot just--

I'll show you the shot in a second-

just this shot where she starts rising.

What a lovely singing voice you must have.

[Medjuck] We change that voice eventually,
I think.

And if I don't get to talk to Dana...

[Kahn] We did. We changed it.

...there's gonna be some real trouble
in this apartment, I think.

One.

[growling]

Two.

[Kahn] God knows
what sound effect I used there.

Two and a half.

[growiing, groaning]

[Medjuck] And this was the shot
we had to redo.

This shot here we had to redo

because Shelly pointed out the shadow
we had from the machinery.

[roaring]

[Kahn] So this is
the second version of it.

Right.

[Kahn] I think we'd thrown out
the first version of it.

It's a little longer than it is
in the final movie. Well, maybe not.

Please come down.

[roars]

[Louis] I am the Keymaster.

The Destructor will come.

[Kahn] What we're seeing right now

is the first thing that was shot
on Ghostbusters...

- [Medjuck] That's right.
- ...on your first visit to New York.

[Medjuck] The first trip we took
to New York,

when we weren't supposed to be doing, uh--

So this is the first footage you got when
we were supposedly just doing a scout.

I am Vinz.
Vinz Clotho, Keymaster of Gozer.

Volguus Zildrohar, Lord of the Sebouillia.
Are you the Gatekeeper?

Hey. He pulls the wagon,
I make the deals. You want a ride?

[Kahn] I love this scene.

[growling]

How are his eyes going...

Wait for the sign.
Then all prisoners will be released.

You will perish in flame.

- You and all your kind! Gatekeeper!
- [screams]

What an asshole.

[screaming]

[Kahn] Again,
we cut that scene down quite a bit.

[Medjuck] Yeah. Or this part.
I think this isn't in it.

- [tires screech]
- [horn honks]

[Kahn] No, this is not
in the movie either.

[Medjuck] I don't think--
I think some of it is. I don't know.

Wouldn't be at this length.
You would know better than that.

Are you the Gatekeeper?

[Kahn] Again, my feeling was,
and so was Ivan's,

we're away from our main people too long
with this material.

It's good. It's interesting to watch,
but it's not the movie.

"Zuul"? What the hell are you doing,
you crazy? Idiot!

[Medjuck] Poor woman lost a chance
to be in Ghostbusters.

Dropping off or picking up?

Dropping off.

Just a moment.

- [police officer] You a Ghostbuster?
- [Egon] Yes.

We picked up this guy.
We don't know what to do with him.

Bellevue doesn't want him.
I'm afraid to put him in the lock up.

I know you guys are into this stuff,
so I figured we'd check with you.

All right.

Are you the Gatekeeper?

[device beeping]

You better bring him inside.

[Janine] You are so kind
to take care of that man.

You know, you are a real humanitarian.

[Egon] I don't think he's human.

[typing]

[typing]

[Medjuck] This was all done
practically too somehow.

I think it was--
I always thought it was amazing.

Vinz Clortho, Keymaster of Gozer.

According to this, his name's Louis Tully.
Lives on Central Park West.

Do you want some coffee, Mr. Tully?

Do I?

[Kahn] And again,
I think this scene we cut down.

Most of the material
is still in the scene,

but I think we made it shorter.

What sign are you waiting for?

Gozer the Traveler.

He will come
in one of the pre-chosen forms.

During rectification of the Vuldronaii,

the Traveler came as
a large and moving Torb.

Then, during the third reconciliation
of the last of the Meketrex Supplicants,

they chose a new form for him,
that of a giant Sloan!

Many Shubs and Zuuls knew
what it was to be roasted

in the depths of the Sloar that day,
I can tell you.

Egon.

Excuse me.

There's something very strange
about that man.

Now, look, usually I'm very psychic,

and I have a terrible feeling
that something awful is gonna happen.

I'm afraid you're gonna die.

You have nice clavicles.

- [phone ringing]
 -I'll get it.

[Medjuck] Jason Reitman saw that
we used it--

We were showing some outtakes,

and Ivan said he couldn't believe
he left it out, because it's pretty funny.

But that's not in the final movie.
"You have nice clavicles".

It's a great line.

[Peter] Do you remember Dana Barrett?

The attractive cellist
who came into our office a while back?

[Egon] Yes. How is she?

[Peter] She's ripe for the Bronx Zoo.

I just whacked her up
with about 300 cc's of Thorazine.

She's gonna take a little nap now,
but she says she's the Gatekeeper.

- Does that make any sense to you?
- [Egon] Some.

I just met the Keymaster.
He's here with me now.

Oh, wonderful.
We have to get these two together.

I think that would be
extraordinarily dangerous.

All right, well, hold onto him.
I'll be there in a while.

Good.

Thank you, Vinz.

We have to find Ray.
I need him here immediately.

Bad news, honey. I gotta go to work.

Hey, will you stay here in bed
until I get back?

[panting]

[Medjuck] This is one of
my favorite scenes in the movie,

this next one.

[Kahn] And we-- we cut it into a montage.

[Medjuck] No, no. It's right here.

It's in the same place
'cause they have to show where they--

We added- There's more to it
that we then didn't cut.

These are the blueprints
for the structural ironwork

in Dana Barrett's apartment building,
and they're very, very strange.

Hey, Ray, do you remember something
in the Bible about the last days,

when the dead would rise from the grave?

I remember. Revelations 7:12.

"And I looked as he opened the sixth seal.

And behold, there was a great earthquake.

And the sun became as black as sackcloth.

And the moon became as blood".

"And the seas boiled. And the skies fell".

Judgment day.
Judgment day.

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

Myth?

Ray, has it ever occurred to you that
maybe the reason we've been so busy lately

is because the dead
have been rising from the grave?

How about a little music?

Yeah.

This way.

Excuse me.

Excuse me.
Just where do you think you're going?

Step aside, miss, or you'll be arrested
for interfering with the police.

Oh, no. Hold on. I've seen TV.

I know you can't come in here
without a warrant or a writ.

Cease and Desist All Commerce order.
Seizure of Premises and Chattels.

Ban on the Use of Public Utilities
for Non-Licensed Waste Handlers

and a federal Entry and Inspection order.

Vinz, there's one more test
I'd like to perform.

[Janine] Egon,

I tried to stop them.
He says they have a warrant.

Excuse me, this is private property.

Shut this off. Shut these all off.

I'm warning you.

Turning off these machines
would be extremely hazardous.

I'll tell you what's hazardous.

[Medjuck] I always liked
what Rick's doing here,

just imitating other people.

[chuckles] He has no lines.
He's just imitating other people.

Great job here,
cutting between New York and Los Angeles.

[Khan chuckles]

[Medjuck] I think I said somewhere
that everything in the station,

it was really there.
But I think, actually, this is a set.

I think this was on the lot somewhere.

...and I want to cooperate
in any way that I can.

Forget it, Venkman.
You had your chance to cooperate,

but you thought it'd be more fun
to insult me. Now it is my turn, wise-ass.

He wants to shut down
the protection grid, Peter.

You shut that thing down,

and we're not gonna be held responsible
for whatever happens.

- You'll be responsible. Shut it off.
- No, we won't be held responsible.

Don'! shut it off. I'm warning you.

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

Yeah, I'm not interested in your opinion.
Just shut it off.

[sighs]

My friend, don't be a jerk.

- Step aside.
- If he does that again, you can shoot him.

You do your job, pencil neck.
Don't tell me how to do mine.

- Thank you, Officer.
- Shut it off!

[Medjuck] Here's where we get
"pencil neck" part.

I think William Atherton got called
so many things in this movie.

[panting]

[rumbling]

Oh, shit.

[Kahn] Works a lot better
with sound effects and music

that we didn't have then.

[Medjuck] You added a few, I see.

[Kahn] You know,
we had to make it live a little bit.

[Medjuck] What do you do? You just go
to a library of sound effects?

[Kahn] Yes.

Clear the building!

[people shouting]

[Medjuck] Back in New York.

- So here, Boss Films-
- [Kahn] The top of the building blows off.

[Medjuck] Yeah, Boss Films had shot.

- [Kahn] And all the ghosts coming out.
- Yeah.

Wow, we did something live.

Whoa.

[Medjuck] This is live. We had- We used
a lot of wind machines on this movie.

[Louis] This is it. This is the sign.

Yeah, it's a sign, all right.
We're going out of business.

[police siren wailing]

[Kahn] Again, this is not in the movie,
that shot of--

[Medjuck] No, but there is a fair amount
of Rick going uptown, I think.

Wow, this is--
We actually have a storyboard.

I didn't realize we'd done this.

[Kahn] Well, everybody,

this is the closest thing we have
to effects in the picture.

[Medjuck] That's true. I didn't realize
they'd done this-- they'd done that.

We actually showed that
at the screening we had.

[Kahn] Right.

[firefighter] Does it contain PCB
or tailings from styrene esters?

- [Egon] No.
- Any Polyfluoric groups?

I believe, for that screening,

we had more music than what's in this cut.

This cut was my cut before we- I think...

[Medjuck] So you added
some more sound, do you think?

Hold it. Hey.

Miss Melnitz
will explain everything to you.

[Janine] Officer, I-l--

[Peter] We got problems. Big trouble.

- What happened?
- Storage facility blew.

- He shut off the protection grid.
- Oh, great.

But this has some mixing, Shelly, so this
might be the final thing you showed.

- [Kahn] I don't know. Maybe you're right.
- You obviously mixed the sound effects,

the voices, and we must have done
a down-and-dirty mix

These men are in criminal violation
of the Environmental Protection Act.

This explosion is a direct result of it.

And you turned off the power.

Fascist!

There was another guy here.

You have to find this man
and bring him back here.

He's a little guy
with a very determined look on his face.

- They're using drugs.
- Your mother-

- Hey! Hold it! Hold it!
- Keep your hands off me!

[Medjuck] This is Rick's walk uptown.

[Kahn] Again, is this in the movie?

[Kahn] Again, is this in the movie?

[Medjuck] This is, I think--
this guy was an AD.

This is where Slimer comes out
of the hot dog stand.

[Kahn] Right.

[people screaming]

[Medjuck] We shot this very early too.

Because none of the guys are in it,
we could do it.

We cut it down, obviously.

This is ghosts coming towards us.
It got added.

[rumbling]

[Kahn] And when you see-

If you were to compare this
to the final version of the movie,

you'd see how fast we did all this.

We made a montage out of it
and made it go faster.

[tires squealing]

Medjuck] Not like-
This isn't in it, I don't think.

[Kahn] Nope. I don't remember any
of this material being in the movie.

[Medjuck] Yeah, even though
it's a lot of elaborate things to do.

And got some slime on the ground.

[Kahn] This is coming out of the subway.

- [Medjuck] Yeah, and then we cut--
- One of the ghosts.

[Medjuck] And then there is a ghost.
I think there's a--

There's the optical shot
where the ghost would come out.

Look. They did a little drawing for us.

Hey, guard!

Look, I want to make a phone call.

I just work with these guys.
I wasn't even there.

[Egon] The structure of this roof cap
is like the telemetry tracker...

[Kahn] Do you remember this scene?

[Medjuck] Yeah,
there was a scratch on the negative,

and you had to cut around...

uh, only use shots that didn't have
the scratch on it.

[Kahn] A lot of this material
got damaged in developing.

[Medjuck] Yeah.

[Kahn] Scratches and also
development marks on the material.

And you guys were going
to reshoot the scene.

And I said, "Give me a day or two.

Let me look at the material
and see if I can salvage enough of it

without the scratches
and the water marks on it

to make a scene out of it".

And I carefully looked at
all this material

and figured out how to put it together
in a certain way

so that none of those defects
are in the shot.

And it worked.
I had just enough materials.

[Medjuck] This is the scene.
This is pretty well as it is.

[Kahn] Pardon me?

[Medjuck] This is pretty well the scene
as it ended up in the movie.

[Kahn] That's all we had, Joe.

[Medjuck] I know,
so there can't be many changes.

- [Kahn] No.
- [both chuckle]

[Kahn] And-- Oh!

[Medjuck] That looks like
a piece of the scratch on it...

[Kahn] Yeah.

I probably changed it to something else.

I don't remember
if there was a scratch on that.

It wasn't in the movie.

I found it in Tobin's Spirit Guide.

He was also a doctor.

Performed a lot of unnecessary surgery.

But Ivan looked at it
after I cut it and said,

"Great, we don't have to reshoot it".

Let me guess.

- Gozer worshippers.
- Right.

[Kahn] This was an all-day shoot for you,
wasn't it?

[Medjuck] Yeah.

And Danny was saying that the jail
was a real abandoned jail,

and Danny was saying it was haunted.

That's why the... [chuckles]

And that's why the, uh...

- [Kahn] Film got wrecked.
- The film got wrecked.

[Khan chuckles]

And now it looks
like it may actually happen.

[Medjuck] Couple of different
reaction shots.

We have to get out of here.

We've gotta get a judge
or somebody immediately.

Hey, wait a minute. Hold it!

Now we actually gonna go
before a federal judge and say

that some moldy Babylonian god
is gonna drop in on Central Park West

and start tearing up the city?

Sumerian, not Babylonian.

Yeah, big difference.

No offense, but I gotta get my own lawyer.

Okay, Ghostbusters ...

[Medjuck] This guy became
a well-known actor.

The mayor wants to see you guys.
The whole island's going crazy. Let's go.

I gotta split. The mayor wants
to rap with me about some things.

[clamoring]

- [Kahn] That's GeneviƩve, isn't it?
- I think so.

[Kahn] I'm pretty sure it was.
Ivan's wife.

[Medjuck] Obviously,
we put in the city behind her there.

I am the Keymaster.

I am the Gatekeeper.

[people screaming]

- Hey, get back. Stay back.
- Stay back.

[Kahn] I don't think we used
all of this material either.

[Medjuck] I don't think so.
I don't remember the staircase scene.

We did use this.

This is the actual mayor's offices
in New York.

And when they get inside,
it was the office of Elizabeth Holtzman.

I forget what her job was at the time,
but she had the same--

The office looked just like the mayor's.

And the same mayor shows up in
Ghostbusters II, which I think is great.

These men are consummate snowball artists.

They use sense and nerve gases
to induce hallucinations.

People think they're seeing ghosts,
and they call these bozos,

who conveniently show up to deal
with the problem

with a fake electronic light show.

Everything was fine with our system

until the power grid
was shut off by dickless here.

They caused an explosion.

Is this true?

Yes, it's true. This man has no dick.

- Whoa!
- Hey, wait a minute.

Hey, come on. Break this up. Break it up!

- All right.
- That's what I heard.

This is City Hall.

Now, what am I gonna do here, John?
What is this?

All I know is that was no light show
we saw this morning.

I've seen every form of combustion
known to man,

but this beats the hell out of me.

The walls in the 53rd Precinct
were bleeding. How do you explain that?

[Medjuck] I think you did some--
you recut this a bit, is my memory.

[Kahn] Sure. I nudged it a lot.

[Medjuck] Yeah. More close-ups, I think.

How are you, Lenny?

You're looking good, Mike.

We're in a real fix here.
What do you think I should do?

Lenny, officially,
the church will not take any position

on the religious implications
of these phenomena.

However, since they've started,

people have been lining up
in every church in this city

to confess and take communion.

Yes, we've even had
to put on more priests.

Personally, Lenny,
I think it's a sign from God.

But don't quote me on that.

I think that's a smart move, Mike.

I'm not gonna call a press conference
and tell everyone to start praying.

[clears throat] Um...

I'm VWnston Zeddemore, Your Honor.

Look, I've only been with the company
for a couple weeks,

but I gotta tell you,
these things are real.

Since I joined these men,
I have seen shit that'll turn you white.

You can believe Mr. Pecker.

My name is Peck.

Or you could accept the fact

that this city is headed for
a disaster of biblical proportions.

- Biblical?
- What do you mean, "biblical"?

[Medjuck] Did people use that phrase
before this movie,

"disaster of biblical proportions"?

- [Kahn] I had never heard it before.
- I never heard it.

Forty years of darkness!
Earthquakes! Volcanoes!

[Winston] The dead rising from the grave!

Human sacrifice!
Dogs and cats living together!

Mass hysteria!

Enough! I get the point.

[Medjuck] "Dogs and cats living together".

"Mass hysteria" has also become
a phrase people use.

We go to jail, peacefully, quietly.

We'll enjoy it.

But if I'm right,

and we can stop this thing,

Lenny...

you will have saved the lives
of millions of registered voters.

I don't believe you're seriously
considering listening to these men.

Get him out of here.

Bye.

I'll fix you, Venkman. I'm gonna fix you.

I'm gonna get you a nice fruit basket.

- I'm gonna miss him.
-All fight. All right.

We got work to do.
Now, what do you need from me?

Just let us kick some ghosts, will you?

[shouting]

[Medjuck] I remember shooting this.
This was amazing. It was a-

He didn't spend a lot of time on it.

He just had everyone ready
and he knew what he was doing.

And did you notice that
the Steadicam goes up?

The guy stepped onto, um, uh...

- [Kahn] Cherry picker?
- ...a crane and then got lifted up.

[Kahn] Mmm.

...lazy Susan of karma just keeps spinning.

Sometimes you grab
the wrong end of the stick.

Maybe it's nature's way
of telling us to slow down,

hold back on the old pleasure throttles.

You have to admit, it is kinda humbling.

We're humble already.

- I want you to take this.
- What is it?

- [Medjuck] This is out of the picture.
- Yeah, I think so.

It's a souvenir from the World's Fair
at Flushing Meadow in 1964.

It's my lucky coin.

I shouldn't take it.
We might not be coming back.

Take it anyway. I got another one at home.

Janine. Didn't your mama ever tell you
not to get involved with no Ghostbuster?

Now go on home. Be gone.

[Medjuck] Another great crane shot here,
as I...

Come on, let's run some red lights!

You must have found all these crowd shots
somewhere too.

Crowd sounds, rather.

[Kahn] Uh, they were in the sound library.

[Medjuck] Look at this crane shot.
It's so great.

- I can't believe they let us do this.
- [both chuckle]

These are the ghosts gathering,
I think, when it's finished.

I think it's just clouds
over the building.

This shot's gone, I think.

[Kahn] Right. It is.

We did a couple of these shots
and then the earthquake.

[Medjuck] Yeah.

I think the Hare Krishna guy stayed in it,
I think. I always liked it.

[Kahn] Or part of it. Yes.

Repent! Repent!

Repent! The end is near!

Repent!

[Medjuck] It must be a temptation when you
see these shots that were so hard to get,

to leave them-
leave everything in the movie.

I mean, obviously, this is a big shot.

[crowd cheering, clapping]

[siren wailing]

Hello, New York.
Yeah, we're the Ghostbusters.

Hello, everybody!

Dr. Ray Stantz, would you please?
The heart of the Ghostbusters.

- Ghostbusters! Ghostbusters!
- Thank you.

They love you. They love you here.
Thank you for coming out. Where you from?

[Kahn] Again, we cut this down.

[Medjuck] Yeah.

- [Kahn] We found the rhythm.
- A lot of it's in it, though.

- [Kahn] Pardon me?
- I think a lot of it is still in it.

- [Kahn] It is. It is, but shorter.
- Yeah. Tighter.

Okay, whatever happens,
let's be professionals.

Let's get smart.

Let's hop on a plane right now

and go to Australia,
Indonesia until this blows over.

You know, you could have a bright future
with this company,

except for that attitude.

[Kahn] I don't think
this dialogue is in the picture.

...for a major promotion within the company,

and now I don't know.

Come on, guys.
Let's do this one and go home.

Right.

Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!

[Medjuck] Now, you'll notice all of this
is in color. What's gonna happen next?

I think it's all in color. It's because
it's all done in practical effect.

Now there's a shot up there at the top of
the building, is what they're going to...

[thunderclaps]

The earthquake that's about to happen,

John DeCuir built up on the back lot.

It wasn't the back lot.

It was over at the ranch,

the Columbia Ranch,
across from the Burbank Studios.

John built this whole thing,

and half of it
is mechanical things moving.

But then we also,
while we were in New York,

it was shot backwards,
which seems amazing to me.

While we were in New York,
we set up the results of this

so we could have it there
and keep shooting.

So by that I mean, the moving-

everything you see moving
was done on the back lot.

That was done at the Columbia Ranch.

All of this was done in New York
with the cars placed.

And this part was done first
before the part in, um--

that was shot on the Columbia Ranch.

But there's no optical effects here.
It's all practical.

What a--

They killed- tried to- tried to kill us!

How's that, man?

- You're dead, man!
- It tried to kill us!

- You okay?
- [Peter] No.

It was a cheap shot. You all saw it.

Ghostbusters! Ghostbusters!

Ghostbusters! Ghostbusters!

[Kahn] Too much. [chuckles]

[Medjuck] I think you cut all the--
you tightened it, Shelly.

[Kahn chuckles] I hope so.

- You all right?
- Yeah.

- You okay?
- Yeah.

Y'all wanna play rough?

- Yeah! Let's go!
- Let's get 'em!

- Come on!
- Go!

Twenty-two.

[Medjuck] Oh,
we added a shot, though, Shelly.

I think the shot of them looking up
and seeing how high the, um...

uh, how high the staircase is,
and it's partly an optical.

It's probably why it's not in here.

But there's a shot of them looking up
and seeing the staircase.

[Kahn] You're right.
That shot is not in here.

[Medjuck] I think it wasn't completed,
and you figured you didn't need it.

And it wouldn't have made--

As an optical that wasn't finished,
it wouldn't have made much sense

and wasn't necessary
compared to the other ones.

[thunder rumbling]

[Medjuck] I don't know what
the final effect is here. This is all--

- [Kahn] Final effect is-
- It's in the air.

This is shot on the ground, it looks like.

[Kahn] It is shot on the ground,
on a stage, this part.

[Medjuck] The floor of the stage,
and then they...

[Kahn] They took out the floor
and they put the building in,

and you saw them-

a wider shot with the building in it.

[Medjuck] Yeah.

Okay, go ahead. Come on- Go ahead.

Watch it. Go ahead.

Go ahead.

[Medjuck] Now the reason there's buildings
in the background and it's a color shot,

those aren't opticals.

The buildings were a scrim
that John DeCuir got.

He did, like, a photographic thing
of New York City around the whole stage,

which made it very difficult
for Laszlo to light, he said.

And the stage was completely full.
We didn't have any room to move.

Wow.

[electricity crackling]

[Kahn] Again, you can see
the lights on the ground.

That will all be taken out,
and you'll see...

[Medjuck] Yeah.

[Kahn] You'll look like
you're on top of a building.

[Medjuck] But the cityscape behind them
was shot live because it was,

you know, a screen all around.

[Peter] Okay, so she's a dog.

[Kahn] Special effects
in all of these black-and-white shots

that we did not get yet.

And I personally wasn't exactly sure
what was gonna be in the shot...

- [Medjuck] Yeah.
- ...till we got it.

- [Medjuck] Yeah.
- ...till we got it.

[Medjuck] You can see how much practical--

Ivan laid in a lot of smoke machines
and wind blowing all the time...

whenever there were
supernatural things going on.

It's a girl.

- [Egon] It's Gozer.
- [Winston] I thought Gozer was a man.

- It's whatever it wants to be.
- Whatever it is, it's gotta get by us.

Right.

Go get her, Ray!

[growling]

Gozer the Gozerian?

Good evening.

[Medjuck] It's amazing how much of it
is live. Like these reverse shots.

[Kahn] Right.

- No effect on that shot.
- [Medjuck] No optical effects.

There's enough lighting and smoke

and the screen
around the cityscape behind.

Thanks very much, Ray.

Are you a god?

- [Kahn] We changed her voice, didn't we?
- Yeah.

I think Ivan did her voice.

No.

Then...

I think you can see the ropes
in some of these.

Ray, when someone asks you
if you're a god, you say, "Yes!"

All right. This chick is toast!

- Got your stick?
- [all] Holding it.

Heat them up!

[all] Smoking!

[hisses]

- Make them hard.
-[all] Ready!

Let's show this prehistoric bitch
how we do things downtown.

[snarling]

[Peter] Throw it!

- [Medjuck] Again, there's no...
- [Khan chuckles]

[Medjuck] This is her in the air.
Oh, no. I don't know what...

[Kahn] That was her tumbling
around in the air...

[Medjuck] Yeah.

...which we didn't have the shot yet.

[Ray] Aim for the flattop!

Wasn't so hard.

We neutronized it.

You know what that means?
A complete particle reversal.

And we had the tools. We had the talent!

It's Miller time.

[Kahn] Now coming up
is the Stay Puft Marshmallow Man.

We had--
Again, all had to be shot optically,

and we didn't have it.

But we did have
one experimental black-and-white shot

of a short man

in a Stay Puft marshmallow suit

that was just done as an experiment.

But I thought I should put something in

because the audience would have no idea
what's coming.

So I used the experimental shot
in this version.

At least I hope I did.

[Medjuck] No, you did. And I thought
it was more than experimental

because I remember it being quite--
It's only one shot.

And even though it's an optical,

they shot a man in a suit live
for the thing.

- So it was done by Boss Films.
- [Kahn] Right.

[Medjuck] They got it to us in time,
so people had some idea.

And it was a big relief for Ivan.

He was always worried, he said,

that whether people would buy
the marshmallow man.

And they went crazy
when they see the shot.

We don't understand.

[Gozer] Choose.

Choose the form of the Destructor.

Oh, I get it. I get it. Oh, very cute.

Whatever we think of.
If we think of J. Edgar Hoover,

J. Edgar Hoover will appear
and destroy us, okay, so empty your heads.

- Okay.
- Empty your heads.

Don't think of anything.
We've only got one shot at this.

[Gozer] The choice is made.

Whoa, whoa, whoa!

[Gozer] Traveler has come!

Nobody choosed anything!

- Did you choose anything?
- No.

- Did you?
- My mind is totally blank.

I didn't choose anything!

I couldn't help it.

It just popped in there.

What? What just popped in there?

I-I tried to think-

Look!

- [Ray] No! It can't be.
- [Peter] What is it?

- It can't be.
- [Winston] What did you do, Ray?

Oh, shit.

- [Kahn] Nothing there.
- I know. The crowds went crazy.

It's the Stay Puft Marshmallow Man.

[Kahn] And there's nothing there
of him coming down the street

- because we didn't have it.
- [Medjuck] Just what we shot in New York.

[Kahn] So the audience
who saw the first version are wondering,

"What the heck is going on?"

[Medjuck] Yeah. Like,
"What is it they see? What is--"

I mean, he has said
"Stay Puft Marshmallow Man".

And they said, "What is that?"

[Kahn] That was a close-up of his head,
I believe.

[Medjuck] You haven't seen it yet,
I don't think.

[Kahn] So the audience in our theater,

uh, were going with it,
but they're not sure what it was.

[Medjuck] Yeah.

He was on all the packages.

We used to roast Stay Puft marshmallows
by the fire at Camp Waconda.

[Medjuck] There we go.

They had this shot--
split screen, black-and-white.

I thought there had been a close-up too.
Did we see the close-up and I missed it?

[Kahn] Uh, not this early.

[Medjuck] Oh.

But when they saw the shot,
they went crazy,

uh, just to see that it was there,
to see what it was.

Are the Ghostbusters up there?

- Yeah, on the roof!
- Are they up there?

- They're on the roof.
- Arrest them!

- You arrest them!
- I'm getting outta here!

[Kahn] And it's climbing the building now,
I believe.

[Medjuck] It does step
on the church eventually.

Nobody steps on a church in my town
and gets away with it.

Let's roast him! Roast him!

[Kahn] Again, black-and-white and--

[Medjuck] Because you'd be seeing it
climbing the building now.

[Kahn] As you can see,
nothing's coming out of the guns.

Funny, huh? Kind of a bad way to go out.

Killed by a 100-foot tall marshmallow man.

[Medjuck] Shot of the marshmallow man
or something. I'm not sure what.

The door swings both ways.

We could reverse the particle flow
through the gate.

[Ray] How?

We'll cross the streams.

Cross the streams.

There's definitely
a very slim chance we'll survive.

Jesus.

And wherever we go, whatever happens,
we'll be together.

Let's do it.

This job is definitely not worth
$11,500 a year.

- [Medjuck] You recut that too.
- Of course.

[Medjuck] Because he left out the
"You said never cross the streams".

See you on the other side, Ray.

[proton pack powers up]

Nice working with you, Dr. Venkman.

[grunts]

[grunts]

[Kahn] See, when I had more material,

I was able to shorten a lot of it
and make it work better rhythmically.

But I didn't know what was going on.

I mean, I guessed at it.

And then when I saw what it was,
I could better cut it.

[explosion]

[screaming, clamoring]

[explosion]

[Medjuck] And you see the hat's real.

[Kahn] The audience went
with this picture 101%.

They loved all of this stuff.

- [Medjuck] Even with the things missing.
- Even with the things missing.

And when we finished the movie,

some of the audience participants
came up to me and said,

"Is it possible, the next time you
screen it, we could see it again?

I loved it. I want to see it again".

[Ray] Venkman?

- Venky!
- [Peter] Yeah, where are you?

- [Ray] Oh, thank God.
[chuckles]

- You okay?
- [Egon] I'm all right.

- You all right?
- I'm all right. You?

Yeah. You okay?

I'm fine.

[Kahn] Plays a lot better with the music.

[Medjuck] Oh, yeah.

Can't believe we screened it with
so little music, but we did, I think.

[Kahn] I honestly don't remember.
I have a feeling we did add more music.

[Medjuck] Well, you didn't have much time.

It was three weeks
after we finished shooting.

[Kahn] Right.

Look!

[groans]

[Louis] Hello?

- Go check on that little guy.
- Help!

- [Dana groans]
- [Louis] Help!

[Medjuck] There's one more optical effect.
It's the last shot in the movie.

[Kahn] Correct, with Slimer.

[Medjuck] Yeah. Well, he wasn't in it.

I think we decided to add him--
I don't know why we did.

I guess we knew we were gonna add him

because wouldn't have done
a 65-millimeter shot otherwise.

Where am I?

Hi.

[Egon] You'll be all right.

Boy, the superintendent's gonna be pissed.

Are you okay?

Who are you guys?

We're the Ghostbusters.

Who does your taxes?

What happened?

Dana, it's you!

Louis?

[Kahn] I don't think we used this part.

[Medjuck] We did. Oh, yeah.

[Kahn] "Dana, that's you".

You know, did we...

[Medjuck] We used this part.

No, Louis.

No.

[sighs]

[Ray] How about a cup of coffee?

I don't know. I'm sure that...

Hey, don't worry about it.
A million fishes in the sea.

You know, Mr. Tully,
you are a most fortunate individual.

I know.

You have been a participant in

the biggest interdimensional cross rip...

[Medjuck] I think you cut down
part of that.

- [Kahn] We cut the coffee part out.
- Yeah.

[Egon] ...to get a sample
of your brain tissue.

[Louis] Okay.

I love this town! [laughs]

[crowd cheering]

We're the Ghostbusters!

We're in the yellow pages!

[Medjuck] There's Danny lighting up again.

- Egon!
-Janine.

You're safe!

What's going on?

Does anybody want to interview me?

I'm an eyewitness. I was up there.

Where-- I wanna go with them in the car.

[Kahn] This is all material
for the end credits.

[Medjuck] Oh, we don't have
that last shot on this.

- That's funny.
- [Kahn] No, I guess not.

[Medjuck] It would be nothing in it.
No, it would be the cars driving away.

[Kahn] Right.

[Medjuck] It's the cars driving away
in 65 millimeter.

[Kahn] When they come out of the building...

- [Medjuck] Yeah.
- ...we built the credits around it.

[Medjuck] Yeah.

[Kahn] Again, all of this material
that you're watching

is for the end credits, which,
when we ran the movie the first time,

we did not have a list of the end credits.

So I wasn't sure how long each shot
should be in order to carry credits.

So I just put something in.

And later, when we had the list
of whose names went where,

we changed things around a little bit
and made it shorter

and all that kind of stuff.

[Medjuck] Yeah,
Bill didn't carry on quite so much.

This was also the end of
our stopping traffic on Central Park West.

Boy, were they happy to see us go.

[Khan chuckles]

[Medjuck] And it was getting--
While we shot it,

it was starting to get overcast.
It started--

Richard Edlund always claimed that
this very last shot you're about to see,

which he did in 65 millimeter,

that he had to change the stop
while the shot was going on

because it was just getting too dark
for him to shoot in.

We're selling merchandise already,
as you can see.

Yeah, this is longer than the final movie.

- [Kahn] Right.
- You did this for credits, I guess.

[Kahn] We didn't know how many credits
we had to put over this material.

[Medjuck] This is the last
35-millimeter shot.

And this is the 65-millimeter shot.

And this is where we add Slimer
at the end.

- [Kahn] Zooming into the camera.
- Yeah.

And there we go.
Well, Shelly, it's been a pleasure.

[Kahn] Same here. Good seeing you.

[Medjuck] First time I've seen this
in 38 years, as I said earlier.

[Kahn chuckles]

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