THE REAL GHOSTBUSTERS
                     "The Headless Motorcyclist"

                                 by
                           Randy Lofficier

                             May 15, 1986
                             First Draft
                     transcribed by The Lofficiers


      FADE IN:

      EXT MANHATTAN - NIGHT - ESTABLISHING SHOT

      CAMERA PANS over the Manhattan skyline.  The lights of the
      buildings shine prettily against the dark blue sky,
      conveying a festive and relaxed atmosphere.

      CAMERA TRUCKS IN SLOWLY towards Central Park, on to an
      elegant penthouse terrace.

      EXT PENTHOUSE

      A chic party is in progress.  We HEAR a STEREO BLARING in
      the b.g.  Elegantly dressed PEOPLE walk in and out with
      drinks, mingling on the terrace and savoring the night.

      INT PENTHOUSE

      CAMERA MOVES into the penthouse and PANS OVER the party.
      It is a scene very similar to the one outside.  We HEAR
      mindless PARTY CHATTER over the music.

      CAMERA TRUCKS IN on a large buffet table, amply covered
      with drinks and hors d'oeuvres, near which we discover

      MEDIUM ANGLE ON PETER AND BANKER

      PETER VENKMAN, looking very smooth and dapper in a fancy
      evening suit, a (fruit juice) cocktail in hand.

      Peter is leaning forward with a canny look on his face and
      is talking to a silver-haired, conservative-looking gentleman
      who looks very much like a Wall Street BANKER.  Which he is.

                           PETER
                       (smoothly)
                 I'm telling you, what you really
                 need is our new, Year-Round Ghost
                 Protection Policy.  Keeps you safe
                 from spooks, or your money back!

      ANGLE ON BANKER

      He looks slightly befuddled, as if events are moving too
      quickly for him.

                           BANKER
                       (with a slight stutter)
                 Gh-ghost Protection Policy...
                 Er, I'm not sure we have a need for...

      MEDIUM ANGLE

      The Banker tries to slide away from Peter, who puts a hand
      on the man's arm to prevent any possibility of escape.

                           PETER
                       (earnestly)
                 Need!  Of course you have a need!
                 We're living in troubled times...

      ANGLE ON PETER
                           PETER (CONT)
                       (lyrically)
                 Think of all the dead accountants who
                 must haunt your vaults at night, the
                 embezzlers that shot themselves, rather
                 than face the shame of a long trial, the...

      ANGLE ON BANKER

      Now he looks somewhat worried and defensive.

                           BANKER
                 Embezzlers? We've never had any
                 embezzlers!

      CAMERA PANS to the right to reveal RAY STANTZ walking by.
      He is stuffing a sandwich into his mouth and looks bored.
      Although he is wearing formal attire, he still manages to
      look less well groomed than anyone else in the room.

      ANGLE ON RAY

      FROM OUT OF FRAME, Peter's arm grabs hold of Ray, just as
      he is about to take another large bite of his sandwich.
      He is put off balance by the gesture.  The food misses his
      mouth, flies past his ear and over his shoulder.

      ANGLE ON SANDWICH

      which finishes its trajectory, landing in the glass of
      KATE, a very attractive young woman, who is presently
      talking to another male PARTYGOER.

      ANGLE ON KATE AND PARTYGOER

      Kate looks somewhat taken aback, but not angry.  She
      shrugs and smiles the incident away.

                           KATE
                 Well, I guess that blows my diet!

                           PARTYGOER
                 Let me get you a new glass...

                           KATE
                 No, that's all right, I'll get it.

      She turns and heads for the buffet table.

      ANGLE ON PETER, RAY, AND THE BANKER

      Peter introduces Ray, who automatically beams at the
      befuddled Banker.

                           PETER
                 This is one of my associates,
                 Dr. Ray Stantz.  He can tell you
                 about all the deadly ghosts that
                 haunt the banking world.

      Ray enthusiastically shakes hands with the Banker, who
      looks as if he can't believe Ray is expert at anything.

                           RAY
                       (excitedly)
                 Banking!  Yes, the world of banking
                 is full of ghosts!  There was the Axe
                 Murderer of First National Trust, and
                 the Spectre That Ate Tax-Exempt Bonds...

                           BANKER
                       (genuinely worried)
                 Ate tax-exempt bonds?

      CAMERA PULLS OUT to show Kate coming towards the group to
      get to the buffet.

      ANGLE ON KATE

      She extends her arm past them to take a glass.

                           KATE
                 Excuse me.

      ANGLE ON PETER

      Peter turns his head to look at her, and obviously is taken
      with her great beauty.

                           PETER
                       (muttering to himself)
                 Wow!

      MEDIUM ANGLE ON THE GROUP

      While Ray and the Banker are involved in deep conversation,
      Peter walks away to follow Kate.

                           RAY
                 ... and the strangest thing is that
                 it only ate bonds that were issued by
                 defense contractors...

      PETER'S POV

      We follow Kate elbowing her way through the party crowd to

      EXT PENTHOUSE

      Kate walks over to an attractive young man, whom she
      kisses lightly on the cheek.  It is obvious that they are
      together.  His name is BUD, and he has the look of a
      Madison Avenue yuppie executive.

      CAMERA PULLS OUT to reveal a grimacing Peter.  Suddenly, a
      hand comes from OUT OF FRAME to land on his shoulder.  It
      is WINSTON ZEDDMORE'S.

                           WINSTON (VO)
                 Looks like you struck out, buddy.

      ANGLE ON PETER AND WINSTON

      Peter shrugs.

                           WINSTON (CONT)
                 Don't worry about it!  The night's
                 still young, and there's plenty more
                 fish in the sea!

      The two men are turning to walk back inside when we HEAR
      very LOUD voices.

      ANGLE ON KATE AND BUD

      The two are involved in a sudden, heated argument, and are
      behaving in an agitated fashion -- especially Bud.

                           BUD
                       (angrily)
                 We're supposed to be at this party
                 together!  I didn't come over here
                 to watch you hanging around with
                 some other guy!

                           KATE
                       (defensively)
                 You're being ridiculous!  I already
                 told you that he was an old friend
                 I haven't seen for years!

      ANGLE ON PETER

      He was about to leave the terrace with Winston, but stops
      to see more of what is going on.

      ANGLE ON KATE AND BUD

      Bud is getting more agitated.  He grabs Kate by the
      shoulders, as if to shake her.

                           BUD
                 He didn't look very "old" to me!

                           KATE
                 Let me go, you're hurting me!

      ANGLE ON PETER

      He fumes over the treatment, and goes over to the couple
      to see if he can help Kate.

      ANGLE ON THE THREE OF THEM

                           PETER
                       (threatening)
                That's no way to treat such a
                pretty lady!

      ANGLE ON BUD

      Bud stops yelling at Kate and turns his attention to Peter.

                           BUD
                       (very irritated)
                 Buzz off, Buddy!  We don't need
                 you butting into our business!

      MEDIUM ANGLE

      Peter puts his hand on Bud's shoulder.

                           PETER
                 You may not need me, but I'm sure
                 this beautiful lady does.

      Peter's remarks are the last straw.  Bud forcefully removes
      Peter's hand from his shoulder and then shoves him, hard.

      CAMERA PULLS BACK to include other PARTYGOERS, and Winston,
      watching the action.

      It looks like the argument is going to escalate.  Both Bud
      and Peter put themselves in "macho" fighting stances,
      ready to come to blows.
                           PETER
                       (really furious)
                 Okay!  You've had your chance!  Now
                 I'm going to take you down a peg or
                 two!

                           BUD
                       (smirking angrily)
                 Yeah, you little wimp?  When I'm
                 through with you, you're going to
                 look like day old Brie!

      Several Partygoers then hold Bud back, while Winston
      attempts to calm Peter.

      ANGLE ON WINSTON AND PETER

                           WINSTON
                 Come on, Pete.  Let's leave these folks
                 alone to settle their own problems...

      ANGLE ON KATE AND BUD

      Kate tries to placate Bud, putting her hand on his arm.

                           KATE
                 I'm sorry Bud. Why don't we go and
                 talk...

      Bud shrugs her hand away angrily.

                           BUD
                 I'm going, but not with you!

      CAMERA FOLLOWS HIM as he pushes his way into the

      INT PENTHOUSE

      and, through the crowd inside, to the apartment door which
      he jerks open and SLAMS behind him.

                                               CUT TO:

      EXT PENTHOUSE

      Peter and Kate both stand looking in the direction of
      Bud's exit.  Kate has a worried expression on her face.

                           PETER
                 Good riddance!

                           KATE
                       (extremely worried)
                 Oh, my! Now he's really in for trouble!
      Peter does a double take and looks at Kate, trying to
      understand what she means.  CAMERA TRUCKS IN on Kate's
      worried expression.

                                               DISSOLVE TO:

      EXT FIFTH AVENUE - NIGHT

      CAMERA PANS OVER the almost deserted street and TRUCKS IN
      onto a fancy, red SPORTS CAR, ZOOMING along at a fast clip.

      INT SPORTS CAR

      Bud is driving.  He is still grumbling about his night.

                           BUD
                 Who does she think she is!  I bet
                 that guy was another "old friend"...

      As he crosses Broadway, he glances at his rearview mirror.

      CLOSE UP ON REARVIEW MIRROR

      A small dot of light rapidly grows larger and larger, and
      blindingly bright.  We HEAR the ROAR of a powerful
      motorcycle motor.

      ANGLE ON BUD

      He squints his eyes, and tries to shield himself from the
      glare of the painfully bright light.

                           BUD
                       (annoyed)
                 Geez!  I hate that!  The guy's blinding
                 me!  Why doesn't he pass or something!

      EXT SPORTS CAR

      Bud puts his hand out of the window, gesturing impatiently
      at his follower to pass him.

      For a second, nothing happens, except the SUPERCHARGED
      ROAR of the motorcycle engine REVVING angrily.

      ANGLE ON BUD

      Puzzled that he has not yet been passed, Bud turns his
      head to see who is following him.

      BUD'S POV

      At last, we SEE the shape of the HEADLESS MOTORCYCLIST,
      carrying a FLAMING HELMET in one of his bony hands.
      With a LOUD SCREECH of tires, and a super ROAR of the
      engine, the Motorcyclist rears his bike on its back wheel,
      where it is silhouetted against the lights of Manhattan.

      WIDER ANGLE

      The unnerving sight of the horrifying motorcyclist almost
      causes Bud to lose control of the sports car as it makes a
      skidding right turn into Washington Square Park.

      INT SPORTS CAR

      Bud's knuckles turn white as he angrily grips the wheel.

                           BUD
                       (fury in his voice)
                 If this is someone's idea of a joke,
                 I'll give them their money's worth!

      EXT SPORTS CAR - A SERIES OF SHOTS

      takes the two vehicles through a spine-tingling chase
      through the narrow streets of GREENWICH VILLAGE.  The car
      ZOOMS, making hairpin turns and burning rubber.  But the
      Motorcyclist is not shaken.

      INT SPORTS CAR

      Bud's expression changes from anger to worry.

                           BUD
                       (nervously)
                 That guy's good, but I know
                 how to get rid of him!

      EXT SPORTS CAR

      Bud drives the car into a basement parking lot. Assuredly,
      he spirals through it and comes to another exit, barred by
      a metal curtain.

      INT SPORTS CAR

      Bud points a radio-control device at the shutter.

                           BUD
                       (maniacally happy)
                 Ah, ah, I got him!  Obviously
                 the jerk doesn't work here!

      EXT SPORTS CAR

      The metal gate opens with a CLANGING WHIR to let Bud's car
      through, and then closes behind him, equally LOUDLY.

      Bud zips the car into an alley, and stops in the shadows.

      INT SPORTS CAR

      Bud wipes the sweat from his brow.

                           BUD
                 Well, let him find his way outta
                 there!

      Suddenly, we HEAR a RESOUNDING LAUGH.  The effect is very
      chilling and scary.  Bud's eyes open wide.

      BUD'S POV

      We see the Headless Motorcyclist zooming RIGHT OUT OF THE
      SOLID METAL GATES!

      ANGLE ON BUD

      Bud swears and starts the car again.

                           BUD
                 I'm getting outta here!  I don't
                 know who that guy is, but I'm not
                 gonna wait around to find out!

      EXT SPORTS CAR

      The car REVS UP at incredible speed, and leaving a cloud
      of dust behind it, heads down Broadway.

      Instead of driving with his earlier assurance and skill,
      Bud now zigzags his car nervously all over the road.  We
      keep HEARING the frightening and unnerving sound of the
      Motorcyclist's ghostly LAUGH.

      INT SPORTS CAR

      Jerkily, Bud keeps looking over his shoulder, in a state
      of rapidly increasing panic.

                           BUD
                 I've got to shake him!  I've got to
                 get out of here!  This baby can do 120
                 once I get her on a straight road!

      EXT SPORTS CAR

      He makes a left turn from Broadway onto Canal Street,
      almost causing the other cars there to have an accident.
      Then, he ZOOMS towards the MANHATTAN BRIDGE, pursued by a
      CACOPHONY of HONKING HORNS and SHOUTED INSULTS.

      The Motorcyclist is still hot on his tail, but he is no
      longer laughing.

      EXT MANHATTAN BRIDGE - ANGLE DOWN CANAL STREET

      Bud's car grows very quickly from a small dot on the
      horizon as it ROARS onto the bridge with a WHOOSH!

      The Motorcyclist is in hot pursuit, also growing from a
      mere speck to full size.  But, instead of getting onto the
      bridge he SCREECHES to a total and complete halt!

      ANGLE ON MOTORCYCLIST

      He ROARS and shakes his fist in anger.

      INT SPORTS CAR

      Bud, seeing in the rearview mirror that the Motorcyclist
      has stopped, brings his car to a SCREECHING, twisting halt.

      EXT MANHATTAN BRIDGE

      The two opponents stare at each other for a micro-second.

      ANGLE ON MOTORCYCLIST

      In a superhuman display of strength and accuracy, the
      Motorcyclist throws his flaming helmet at Bud's car.

      ANGLE ON SPORTS CAR

      The helmet CRASHES through the passenger side of the
      windshield, and the entire car goes up in SOARING FLAMES.

      Bud scrambles out of the burning car. Standing there, he
      sees

      BUD'S POV

      The Motorcyclist once more raising his fist in the air,
      but this time in an umistakeable display of triumph.
      Then, the Ghost REVS his engine and ROARS away into the
      night, LAUGHING maniacally.

      In the distance, we HEAR the approach of POLICE SIRENS.

                                               DISSOLVE TO:

      EXT GHOSTBUSTERS CENTRAL - DAY

      ESTABLISHING SHOT of the Ghostbusters' firehouse.

      CAMERA PANS OVER to a fire hydrant.  A DOG walks INTO
      FRAME and examines the hydrant with a "Will I or wont'I?"
      look.

      Before he can make up his mind, we HEAR a SIREN. SCREECHING
      INTO FRAME, a POLICE CAR ROARS up to the curb and parks in
      front of the hydrant, causing the dog to run away.

      ANGLE ON POLICE CAR

      With a bit of Wagnerian-like b.g. MUSIC, the feet of
      LIEUTENANT FRUMP appear on the sidewalk.  Then, he slowly,
      and almost painfully, extracts himself from the car.

      ANGLE ON FRUMP

      Frump is a gigantically fat man (somewhat like JACKIE
      GLEASON before he lost all that weight), but there is
      nothing kindly about his face.  He's dressed in a blue
      suit, a tan raincoat, a slouch hat, and the ugliest tie
      this side of a Moose convention!

      MEDIUM ANGLE

      A YOUNGER COP gets out of the driver's side of the car,
      then walks around to join Frump on the sidewalk.

                           FRUMP
                       (scratching his face)
                 Come on, kid.  Let's get down
                 to business.

                                               CUT TO:

      INT JANINE'S DESK

      JANINE is reading a woman's magazine at her desk.  A sheet
      of paper is rolled into the typewriter.  Suddenly a HUGE
      SHADOW falls across the desk.  Startled, she looks up.

      JANINE'S POV

      CAMERA TILTS SLOWLY UP from around the area of Frump's
      belt to his very mean-looking face.

      ANGLE ON FRUMP

                           FRUMP
                       (commandingly)
                 I want the Ghostbusters!

      ANGLE ON JANINE

      She is surprised but not daunted.
                           JANINE
                 Which one?  Doctor Spengler is quite
                 busy in his lab at the moment.  Doctor
                 Stanz is occupied in the motor pool...

      MEDIUM ANGLE

      Frumb bends his bulk slightly over Janine and interrupts.

                           FRUMP
                       (roaring)
                 All of them!  Now!

                                               CUT TO:

      INT CONFERENCE ROOM

      CLOSE UP on a series of photos of Bud's destroyed car.

                           FRUMP (VO)
                 ... and the guy was lucky not to end
                 up the blue plate special at Bob's
                 Barbecue Hut...

      CAMERA TRUCKS OUT to reveal Frump, the younger Detective
      and the four Ghostbusters, all sitting around a long table.

      Egon grabs the pictures, looks at them very closely (about
      an inch from his face) and goes "Hmm, hmmm..." several times.
      He will remain absorbed in them for most of the scene.

      ANGLE ON PETER

      Peter obviously believes Frump has come for their help.
      Smelling a client, he beams.

                           PETER
                 Okay, so of course, you want us to
                 investigate this motorcycle spook?

      ANGLE ON FRUMP
                           FRUMP
                       (very coolly)
                 No.

      ANGLE ON PETER

                           PETER
                       (quite surprised)
                 No?

      MEDIUM ANGLE ON PETER AND FRUMP

      Frump pulls out a photo of Bud and pushes it towards Peter.

                           FRUMP
                 Know this guy?

                           PETE
                       (he hasn't got it yet)
                 Yeah, sure.  I met him last night.
                 He had an argum...

                           FRUMP
                       (interrupting)
                 That's the guy who was almost barbecued.

      CLOSE UP ANGLE ON PETER

      He gets it -- at once -- and clams up.

                           PETER
                 Oh.

      MEDIUM ANGLE ON PETER, FRUMP AND RAY

      Ray, who has followed the exchange with interest, has not
      gotten it and, despite Peter's angry glances, carries on.

                           RAY
                 You mean, the guy that Peter had a
                 fight with last night almost got killed
                 by a ghost...

      There is a pregnant pause.

                           RAY (CONT)
                       (genuinely amazed)
                 What a coincidence!

                           FRUMP
                       (very meaningfully)
                 Yep!  Quite a coincidence.

      WIDER ANGLE, NOW INCLUDING EGON

      He grabs the photos.  Those that Egon is still looking at,
      he has to pull from his hands inch by inch.

                           FRUMP (CONT)
                       (to Peter)
                 Why don't you make both of our lives
                 easier and tell me how you did it.

                           RAY
                       (turning to Peter)
                 Did what?  What did you do?

      ANGLE ON PETER

                           PETER
                       (angry)
                 Nothing!  I didn't do anything!
                 I'm innocent!

      ANGLE ON RAY AND FRUMP

      He sounds completely convinced of Peter's inocence.

                           RAY
                       (to Frump, righteously)
                 You heard him.  He didn't do anything.
                 He's innocent.

                           FRUMP
                 Yep.  And he's the only guy in New
                 York with a motive and easy access to
                 ghosts...

      ANGLE ON PETER

                           PETER
                 Hey, wait a minute!  I barely knew
                 the guy.  Besides, a ghost isn't a hit
                 man.  You can't get them to do whatever
                 you want...

      WIDER ANGLE

      At that very moment, SLIMER ZOOMS into the room, and goes
      "coo, coo" very affectionately all over Peter, who then
      tries desperately, but unsuccessfully, to "shoo" him away.

      ANGLE ON FRUMP

      Frump looks at the scene and nods knowingly.

                           FRUMP
                 Yep, I can see ghosts don't like you...

      ANGLE ON PETER AND SLIMER

      He is still trying to get rid of Slimer.

                           PETER
                       (exceedingly annoyed)
                 No, you can't!  Slimer isn't...
                 Well, he is, but...

      He realizes that his explanation is going to sound too
      complicated, even to himself, so he just shuts up.


      ANGLE ON RAY

                           RAY
                       (carrying on)
                 You can't say things like this to
                 my buddy.  Besides, we were all
                 together all the time last night.

      WIDER ANGLE

      All the Ghostbusters turn immediately to look accusingly
      at Ray, who goes "Oops" silently.

      ANGLE ON FRUMP

      Frump nods, a large smile on his face.

                           FRUMP
                 Hmm, hmm.

      WIDER ANGLE

      Frump gets up, walks towards the door, followed by the
      younger detective, and turns before he leaves.

                           FRUMP
                 I can see we're getting nowhere fast.
                 But I want you weirdos to know I never
                 let a guy go free.  Never.  I'll be
                 back.

      ANGLE ON RAY AND PETER

                           RAY
                       (to Peter)
                 You didn't do it, did you?

      Peter gets up and starts pacing the room angrily.

                           PETER
                 Of course, I didn't do it!  How
                 could have I done it, anyway?

                           EGON (VO)
                       (matter of factly)
                 By reversing the polarity of the
                 neutron flow.

      WIDER ANGLE

      Peter turns angrily towards Egon.


                           PETER
                 I didn't reverse any polarity.  I
                 don't even know what you're talking
                 about.  I tell you I didn't do it.

                           WINSTON
                       (the voice of common sense)
                 Then, there's a killer ghost on
                 the loose, and we better catch it.

      ANGLE ON RAY

                           RAY
                       (meaning it)
                 Yes, besides it'd be bad for business
                 if Peter goes to jail...

      ANGLE ON PETER

      He throws a furious glance at Ray.

                                               DISSOLVE TO:

      INT GARAGE - NIGHT

      CAMERA PANS OVER the Ghostbusters' Garage.  The door is
      open.  Out there, it is NIGHT.  Next to ECTO-1 is an exact
      copy of Bud's SPORTS CAR.

      The four Ghostbusters are standing by, dressed in full
      ghost-busting gear -- except for Peter who does not wear
      his PROTON PACK.  They look like they're arguing.

      ANGLE ON PETER AND RAY

                           PETER
                 I don't like this plan.  I think
                 it's a stupid plan.

                           RAY
                       (patiently)
                 But we need somebody to drive the car
                 and retrace that guy's itinerary.
                 Besides, we'll be following you.

      He smiles a smile that spells doom.

                           RAY (CONT)
                 Nothing can go wrong!

                           PETER
                       (not at all convinced)
                 Yeah, sure...  But why do I have
                 to be the bait?

      MEDIUM ANGLE, TO INCLUDE WINSTON

                           WINSTON
                       (with a large, wicked grin)
                 Well, for one, you're the one who
                 stands to go to jail!  Besides, we
                 drew for it, remember?

      WIDER ANGLE

      Grumbling, Peter gets into the sports car, SLAMS the door,
      starts the car and ZOOMS into the night.

                                               CUT TO:

      EXT FIFTH AVENUE - A SERIES OF SHOTS

      enable us to follow Peter as he drives through nocturnal
      Manhattan, followed by Ecto-1.

      INT ECTO-1

      Ray is at the wheel, with Winston in the passenger seat.
      Egon is in the back, looking at the usual array of super-
      scientific instruments.

                           RAY
                 Anything yet?

                           EGON
                 Nope.

      INT SPORTS CAR

                           PETER
                       (grumbling)
                 Go to jail, go to jail...

      EXT SPORTS CAR

      The Headless Motorcyclist ZOOMS IN from a cross street,
      between Peter's car and Ecto-1.  He REARS UP his bike as
      he negotiates the sharp turn and rushes after Peter.

      He then proceeds to throw a flaming helmet at Peter, while
      LAUGHING maniacally.

      INT SPORTS CAR

                           PETER
                       (gasping)
                 Holy smokes!

      EXT SPORTS CAR

      The surprise causes Peter to swerve, and the flaming
      helmet to miss.  It CRASHES harmlessly a few yards away.

      INT ECTO-1

      Egon raises his eyes from the equipment and points.

                           EGON
                       (impressed)
                 I think we have something here. It
                 seems to have quite a strong concen-
                 tration of PK energy.

      ANGLE ON RAY AND EGON

      Ray hasn't waited for Egon to tell him that the Ghost has
      arrived.  He turns to answer Egon, thereby completely
      taking his attention away from the road.

                           RAY
                 I kind of noticed!  The question is,
                 what do we do with it now that we've
                 got its attention?

                           WINSTON (VO)
                 Hey!

      EXT ECTO-1

      Ray has almost shot past a right turn, where Peter and the
      Ghost have gone.  He gives the wheel a sharp twist, almost
      sending Ecto-1 into a tailspin, but the car recovers.

                           RAY
                 Good girl!  Atta boy!

      ANGLE ON WINSTON

      Leaning out the window, he SHOOTS several ion beams at the
      Ghost, but misses.

      EXT MANHATTAN STREETS

      The beams HIT the traffic light overhead.  The energy
      flows across the wires, from light to light, causing them
      to change in haphazard fashion, creating chaos.

      A SERIES OF SHOTS shows the pursuit intensifying.  The
      choreography of the chase bears some resemblance to that
      of "The Keystone Kops."


      For example, Peter's car goes down one street, followed
      closely by the Ghost, while Ecto-1 is going in the
      opposite direction on the next street.  They all skid,
      swerve, go through lights, leaving chaos in their wake.

      ANOTHER QUICK SERIES OF SHOTS shows Peter dodging the
      Motorcyclist's fireballs; Ray doing his best not to lose
      sight of Peter's car; Egon hunching over his instruments;
      Winston shooting ion beams.

      EXT SPORTS CAR

      The chase has now taken Peter near the Civic Center, and
      he ZOOMS towards the Brooklyn Bridge.

      WIDER ANGLE

      CAMERA PULLS OUT to show the car speeding onto the bridge,
      while the Motorcyclist SCREECHES to a halt at its foot.

      Ecto-1 SQUEALS to a stop just beyond.  The Motorcyclist
      throws a last flaming helmet (which misses), shakes his
      fist, and ROARS off into the night.

      EXT BROOKLYN BRIDGE

      Ray, Winston and Egon get out of Ecto-1, while Peter makes
      a U-turn on the bridge and drives back to join his friends.

      Peter gets out of the car, and goes over to the last spot
      where the ghost stopped.  Egon is there, holding a PKE
      meter, while Ray looks very excited.

      ANGLE ON EGON AND RAY

                           EGON
                 There's something funny about these
                 readings, but I can't seem to put
                 my finger on what...

                           RAY
                       (excitedly)
                 I know!  I know!  It's the water!
                 Water is a natural ionizing agent
                 and...

      MEDIUM ANGLE TO INCLUDE PETER

                           PETER
                       (barging in)
                 I said it was a stupid plan before.
                 Well, I was right and I won't do it
                 again!

                           EGON
                       (not noticing Peter)
                 Yes, that would explain the sudden
                 drop in power readings as we got
                 closer to the river.  But I still
                 don't understand...

                           PETER
                 Why me?

      Egon and Ray turn toward Peter and simultaneously answer
      his rethoric question.

                           EGON AND RAY
                 Yes, that too...

                           WINSTON
                       (snapping his fingers)
                 I think I've got it!

      The other three turn toward him.

                           WINSTON (CONT)
                 Doesn't it all ring a bell?  The
                 chase, the bridge, the headless spook?
                 It's that old Washington Irving tale...
                       (a pause)
                 "The Legend of Sleepy Hollow!"

      A look of realization dawns on the Ghostbusters' faces.
      They all look at each other as we

                                               FADE OUT:


                             END ACT ONE

                               ACT TWO

      FADE IN:

      EXT MANHATTAN - DAY

      CAMERA PANS from the U.N. Building, up Franklin D.
      Roosevelt Drive along the East river, STOPS at the
      QUEENSBORO BRIDGE, and then TRUCKS IN on a posh,
      riverside, condo building.

      CLOSE UP on Ecto-1, parked under a no-parking sign in
      front of the place.

                                               CUT TO:

      INT BUILDING

      All four Ghostbusters are standing on the landing in front
      of a set of heavy doors.  Peter's hand is still on the
      doorbell.

      The door opens.  Kate appears in the opening.  She looks
      more embarassed than surprised.

                           KATE
                 Oh, it's you.

                           PETER
                       (not making things easier)
                 Yeah, it's us.

      ANGLE ON KATE

      There is silence.  Then, she moves back from the door.

                           KATE
                       (somewhat reluctantly)
                 Why don't you come in?

      INT KATE'S APARTMENT

      They all walk in.  Egon pulls out a PKE meter and starts
      "sniffing" around the apartment, while Ray looks at the
      elegant decor.  Peter confronts Kate.

      ANGLE ON PETER AND KATE

      Peter is in a hurry to get to the point.

                           PETER
                 We think there are certain things
                 you can tell us about a certain
                 ghost...

      Kate attempts to interrupt him.

                           KATE
                       (embarassed)
                 A ghost?  Why should I...

      Peter raises a finger in the air to silence her.

                           PETER
                       (a bit obnoxiously)
                 You were kinda worried the other
                 night, when there was no particular
                 reason for you to be...
                       (a pause)
                 Except, of course, if you knew in
                 advance what would happen...

      He points his finger at her.

                           PETER (CONT)
                 ... which you did, didn't you?

      Kate puts her head down to hide her embarassment, but
      remains silent.  Pete continues, lecturing.

                           PETER (CONT)
                 Then I remembered the Washington
                 Irving folk tale...

      ANGLE ON WINSTON

      frowning at Peter's attemp to hog all the credit.

      ANGLE ON PETER

      He notices and tries to worm out of it.

                           PETER (CONT)
                       (embarassed)
                 Well, er, we remembered the story of
                 the Headless Horseman!

      ANGLE ON KATE

      She GASPS, collapses onto a chair, her face in her hands.

      MEDIUM ANGLE TO INCLUDE PETER

      Peter, who can't resist a pretty face, goes to her and
      gently pats her on the shoulder.  He looks embarassedly at
      the others, as if to say, "Well, it's not my fault if
      she's emotional!"

                           PETER
                 Hum, er, is this ghost a friend of
                 yours?

      ANGLE ON KATE

      She raises her face, stained with tears.

                           KATE
                 Friend!  He's my family's curse!

      WIDER ANGLE TO INCLUDE EVERYONE

      At the word "curse," Ray visibly perks up.  Even Egon gets
      closer to the group, to listen to Kate's story.

      ANGLE ON KATE

                           KATE
                 My ancestor was the man Washington
                 Irving called Ichabod Crane...

                                           SHIMMER DISSOLVE TO:

      EXT WOODED TRAIL - NIGHT - ESTABLISHING SHOT

      A lone horseman is riding through the moonlit woods.  In
      the b.g. we HEAR the approaching THUNDER of HOOFBEATS.

                           KATE (VO - CONT)
                 One night, in the Catskills, Irving
                 heard the tale of poor Uncle Ichabod,
                 and how he brought upon himself the
                 wrath of the Headless Horseman...

      ANGLE ON ICHABOD

      as he turns his head to see who is following him.  A look
      of pure TERROR crosses his face.

      ICHABOD'S POV

      Rapidly approaching is the nightmarish sight of the
      HEADLESS HORSEMAN, a flaming pumpkin held high in his
      hand.

      WIDER ANGLE

      Ichabod is urging his horse to go faster, but in vain.
      The Horseman is getting closer and closer.

                           KATE (VO - CONT)
                 As Uncle Ichabod felt the Horseman's hot
                 breath approaching the back of his neck...

      A bridge comes in sight and with barely a second to spare,
      Ichabod urges his horse across.

                           KATE (VO - CONT)
                 ...he ran, faster and faster, to the
                 far side of the bridge, knowing full
                 well the next moment could very well
                 be his last...

      ANGLE ON HORSEMAN

      He stops dead at the foot of the bridge, and is quite
      obviously furious.  He rears his horse on its hind legs,
      then throws the pumpkin at the retreating Ichabod.

      ANGLE ON PUMPKIN

      It EXPLODES in front of the CAMERA, causing a FADE TO
      WHITE, followed by a

                                       SHIMMER DISSOLVE TO:

      INT KATE'S APARTMENT

      The Ghostbusters listen in rapture to Kate's story.

                           KATE (CONT)
                 The next morning, Ichabod was nowhere
                 to be found.  Out by the bridge, the
                 townspeople found the broken-down old
                 nag he'd been riding...

                                        SHIMMER DISSOLVE TO:

      EXT BRIDGE - DAY

      A group of TOWNSPEOPLE stands at the foot of the bridge,
      where Ichabod's horse is munching on some grass.

      CAMERA TRUCKS IN to highlight broken pieces of pumpkin,
      and Ichabod's hat, scattered on the bridge.

                           KATE (VO - CONT)
                 ... And some pieces of a shattered
                 pumpkin, scattered around on the
                 bridge floor...

                                               WIPE TO:

      EXT RIVER - DAY

      Ichabod is pulling himself out of the river, wet but alive.

                           KATE (VO - CONT)
                 But what Washington Irving didn't
                 know, or chose not to tell, was that
                 Uncle Ichabod had escaped the fury
                 of the Horseman...

                                               CUT TO:

      EXT COUNTRY ROAD - DAY

      Ichabod is walking away on a lonely country road, never
      looking back.

                           KATE (VO - CONT)
                 However, he chose to move and never
                 return to his little Catskills village...

                                               CUT TO:

      INT EARLY AMERICAN HOUSE - DAY

      An older Ichabod, and his wife proudly look at a baby.

                           KATE (VO - CONT)
                 Eventually, he married and had a
                 son, and they lived happily ever
                 after.  But...

                                        SHIMMER DISSOLVE TO:

      INT KATE'S APARTMENT

      CLOSE UP on the Ghostbusters' eager faces.

                           ALL OF THEM
                 But?  Yes?  Yes?...

      ANGLE ON KATE

                           KATE
                 Twenty years later, on the anniversary
                 of the date Uncle Ichabod had first met
                 the Horseman, the Ghost returned...

                                         SHIMMER DISSOLVE TO:

      EXT EARLY AMERICAN TOWN - NIGHT

      The Headless Horseman, dressed in the period's clothes,
      pursues a man who looks like he could be Ichabod's SON.

      EXT BRIDGE

      Ichabod's son rides over a bridge, which causes the Ghost
      to stop, SCREAM SILENTLY in anger and gallop away.

                           KATE (VO - CONT)
                 Like his father, Ichabod's son found
                 that the Ghost could not pursue him
                 over running water...

                                          SHIMMER DISSOLVE TO:

      INT KATE'S APARTMENT

                           RAY
                       (to Egon)
                 Ha!  You see, it's the ionization
                 factor.  I told you so.

      Peter shoots him a dark glance.

                           PETER
                 Shhsh!

                                           SHIMMER DISSOLVE TO:

      EXT EARLY AMERICAN TOWN - DAY

                           KATE (VO)
                 When the Ghost began to pursue his
                 friends, Ichabod's son decided to
                 move, since this seemed to be the
                 only cure...

      A QUICK SERIES OF SHOTS

      now depict the Headless Ghost chasing various descendents
      (male or female) of Ichabod Crane, in different cities and
      different times -- but always at night.

      As we are going forward in time to the present, the
      Ghost's and the victim's costumes change to represent the
      respective periods during which the action takes place.

      Somewhere around 1920, as car transportation becomes more
      common, the Ghost now appears on a motorcycle.

                           KATE (VO - CONT)
                 Ever since, the Headless Horseman has
                 pursued my family and our friends,
                 forcing us to move again, and again...

                                        SHIMMER DISSOLVE TO:

      INT KATE'S APARTMENT

      The Ghostbusters shake their heads in sympathy.

      ANGLE ON KATE

                           KATE (CONT)
                 ... And now it's after me!

      She gets up and goes to the bay window.  Through it, we
      definitely see the shape of the QUEENSBORO BRIDGE.

                           KATE (CONT)
                 Living next to a bridge isn't good
                 enough.  It's going after my friends.
                 First, Bud, then yourselves...

      She walks back to the center of the room and faces them
      bravely.

                           KATE (CONT)
                 I guess I'll just have to move...

      ANGLE ON PETER

      He jumps to his feet, and rushes to her.

                           PETER
                 Of course, you won't!  Remember,
                 we're  the Ghostbusters.  Busting
                 ghosts is what we do for a living.
                 There's no reason why this ghost
                 should prove more difficult than any
                 of the thousands of other ghosts
                 we've busted!

      ANGLE ON EGON

      looking at his PKE meter.

                           EGON
                 Actually, there is.  This ghost packs
                 more energy than...

      WIDER ANGLE TO INCLUDE PETER AND EGON

      Peter rushes to Egon's side and covers his partner's
      mouth, in spite of Egon's vehement denegations.

                           PETER
                 I mean, no serious reason.

                           EGON
                 Mumble, frumble, grumble.

      Peter then walks back to the center of the room.

                           PETER
                 Okay, gang, it's settled.  We're
                 going to take care of the young
                 lady's pesky paraphysical pest.
                 Besides, it's for a good cause!

      ANGLE ON RAY
                           RAY
                       (moved)
                 Yeah, she deserves a break.

      ANGLE ON PETER

                           PETER
                       (genuinely surprised)
                 What?

      WIDER ANGLE ON EVERYONE

                           RAY
                       (pointing at Kate)
                 I said, she deserves a break.

                           PETER
                       (annoyed by what he perceives
                       to be Ray's lack of sympathy)
                 Oh yeah, that too.  But I meant me!
                 Clearing my good name.  That should
                 count for something too!

      ANGLE ON RAY

      His face bears a puzzled look, as if the idea had never
      crossed his mind.

                                               DISSOLVE TO:

      INT GHOSTBUSTERS LAB - DAY

      CLOSE UP on a newspaper cutting showing a picture of Frump
      being interviewed.  Above the photo is a large headline
      saying "FRUMP PROMISES ARRESTS SOON."

      SUDDENLY a large, dart ZIPS into frame, and plants itself
      smack dab on Frump's forehead.

      CAMERA TRUCKS OUT to reveal that Peter has thrown the
      dart, and is preparing to throw another.  In the b.g.,
      Egon and Ray are busy tinkering with various bits of
      scientific equipment.  Winston is trying to help.

      ANGLE ON WINSTON

      He is carrying a tray containing microchips, while Slimer
      is rubbing up against him and trying to get him to play.

                           WINSTON
                 Come on now, be a good boy and let
                 Daddy work.

                           JANINE (VO)
                       (shrieking)
                 You can't just barge in there like that!

                           FRUMP (VO)
                       (assuredly)
                 You wanna bet?

      ANGLE ON SLIMER

      At the sound of Frump's VOICE, he takes off for parts
      unknown.

      WIDER ANGLE

      The Ghostbusters stop what they're doing to watch the
      door, which opens wide to admit Frump.  Behind him, Janine
      is partly visible, looking slightly red in the face.

                           FRUMP (CONT)
                 Listen up, you Bozos!  I wanted to
                 be the one to tell you that you've
                 got the honor of having my full,
                 personal attention...

      During the rest of the scene, through A SERIES OF CUTS, we
      see Peter casually sidling towards the dart board, in an
      effort to retrieve Frump's photo before it can be noticed.

      Meanwhile, Frump is walking around, touring the work
      tables.  His first stop is Egon's station.  He peers at
      the various bits of electronics machinery spread on it.

                           FRUMP
                       (fake friendly)
                 What have we here?  Preparing to
                 let some ghosts loose, are we?

      ANGLE ON EGON

      Egon raises his nose in disdain, but says nothing.

      ANGLE ON FRUMP

      Frump now meanders over to Ray, who looks like he is
      working on an old fashioned crystal radio set.


                           FRUMP (CONT)
                 Maybe to clean up a few loose
                 ends at the...  Police Department?!

      ANGLE ON RAY

      Ray attempts to quell Frump's suspicions.

                           RAY
                       (superior)
                 Really, Lieutenant.  If we wanted
                 to get rid of you, we wouldn't put
                 this blue plug into the red socket,
                 we would put the green plug into
                 the red socket...

      MEDIUM ANGLE TO INCLUDE EGON

                           EGON
                       (interrupting)
                 But that's what you're supposed
                 to do, Ray.  The green plug always
                 goes into the red socket.

                           RAY
                       (surprised)
                 Are you sure?

      He tries it, we here a loud PFZITT!

                           RAY (CONT)
                 Oops!

      ANGLE ON PETER

      He is now standing next to the dart board, and his hand is
      at the photo, ready to take it down.  Suddenly, Frump's
      hand reaches INTO FRAME and grabs it down first.

      TWO SHOT ON PETER AND FRUMP

      Peter looks like a school boy who has been caught drawing
      unflattering pictures of his teacher.  Frump pulls a
      police wanted poster up in the photo's place.

                           FRUMP
                 How d'ya like that for target
                 practice?

      ANGLE ON FRUMP

      He then turns and walks out of the room.

      CAMERA TRUCKS IN on the poster, revealing that it features
      the Ghostbusters' faces.

                                               DISSOLVE TO:

      EXT KATE'S APARTMENT - DUSK

      ESTABLISHING SHOT of the sun setting on Kate's apartment
      building.  In the b.g., we clearly see the QUEENSBORO
      BRIDGE.  CAMERA TRUCKS IN to the bay window of

      INT KATE'S APARTMENT

      Winston, in full Ghostbuster's equipment, is briefing Bud
      and Kate.

                           WINSTON
                 Okay.  We're going to go over
                 everything again.  We can't afford
                 to have any mistakes.

      He points towards two chairs. Attached to the top of
      each one is something that looks like a hair-dryer helmet
      sporting parabolic antennae.

      ANGLE ON WINSTON

      In his hands are sheets of a script.  He holds them out
      to Bud and Kate (OS).

                           WINSTON
                 Remember.  You sit in the chairs,
                 hold hands, and then you read from
                 the script.

      ANGLE ON BUD AND KATE

      They take the scripts, go over to sit in the chairs,
      and place the helmets over their heads.

      MEDIUM ANGLE

                           WINSTON (CONT)
                 The way Egon explained it to me, those
                 helmets are going to broadcast your
                 psychograms to the ghost, and draw him
                 here like a fly to honey.

      Winston grabs his walkie-talkie to begin checking with the
      rest of the team.

      A QUICK SERIES OF CUTS

      EXT STREET - NIGHT

      Ray is cruising down the street, at the wheel of Ecto-1.

                           RAY
                 Check!

      EXT QUEENSBORO BRIDGE - NIGHT

      Egon is standing next to a ton of fancy equipment at the
      base of the Bridge.

                           EGON
                 Check!

      INT BASEMENT GARAGE

      Peter is wearing a helmet in CLOSE-UP, in someplace that
      looks like an underground garage.

                           PETER
                 Yeah, yeah... Check!

      INT KATE'S APARTMENT

                           WINSTON
                 Check!

      He switches off his walkie-talkie, lowers the antenna, and
      puts it back on his belt.  Then, he turns to Kate and Bud.

                           WINSTON (CONT)
                 Okay!  It's a go!

      ANGLE ON KATE AND BUD

      Bud starts reading from his script.

                           BUD
                       (very stilted)
                 Oh, Kate, my darling.  I am so happy
                 to be in the same room with you.

                           KATE
                       (also stilted)
                 Yes, Bud.  My heart throbs passionately
                 as we sit here holding hands.

      Bud raises his eyes from the paper.

                           BUD
                       (condescending)
                 This stuff sucks eggs!  Who wrote
                 this drivel?

      ANGLE ON WINSTON

      He shrugs his shoulders and looks kind of matter of fact.

                           WINSTON
                 Peter.

      ANGLE ON BUD

                           BUD
                 Nobody talks this way!

      ANGLE ON WINSTON

      He agrees with Bud, but what can he say.

                           WINSTON
                 Peter does.

      ANGLE ON BUD

      He rolls his eyes skyward, then resumes reading the script.

                           BUD
                       (still stilted)
                 Our two hearts beat...

                                               CUT TO:

      EXT STREET -  NIGHT

      CAMERA TRUCKS IN on Ecto-1 as it patrols around the block.

      INT ECTO-1

      Ray is driving while looking at a radar-like green screen,
      which sits on the passenger seat.

      CLOSE UP ON SCREEN

      where a green blip appears, accompanied by a BEEPING SOUND.

                           RAY
                       (excited)
                 That's it!  That's him!

      EXT ECTO-1

      In the middle of traffic, Ray makes an almost impossible
      U-turn, with causes the tires to SQUEAL and WHINE.  Then,
      he peals off in the direction from which he just came.

      RAY'S POV

      Through the windshield of Ecto-1, we SEE the silhouette of
      the Headless Motorcyclist in the distance.  As Ray gains
      speed, it gets closer.

      EXT STREET

      Ray is gaining on the Ghost.

                           RAY
                 Good girl!  We're gaining on him.
                 With a bit of luck, we'll get him
                 before he even gets to the building.

      WIDER ANGLE

      In front of us is Kate's building.  The Ghost makes a
      hairpin turn into an alley behind the building.

      Ray almost misses the turn, but makes it, although he's
      slower about it because of Ecto-1's greater inertia.

                           RAY
                 That's it, he's sewn up.  This is a
                 dead end!

      ANGLE ON MOTORCYCLIST

      He reaches the wall of the building, and makes a ninety
      degree turn -- STRAIGHT UP!  He LAUGHS demonically as he
      drives STRAIGHT UP THE WALLS OF THE BUILDING!.

      CAMERA PANS to follow the Ghost up for a few seconds then

      UPSHOT to a SHARP ANGLE from the ground, showing the
      Motorcyclist as he gets smaller and smaller.

      ANGLE ON RAY

      His head is tilted straight back, as he watches the
      Ghost's progress.

                           RAY
                       (amazed)
                 Gee!  That ghost is some driver!

                                               CUT TO:

      INT KATE'S APARTMENT

      Winston is fully armed, proton gun aimed at the bay
      window.

      We HEAR the sound of the engine GROWING LOUDER then,
      the Ghost comes across the balcony.  He reaches the CLOSED
      windows and drives right THROUGH them.

      Winston tries to keep the Motorcyclist at bay with his ion
      beams, but without success.  The Ghost throws a flaming
      helmet at him, which causes him to duck behind a chair.

                           WINSTON
                       (yelling)
                 Go on, you two! Part two! Part two!

      ANGLE ON BUD AND  KATE

      They rush out of the apartment into

      INT LANDING

      They run into the open elevator.  The doors close behind
      them.  Numbers above the door show it is descending.

      INT KATE'S APARTMENT

      Winston is doing his best to delay the Ghost by shooting a
      barrage of ion beams at it.

      But the Ghost is able to drive him back with his flaming
      helmets, until he gets a clear run at the door.

      Then, with a ROARING LAUGH, the Headless Motorcyclist
      rushes past Winston and THROUGH the door onto

      INT LANDING

      The Ghost drives staight THROUGH the elevator doors.

                                               CUT TO:

      INT BASEMENT GARAGE

      The elevators door open.  Kate and Bud come rushing out.

      CAMERA TRUCKS OUT to reveal a large underground parking
      lot.  Ray stands next to the idling Ecto-1.  Peter stands
      next to an idling motorcycle.

      ANGLE ON PETER

      He does not look happy.  He is dressed EXACTLY like Bud.
      On the motorcycle is a human-size inflatable doll, looking
      vaguely like Kate.  Various bits of electronic equipment
      are attached to the doll.

      ANGLE ON RAY

      He motions to Kate and Bud to hurry.

                           RAY
                 Quick!  Quick!

      WIDER ANGLE

      Ray ushers them into Ecto-1.

                           RAY
                 I've turned on the psycho-dampers.
                 As long as you stay in the car, the
                 Ghost won't be able to detect your
                 presence.

      ANGLE ON BUD

      He crawls into the car.

                           BUD
                 But how are you going to?...

      WIDER ANGLE

      Ray points at Peter, who is climbing onto the motorcycle
      and REVVING UP the engine.

                           RAY
                 The recorder attached to the dummy
                 is now transmitting the same signals
                 you broadcast earlier...

      ANGLE ON PETER

      The motorcycle ZOOMS UP the ramp.

                           RAY (VO - CONT)
                 As far as the Ghost will be able to
                 tell, that's your psycho-imprints
                 leaving.

      INT ECTO-1

      Ray gets into the car.  Kate and Bud are visible in the
      back seat.

                           KATE
                 Isn't that dangerous?  I mean, if
                 the ghost catches up with him...

      ANGLE ON RAY

                           RAY
                       (smiling)
                 Yes, but we drew lots for it and he
                 lost!

      EXT STREET - NIGHT

      Peter ZOOMS out of the garage, and into the street.

                           PETER
                       (annoyed)
                 It's another stupid plan!

                                               CUT TO:

      INT BASEMENT GARAGE

      Ray drives Ecto-1 into the shadows.  In the b.g., we hear
      the now-familiar ROARING sound of the Headless Motorcyclist.

                           RAY
                 Not a minute too soon, I see!

      WIDER ANGLE

      The Motorcyclist comes out and THROUGH the elevator doors.

      CAMERA PANS and follows him as he speeds across the garage,
      and out the entrance.

      INT ECTO-1

      Ray grabs a walkie-talkie.

                           RAY
                 The Eagle is landing!

                                               CUT TO:

      EXT QUEENSBORO BRIDGE - NIGHT

      Egon is sitting next to his equipment at the foot of the
      bridge.  He is holding his walkie-talkie.

                           RAY (VO)
                 The Eagle is landing!

                           EGON
                       (slightly annoyed)
                 I wish you wouldn't be so melo-
                 dramatic, Ray.  This is just a
                 simple ectoplasmic manifestation
                 of 12.5 on the Flammarion scale,
                 not some kind of "Aquila Vulgus."

                                               CUT TO:


      INT ECTO-1

      Ray folds down the antenna of his walkie-talkie, and looks
      slightly wounded.

                           RAY
                 Well, excuuse me!

      INT BASEMENT GARAGE

      The elevator doors open, and Winston runs out of them, out
      of breath.  Ray HONKS at him, and he rushes towards the
      car and gets into the passenger seat.

      The car BURNS RUBBER as it drives away, up the exit ramp.

      EXT STREET

      Ecto-1 exits onto the street.

                                               CUT TO:

      EXT STREET (CLOSER TO THE BRIDGE)

      Things are getting hot for Peter.  He's ZOOMING along on
      his motorcycle.  The Ghost is gaining on him, and there
      are flaming helmets ZIPPING past his handlebars.

                           PETER
                 This plan is even stupider than I
                 thought.

      He leans his head down to a microphone on his collar.

                           PETER (CONT)
                 Okay, Egon, here we come.  I hope
                 that stuff of yours works, or I'm
                 barbecue!

                                               CUT TO:

      EXT QUEENSBORO BRIDGE

      Egon is standing next to a large circuit-breaker type of
      switch.  One hand is on the switch, and the other is
      holding a stopwatch.  He's wearing a headset.

      Suddenly, we HEAR the sounds of the rapidly approaching
      motorcycles.  So does Egon, and he flips down the giant
      switch.

      ANGLE ON EQUIPMENT

      Electricity CRACKLES and DANCES over the equipment.
      CAMERA TRUCKS OUT to encompass the entire bridge.  We see
      the same electricity coursing up wires that hang in front
      of the entrance to the bridge.

      The entire entrance to the bridge SHIMMERS like a mirage,
      and RECONGEALS to resemble an ordinary avenue.

                                               CUT TO:

      INT ECTO-1

      Ray is driving with one hand, gesturing with the other.

                           RAY
                       (lecturing)
                 You can only fight fire with fire,
                 and a curse with a curse.  First we
                 trapped the Ghost with the recording
                 of your psychic emissions, then we
                 get him onto the bridge.  The laws of
                 Physics take care of the rest.

      ANGLE ON KATE

                           KATE
                       (curious)
                 But, how are you going to get him
                 onto the bridge?

      ANGLE ON WINSTON

                           WINSTON
                 Egon created a hologram that makes
                 the bridge look just like any other
                 street.

                                               CUT TO:

      EXT QUEENSBORO BRIDGE

      Peter's motorcycle ZOOMS past Egon, and into the fake
      "street."

      Hot in pursuit, the Headless Motorcyclist follows.
      Suddenly, as he hits the middle of the "street," the Ghost
      literally FREEZES in his tracks.  He SCREAMS in rage.

      ANGLE ON EGON

      He switches off the hologram.

      WIDER ANGLE

      The "street" becomes a bridge again.

      ANGLE ON MOTORCYCLIST

      He's trapped at the very center of the bridge, his form
      wavering, right next to a GHOST TRAP.

      WIDER ANGLE

      Ecto-1 arrives at the entrance of the bridge, and stops.

      Ray and Winston get out.  They are joined by Bud and Kate.
      They all walk over to join Egon.

      ANGLE ON EGON AND KATE

      Egon holds the foot pedal.

                           EGON
                       (very much the gentleman)
                 I think the honor of the final capture
                 should be all yours.

      WIDER ANGLE TO INCLUDE EVERYONE

      Kate smiles as Egon puts the foot pedal in front of her
      foot.  The others surround her, smiling.

      CLOSE UP ON KATE'S FOOT ABOVE THE FOOT PEDAL

      She steps on it.

      ANGLE ON MOTORCYCLIST

      He is SUCKED DOWN into the trap, and the lid SLAMS closed.

      WIDER ANGLE

      Now that the Ghost is gone, Peter ROARS back across the
      bridge to join the group.  He stops the motorcycle and
      gets off.

                           PETER
                 I still think it was a stupid
                 plan!

                                            RIPPLE DISSOLVE TO:

      EXT ANOTHER MANHATTAN PENTHOUSE - NIGHT

      This is another party, reminiscent of the one at the
      opening of the show.  However, we HEAR the WEDDING MARCH
      being played.

      CAMERA TRUCKS IN to

      INT PENTHOUSE

      and PANS OVER what is obviously Bud and Kate's wedding
      party.

      CAMERA then TRUCKS IN TO Peter, Ray and the same Banker,
      all standing next to a buffet table.

                           RAY
                 Well, I'm glad you decided to sign up
                 with us.

      Suddenly, a WOMAN's hand reaches in between them from OUT
      OF FRAME to take an hors d'oeuvre.

      CAMERA PULLS OUT to reveal that it belongs to another very
      beautiful woman.

      Peter turns to follow her as she leaves, but Ray grabs the
      back of his coat and shoves a plate of food in his hand.

                           RAY
                 Why can't you just eat at these
                 things like everybody else.  It's
                 safer.

      Peter shrugs, and bites into a large sandwich as we

                                               FADE OUT:

                             THE END


         script copyright © 1986 Columbia Pictures Television
                          All rights reserved.