I like the idea of a quiet, midday type of opening where it is really mellow. Ya know, to let the audience settle in and get comfy in their seats and then draw them in with a few suspense loaded scenes that would eventually lead up to the first big bust of the movie.

Thats' good too. If ever there was a 2nd sequel, (God willing), the movie should start with a brief prelude to what occured in the first two movies, like a mini-montage of the glory days of Ghostbusting. Then, after that's over, the audience should be introduced to a quiet day in the office at the Firehouse. The Camera would slowly pan around the office of Dr. Stanz, showing images, pictures, news clips, magazine articles of the Ghostbusters in the media of the last 20 years. Then, we hear a phone ring on Ray's desk. We don't know who he's talking to, but it sounds like a customer. After doing business with that person over the phone, he reassures them that there isn't need to worry and that he and his partner will go over to handle the destraught customers spook problem.
When Ray and…I guess Winston arrive at the seen of the haunting at the person's house, they go through the motions of scoping out the house. Ray looks bored while searching around with the PKE Meter and Winston is tired from a long, routine day of work. After the guys do the deed and trap the ghost, they give the customer the bill/invoice and claim there check for their services rendered. Ray and Winston leave the scene and drive away in the Ecto. Both men are worn out. It seems that their age are catching up with them. Ghostbusting has become a difficult job. They're not motivated like they once were back in their earlier days when they were younger.

…to make a long story short, the sequel would be a vehicle to hire new Ghostbusters, pass the torch to new team, and for the original team to have one final battle with a major demi-god and go out in glory…the bust to end all busts.

What the hay, I'll post mine:

Scene One

NEW YORK, NEW YORK - 12:00AM

Scene opens on a generic New York City street, view pans down to a man hole cover that lies slightly open.

CUT TO:

The man hole, lying slightly open is revealing some of the darkness within. Suddenly the darkness lights up red and then.

CUT TO:

RAT'S EYE VIEW (REV) - NEW YORK STREET

The REV moves along the street, dodging past both moving and parked cars and across the street until it reaches an intersection. The REV pauses for a moment and then turns left towards the nearest building on the corner, it quickly moves towards the door.

END REV - NEW YORK STREET

REV - DARKENED BUILDING

The REV rushes past a large parked car and pans around to decend a set of metal steps leading away into the darkness. After a few minutes of darkness a illuminated control panel appears above the REV, the REV looks up at the panel and quickly zooms into the panel.

END REV - DARKENED BUILDING

DARKENED BUILDING - BEDROOM

A pair of eyes appear on black quickly as they blink away sleep, the character's forehead is covered in sweat as he breaths heavily.

NEW YORK - DARKENED BUILDING EXTERIOR - 9:00AM

The exterior of a run-down firestation with a sign hung outside the front, the building has seen better days and the sign swings with a creaking sound in the breeze, the station's black double doors stand open as a man slaves away on a large white Cadilliac ambulance which has been heavily customised, the man's face is hidden from view.

FIREHOUSE - GARAGE

We move along the floor of the firestation's garage, several pairs of feet walk by as the camera slowly moves towards a desk near the back of the room, once the camera has reached the desk, it slowly begins to pan up as a phone which is ringing is answered.

FEMALE RECEPTIONIST VO:

Hello? How can we help you?

The Female Receptionist (Early 20's) is already writing down details onto a pad of paper. She is redheaded and wears a fierce pair of red glasses on the bridge of her nose, a nearby plaque tells us this is one Janine Melnitz.

MELNITZ

You guys got a call!

A man (Early 30's) with wild brown hair, wire rim glasses and a lanky build approaches the woman, a slightly uncomfortable expression on his face as he approaches the desk.

MAN #1

What is it?

MELNITZ

(Obviously happy to see the man)

Looks like a standard spook Egon, nothing that will take more then an hour.

(She then hands Egon a work order)

SPENGLER

(Taking the work order)

Indeed, ensure the appropriate beverages are ready for our return.

MELNITZ

(Flashing Egon a smile)

I will

She then reaches across the desk and presses a round button mounted on a silver base, a shrill alarm begins to ring.

BEGIN START CREDIT MONTAGE

As Egon walks towards a wooden equipment locker a man (Early 30's) slides down a brass firepole to Egon's left, the man has thick brown hair and is slightly chubby in appearance, he has an air of child-like exceitement about him. The words DAN AYKROYD appear on the screen. The shot pans back to Egon, where the words HAROLD RAMIS appear. Another man, this time the first person we saw rushes towards another locker, the words ERNIE HUDSON appear. And last, but not least, a man with a slightly craggy face and a almost relaxed attitude runs from behind Janine's desk, the words BILL MURRAY appear on the screen. The four men all put on identical tan jumsuits, each bearing a nametag with their surnames, VENKMAN, STANTZ, SPENGLER, ZEDDEMORE. They proceed to slip on boots, arm bands and field belts, they then run across to the white cadillac ambulance seen earlier.

FIREHOUSE - EXTERIOR SHOT

We see the cadillac ambulance begin to pull out of the already open doors, it then turns the corner quickly, but slow enough that we can see the white licence plate on the chrome front bumper ECTO-1, we then see a cartoonish white ghost, surrounded by a red circle and bisected by a red line.

END START CREDIT MONTAGE

BEGIN OFFICIAL CREDITS AND TITLES

END OFFICIAL CREDITS AND TITLES

Nighttime in NYC….woman in her 20's is living in an apartment, just home from work. She sits down to a bowl of chili with onions, onion rings…then…she hears a mysterious growling in her nearby dryer, a growling as if it were a giant stomach, she slowly but cautiously creeps up to it…but the growling stops and sweat beads are on her, she backs off.

But when you least expect it, it suddenly blows open… and a mysterios ghost has long aroms that reach out to her from across the room, she screams and then it segues into the logo and the GB theme.

(Peter and Oscar, 12, are walking down the street)

(Peter and Oscar walk into a store)

Shopkeeper: Hello, anything specific you lookin’ for?
Peter: No, not really just browsing.

(Oscar spots a toy he likes)

Oscar: Hey Dad, I want this.
Peter: How much is it?
Oscar: Fifteen bucks.
Peter: For a crappy piece of plastic! Well… I guess so.

(Oscar puts the toy on the counter.)

Shopkeeper: Did ya find everything ok?
Peter: Yep.

(Peter hears something)

Peter: Did you hear that?
Shopkeeper: Hear what?
Peter: Well I guess not then.

(Shopkeeper opens up the cash register and a ghost flies out.)

Peter: Oh no not again!!!
Vigo: Venkman, Venkman, Venkman!!!!!!

(Peter wakes up in the Ghostbusters HQ)

(Ray is standing there)

Ray: Venkman, are you ok?
Peter: I think I better switch to decaf.

(The original Ghostbusters theme starts and then switches to the opening credits)

Well that is mine. I have really no idea how to write a script but i think you get the idea.

i think it would be keen if the movie started with Ray or Egon teaching a course in Paranormal Physiology (or something) and cutting off to Winston or Peter handling a hands-on portion (proton charging, and storage of the beast)…switch to Louis Tully conducting a seminar on Post-Possession Therapy…

…and switch to Peck sweeping a hallway. i dunno. *L*

i always thought that a GB movie that revolved around ghost civil rights would be neat, but i don't think that would have enough steam to carry two hours.

opening sequences should haven't people talking and such, no speaking untill the themesongs plays, symbol & title shows up. well thats what i think, but I'm also a pretty nutty kid

Well I'd have a close up of the hood side panels/ a bit of the top of the hood (looking back on the ecto 1 and seeing the street behind it) while it was driving through the city at night, and it'd get all those cool-neato reflextions, yea I like those. It would go from the drivers side (then some names and stuff) to the passenger (then some names and stuff) and then back to the drivers, but this time it'd show some ghostbuster (prefabally Venkman, but you cant quite tell), hanging out the window (cuase that's what crazy kids do) and then some more names and stuff, and then itd show the front top lights taking up the whole screen and theyd start blazing and the siren would go and what not, and then the theme song/title/symbol, all this would be sped up to get better reflections, and maybe in Las Vegas, cuase all those lights would make some cool reflections too, and really when you come down to it, the reflections are what make the movie. With out reflestions your movie will be nothing. whew, yea im a crazy kid, leave me alone.

Reflections? Reflections not making a movie? What are you on about?

hence the crazy, eh eh? ya know those cool reflections hahaha

nice scripts (^_^)