Posts Tagged With: Bill Murray

Who you gonna call?

I’m having a blast while reading the nasty (and somewhat angry) reviews that the Ghostbusters 2016 movie has garnered during the past few days. Of course, you can dismiss a few of them as reviews coming from disgruntled fanboys, but that doesn’t detract from the fun I’m experiencing while reading through their rambles.

I agree with some of these, specially the one that claims “this movie has no right to exist” (I kindly replaced the stronger word the original review used with “movie” so you won’t get ofended).

However, most of the fun I’m having comes from the fact that I once wrote in 1993 a potential Ghostbusters III screenplay (of which I’m planning to post the opening snippet below) and that it would have been something the Ghostbusters franchise would have been proud of… It’d have been funnier movie and I suspect Bill Murray would have loved the screenplay as it placed him in the central spotlight, giving this actor a very meaty lead role, indeed.

However (sigh), it was never meant to be. Although I had submitted several dozens of screenplays to various minor movie production houses, I was never able to get a direct address to Columbia Pictures to send this one at the time, so the damn silly thing just sat in my hard drive until now, gathering mold as years went by. Besides, Hollywood doesn’t seem to fond of dealing long distance with writers residing in South America.

However, not all was a loss. I was able to recycle most of the fantastic scenes I conjured up for this screenplay into my book Fermata Girl vs The Medallion of Doom, though I must admit that I faced  a small problem when it came to adapting for a female heroine the scene in which Peter Venkman would dig into his trousers to find out if male ghosts still had a certain part of their anatomy, but I guess I managed quite right.

Of course, what I’ll share here is not and actual screenplay, but a cineplay, which is a general layout of the entire movie, plot, props, background scenario, camera effects and motions and what is done to who by whom. I suppose that I may end up publishing this one in a FanFiction site one of these days. Without much further ado, the opening of my never read movie script.

Edwin Stark

Signing Off

************************************************************************************************************

How to write a real Ghost******* screenplay

by Edwin Stark

NOTE: Any respectable ghosthead can easily replace the asterisks with the missing word and suitably guess who are Peter V, Ray S and Egon S, those incredible characters so masterfully played by Bill Murray, Dan Akroyd and Harold Ramis.

A PROPOSAL FOR GHOST******* III

FADE IN

This first scene opens in a desert. Anywhere with lots of sand so we can pass it as an archeological digging site. The camera slowly pans over the horizon. Real moviegoers will feel a cold sting as this will remind them of the opening scenes of the Exorcist. Suddenly, from a hole in the sand, excited and frightened shouts start to come out. A middle east type runs out of it, stumbling and shouting.

CHANGE TO

A dusty tent, with a portable generator on the side opens up to show the dirty face of Egon S. whose serious mug we should not be able to recognize yet, for he is hiding it under a scraggy turban. Inside the tent we see the most advanced equipment you can build from the special effects department – with gauges and brilliant lights so you will be tempted to press the first button you can put your finger on. Also, a 13 inches black and white TV set, showing some silly stuff, like I love Lucy translated into arabic. The guy

under the turban knows something has happened. He starts to run toward the hole. An excited bunch of guys with turbans and moustaches and filthy beards crawl out of the hole so fast they make one another stumble on the hand made ladder. When the excitement subsides to an annoyed murmur, Egon S. gets closer and starts to climb down. He glances around, to see what scared the heck out of his workers and he catches a golden glimmer. He grabs a brush and starts to remove dust with it. An ugly snout comes out of

the dirt an a crazy smile shows in Egon S. face. He grabs the medallion he just uncovered with a handkerchief and climbs out of the hole. Holding it high in his hand (can we have some Indiana J. music, please?) as a prize, the annoyed murmur is replaced by an angry chant. Egon vigorous pace toward his tent is almost interrupted when a scared worker runs away shouting his lungs out, as if he is calling for someone.

INSIDE THE TENT

Egon places the medallion on his desk and plugs a probe on it. He flips a switch and a sudden sparks blows up all his equipment and leaves him in the dark. All goes black but the dim image of static in the b&w TV set and a lamp that barely shows us the outline of Egon profile. He taps the lamp and it sparks, regaining some more light. He looks scared, enough to jump because of the scare the TV set gives him when a weird face replaces the final credits of  I love Lucy. It nastily glares at Egon an then disappears.

OUTSIDE THE TENT

The crowd grows more restless.

INSIDE THE TENT

Egon glances out, wondering what to do. The final credits give way to Psychic World, and Peter V. appears on the screen smiling wickedly as we love it. An arabian voice over translates what he says about this week topic.

CLOSE UP

Egon’s face raises its brows in surprise and he stares at the medallion.

CHANGE TO

An arabian boy comes running to Egon tent, and he gives him a few coins and a package with tons of stamps glued to it. He says something in arabic and the boy runs away with the package.

INSIDE THE TENT

Egon looks relieved. He unfold a canvas chair and dusts off some of his equipment. Peter V.’s Psychic

World is gaining momentum with awful jokes impossible to translate into arabic. Whatever Peter is doing, it surely makes him rich enough. Out of sudden, a troop of guys with semi automatic guns trample inside

the tent. Egon nervously notice they carry on their fingers an ugly ring with the medallion’s face engraved on it. He makes a nervous joke.

EGON S.: Whoa! A crash party. I think I don’t have enough potato chips and dip for every one!

FADE OUT

FADE IN

Eerie note plays while New York City skyline fades in and the POV slowly gains speed toward it.

The camera knows where its going and sweeps through a window in a luxurious apartment on

Fifth Avenue. Meanwhile, a spooky tune with playful touches plays in the background.

INT. EVENING CAMERA SWEEP

The camera glances everywhere, trying to put together the pieces of the people living here.

Covers of numerous magazines, framed for display, are placed along the wall. (If we are lucky, the studio jerks will still have in file the covers and headlines used in the first movies’ montage) Some of them mention the break up between Peter V and the Ghost******* after they dealt with Vigo. The camera continues its sweep toward a coffee table and on its top lay copies of books written by Peter V. The camera barely allows us a peek, but their dust jackets read “My dinner with Elvis” and “My date with Marilyn”. (Possibly a book  can be named “Jam Session with Jerry Garcia”, but Deadheads could get p.d. off).

CHANGE TO

The counter of a personal bar. A wedding picture of Dana B and Peter V sits on its beautiful marble top. Everything tells us the guy is loaded and his wife most responsible for the good taste of the furniture. Suddenly, the noise of keys fill the air and someone pass through the POV and drops the mail on the counter. Junk mail and a partially opened package sprawl on the top of the bar, but

EXTREME CLOSE UP

the parcel finally breaks up and the WEEEEIRD medallion and a note slip out, the medallion bounces on a bar stool and clings near its legs. The camera keeps playing its silly games of telling us the outlines of things, when we can partially read DANGEROUS and MEDALLION. Just to make us suspect something about it. Anyway, the box is addressed to Egon S, not Peter V. care of the GHOST******* with lots of Middle East stamps clinging on it.

CHANGE TO

A general view of the back of a well dressed man. He’s calling out someone while slowly turning toward us.

PETER V: Honey, I’m home  (Possibly a cheesy The Shining voice)

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