Fear the Ghostbusters Musical - Complete Text (Restored)

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Synopsis

Fear the Ghostbusters Musical

Act I

Scene 1 - Slimer Origin

In an early-dark-ages great hall, the expansive body of a gluttonous king engulfs a wooden throne as he sits immovable at the massive oak table, ravishing a large roasted bird and the luxurious spread of victuals before him. From the shadows behind, a tall vizier/secret-sorcerer type approaches.

"More fowl, sire?" "Thy mother is foul. Hahaha!" "Nice one, sire. Thou hast still got it."

The vizier reports on the historic switch from two-field to three-field crop rotation in the manors. The preoccupied king clearly has no grasp of the finer points of the topic—or any topic—but lights up with interest and approval when he comprehends that "reduce famine" equals "more food." King Remils loves his food. Every flavor, it's just so yummy and satisfying.

A page approaches and reports inaudibly to the vizier. The king's decisive action is needed on the state of the kingdom, but the familiar pattern of manipulation in this advisor relationship becomes clear as the king's medicated apathy and preoccupation with food leads him to easily go along with the vizier's self-serving, serf-screwing decisions. "We are the 99%!"

The queen enters with a worn contempt and discontent that has been pushed beyond the limit in the age before divorce. She is going mad with contempt for her apathetic husband. The vizier makes clear the religious implications and the fate of a disloyal woman, and she storms out defeated and enraged.

In the excitement, the king slowly realizes a bone is lodged in his throat, but the apathy keeps him relatively unconcerned for a long period, his face twisting in mild consternation and his brow slowly furrowing to the gravity of the situation. He is choking and turning purple. The vizier's half-hearted attempts to assist reveal his pleasure at this turn of events. The king perishes in grotesque, loud, violent, blubbery spasms.

Scene 2 - Library

In a modern day New York Public Library, good-natured plump nerdy Ray Stantz is reading obscure tales from an ancient looking text and marvels about the fascinatingly mysterious legend of a gluttonous king to Peter Venkman, who is secretly reading comics wedged inside a psychology textbook. Egon approaches and immediately recalls the reference inside Tobin's Spirit Guide in his hand. Egon shows up at the library religiously to pore through this tome. The three men are dressed in amazing 1980s everyday-wear.

Ray tells the legend of the king who wanted nothing but food in life and would never be satisfied, so he has died a 'hungry ghost' and will forever roam the universe eating, starving, but no food will stay inside his ghostly form—it just falls right through.

Egon recites a strange and interesting prophecy about the 'hungry ghost' and adds that the 'hungry ghost' concept is a religious parable or metaphor and one of the many ancient oral-tradition building blocks of human religion such as 'the flood,' 'a savior,' 'reincarnation/resurrection'—reminders from our forebears of who we are and what our nature is. The hungry ghost parable and its powerful warnings about envy, greed, desire, addiction, and compulsion is present in ancient eastern religion, Catholicism, and modern American folklore. At its strongest, the metaphor suggests this hell is endured now in the living world during the cycle of desire and is a very real and immediate consequence of such clinging. He who envies will never have the object of his desire, and even if his machinations get him the idealized object, it will never be enough.

Suddenly, with the full loud awkwardness of a tripping, crashing grand entrance into a public library, a young frizzy-haired college student tumbles his way to the fellows' table in a clumsy, calamitous, acrobatic scene made for America's Funniest Home Videos. He gasps for air: "Remember how you guys said to be sure and tell you if someone ever phones the lab about a g-g-g... a g-g-g..."

The fellows prod: "A g-...?" "A grant! Yes! Hi-five! It's about time! Finally we can get those new power converters!"

[Mounting frustration and anxiety]

"No! Guys, on the phone there was a g-g-g... a g-g-g..." Venkman: "A g-gorgeous babe! Hey, well, that's hardly out of the ordinary, but since you dragged yourself all the way down here, I think I could be persuaded to..." "No! [beat] It was a ghost!"

The fellows focus in with surprise.

Sophomore: "I never believed you guys. Nobody believes you guys! I mean, what a joke! I just needed the internship credit, OK, and, well, the five dollars a day keeps me fed with three square meals of Top Ramen, but I never thought..."

Egon: "We're losing him." Venkman: "Stay on topic, kid." Ray: "Just slow down and tell us what happened."

Song: "The Voice"

"It was a sound—a sound—I've never heard anything like it. It was not of this world."

Venkman: "Did they ask for Prince Albert in a can?"

"A woman called and said the place was haunted, and I was about to laugh... when I heard it. Calling my name. Then I saw it, the blue hand like a demon hand. It reached out of the phone, and then it's like it reached inside me. I could feel it reach inside my chest. My legs were frozen solid, but I was running... running, and the hand was chasing me. It's like he was hunting me down, taunting me, haunting me, always just an inch away, always right behind me, like stuck forever in that insane moment where something is just about to get you—but then it never does... I felt like I just wanted him to get me, to nab me, to end the torture... to end it all... anything would be better than that feeling of pure terror, but he never would. Pretty soon I didn't even know he was gone, but I found myself crumpled on the floor in a puddle of sweat. I will never be the same."

Egon: "Did you get the address?"

Egon's questions sound more like statements. They do not rise in pitch at the end.

Ray: "What Egon means to say is thanks for coming to us. You did the right thing. We'll help you make it through this."

Intern pulls out a folded paper: "I wrote down the address before I was attacked."

Egon: "This is in the old industrial quarter." Ray: "Right out of a ghost story!" Venkman: "Or a prank setup by Captain Obvious. Abandoned factory... heh..."

The Ghostbusters' excitement leads them to be shooed from the library by the stuffy, choleric head librarian Roger Delacourt.

Egon: "Please, sir. Allow me to return Tobin's Spirit Guide to the basement. Its pricelessness cannot be measured..." "You're the only one who ever reads that evil book! Take it! Just go!"

Scene 3 - In the City

Song: "In the City"

The sounds of subways, construction, autos, and human life build to a rumbling, pulsing city rhythm, and the citizens of New York swarm, bustle, connect and disconnect in the organism known as the city.

A young black dancer has just scored a callback:

Dancer: "The rumble of the train is a sound I can feel in my feet Today gonna feel the beat, today In the city, never look back Lace up your boots, no time to lose Gotta move toward the future"

Ensemble: "Gotta live with no regrets in the city"

Dancer: "Where I come from, there ain't a chance of movin' up Folks'll dream and dream and dream of gettin' out But I don't let my dreamin' catch me in a spin I came to find my groove to the place that really moves, oh"

Ensemble: "Downtown is where the people from the streets work and live and die together Take a stroll down 53rd if you wanna know what's up Because it all goes down in the city"

The fellows are on the move through the streets toward the factory. Peter casts every doubt that this will be anything but a royal waste of time: "So we open the door to the factory and a bucket of water comes right down on your head. You heard the kid. Everyone at the university says we're a joke. This one doesn't take a genius to figure out. Huh, Egon?"

Egon: "I imagine the abandoned industrial buildings will provide a novel opportunity to collect spores and molds."

Ray: "Do you think the apparition left any protoplasmic discharge?"

Venkman: "Oh, there's somethin' to put on your Christmas list! You guys are the slimiest guys I know. I don't want to come anywhere near any goo. Hear me? [groans] Aww, all I can see now is that bucket over the doorway filled with ooze—like those kids shows on afternoon TV. So help me, if I get double-dare slimed, I will never forgive you."

Junkie: "Too many voices, too many choices Scary noises, devil got your mind In the streets of the city"

[Siren blares]

"In the city, headin' downtown Duckin' round every corner Found out just how a man is bound By the sounds of the city"

Deep echoing voice: "It never sleeps"

Ensemble: "In the city"

Junkie: "I only got one way to get 'dis monkey off my back Gonna see a man downtown Gotta cut right through this jungle and your fear If you wanna make the score You always come back for more"

Ensemble: "Downtown is where the people from the streets work and live and die together Take a stroll down 53rd if you wanna know what's up Because it all goes down in the city"

Ensemble verse/bridge: "The streets of the city, places where the sun never shines 90-ft walls above and creatures underground 1000 ways to die, but a million ways to come alive Need a hero, need a map"

Scene 4 - Winston

Winston and his lover at home, her daughter. He's a good man, he needs a new job.

Song: "Work Song - Need a Job"

"Been a soldier, cop, fireman I will protect you Work serving a greater purpose, serving another, serving mankind The being used for a higher purpose is being alive Work, creation is life Joy of labor, use your body/mind The best and only way to truly serve yourself"

Scene 5 - Peter "Hungry Like the Wolf" or "Wiring the Intern"

Columbia U - Weaver Hall - Dept of Psychology. Intern is enthusiastically bugging Peter for details about the ghost hunt. Peter is blowing him off, still believing it to be a prank. There were aspects of the experience at the factory that don't really make sense to Peter, but he's sure the wild goose chase was some collegiate prank at their expense.

The mysterious happenings at the factory, as they are recapped by Peter, appear in large angular polygon-shaped screens above the actors via rear projection. The whole play has a comic-book vibe including: - The dialogue, characters, and how they behave: a little more "epic," archetypal, noble, larger than life - The visual designs - The rear projection screens as a tool for: - Showing ghost action, awesome battles - Skipping through movie events rapidly like action panels - Showing cool art, epic facial expressions and action poses with graphic-novel stylized versions of the characters - Magazine montage when the Ghostbusters succeed and hit the newsstands

In preparation for the ESP experiment, Peter is wiring up the intern who is pressing for more info about the ghost hunt. The kid is incessant, clingy, non-accepting-of-reality, pressing for the answer he's looking for and not listening. This personality type really doesn't gel at all with Peter's don't-take-yourself-so-seriously, don't-take-anything-too-seriously approach to life. The kid just grates on him—harshes his buzz—so Peter just toys with him, and you can tell he's really gonna have a great time sending electricity through this kid.

On the other hand, Peter is really enjoying wiring up the hot female volunteer from the sorority. He's clearly got other plans for her and takes every opportunity to psychologically set her up for conquest in the future.

Peter begins with the first card: "Good guess... but wrong!" [loud shock which echoes with a painful scream. Music.]

Scene 6

Hear from NYC citizens, Shandor, Slimer, other ghosts, mythology, prophecy. Dana as a musician—a production with the dancer. Gozer & Zuul dance, cello duet callback. We wanted to get the dancers and musicians working together pronto.

Dancer says to Dana: "Girl, you straight Paganini on this shit, fo' real, tho'"

Dana: "Wow, thanks. I think Nicolo Paganini sold his soul to the devil."

Dancer: "Shit, all I know is my girl Ella sang a song talkin' bout 'scats, Mister Paganini, we breathlessly await your masterful...'" She laughs. Dana giggles.

Scene 7 - Library Comic Panels/Weaver Hall "Make It Happen"

In a visual montage, the fellows are called back to the library by Roger Delacourt to investigate an apparition that several people have seen. They arrive to investigate, search the catacombs, dodge falling bookcases, Peter encounters goo, they see their first apparition and run scared. Excited, the fellows marvel that they have made contact. Ray thinks this will be big at the university. Egon has finished preliminary calculations based on the new readings and clearly had a 'flux-capacitor' moment, envisioning a method for trapping and holding ectoplasmic entities.

Venkman is sarcastically doubtful as ever but is beginning to get turned on by the idea of being ghost hunter/trappers. Venkman has made a career out of turning marginal concepts into successful cons, and he knows instinctively that the first step is to dive in and believe in your own crazy product wholeheartedly. He immediately sees the possibilities in chicks and money, but more than anything else, he smells the hero-worship.

The fellows enter their lab in the basement of Weaver Hall to meet Dean Yaeger and a crew of workmen emptying their cluttered office of goofy electronic equipment and scraping their names off the door. The dean informs them they have lost their grant and are getting booted. When pressed, the dean tells them what he thinks of their "science," their methods, and their place in academia.

"Dr. Venkman, we believe that 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, and you have no place in this department or in this university."

A workman takes Ray's videocamera from around his shoulder, and the three walk out on campus. Egon leaves to construct a prototype of the ecto-chamber holding cell while Ray and Peter regroup and discuss their prospects for the future.

Peter: "Well, that's life, right? I think the university was holding me back. I feel like I need to stretch my wings a little, like rise to the challenge or something from the soundtrack to Rocky."

Ray: "This is like a major disgrace. Forget M.I.T. or Stanford now... they wouldn't touch us with a ten-meter cattle prod."

Peter: "You're always so worried about your reputation. We don't need the university. Einstein did his best stuff while he was working as a patent clerk."

Ray: "Do you know what a patent clerk makes? I liked the university. They gave us money, they gave us the 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."

Peter: "For whatever reasons, Ray... [sings] 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 outta this dump!"

Ray: "For what purpose?"

Peter: "To go into business for ourselves!"

Song: "Make It Happen"

Peter: "There comes a time in every man's life when he must stand on his own two feet When you live on someone else's dime, one day your ass'll be out on the street"

Ray drinks

"It's true! Back in Weaver Hall, life was swank, man We had it all, equipment and money I could follow my whims and a fresh crop of co-eds every year for him"

[He points to his crotch. A twinge of regret]

"Oh... I'm gonna miss that..."

"But sometimes it's no good for a real man to get too comfortable Where's your chance to fight and show what you're made of? Facin' down all your challenges with the sharp edge of your sword Slicing away the crap holding you back Make it happen! Can't you feel the heat of a future you can choose? Make it happen! Can't you feel it calling? Don't you feel like we can't lose? Opportunity strikes just once sometimes And I intend to make this one our time..."

Ray expresses doubt: "Do we even know how to... this kind of thing doesn't happen overnight..."

Peter: "Yesterday I didn't believe in ghosts, but now I got this feeling like my life's supposed to serve a greater purpose, which I decide. I'm convinced there's a service that we can provide. And who's gonna build it if we don't build it for ourselves? Who's gonna bring the action to your door? Have a little faith and take the first step. There's work to be done. Everything you need is right up your sleeve. Make it happen!"

Ray: "We're gonna need a lot of capital to get this thing off the ground."

[Peter goes to the payphone]

"Make it happen!"

Ray: "I wonder how Egon is faring with that prototype."

Peter: "Egon, meet us at Manhattan City Bank in one hour." [Hangs up] "Ray, how many mortgages are on your parents' home?"

Egon (working on the prototype): "Elegantly exploiting collective behaviors, collective excitation, giant resonance, photonuclear reaction, photofission, synthesizing americium, accumulating isomeric nuclei in a long-lived excited state, and narrowing down the gamma-ray emission line to get a laser laced with gamma rays, miniature reactor, thorium containment..."

Ensemble: "Save the drama for your mama, save the fight for the work"

Peter: "Make it happen!"

Ensemble: "Put your shoulder to the wheel and make it happen"

Peter: "Get it to happen, let it happen, oh please God let it happen We could be... heroes."

Peter dreams up a ghost-fighting business and imagines how they can make themselves into heroes. In a whirl of song, they have a business loan from Manhattan City Bank via third mortgage on Ray's childhood home, rent a dilapidated fire station, and Egon demonstrates his prototype, which doesn't really work and almost sucks Peter's face off or something funny. They delineate their respective roles in the enterprise, and they interview and hire a secretary, Janine Melnitz.

Peter believes that they are "on the threshold of establishing the indispensable defense science of the next decade—something everyone will need whether they knew they needed it or not."

Ray wonders: "But most people are afraid to even report these things."

Peter: "Maybe. But no one ever advertised before."

Costume note: First costumes are basically hazmat suits with toolbelts that are way too full of gadgets.

Scene 8 - Commercial Video on Screen

INT. CHILDREN'S BEDROOM -- NIGHT

Two children, a boy and a girl, are asleep in bed when suddenly they are awakened by supernatural moaning and groaning. The children scream and jump out of bed. The door—their mother and father rush in to find the children cowering against the wall.

FATHER: "What is it? What's wrong?"

The kids look, they point at the closet.

MOTHER (to father): "Oh dear. It's that darn ghost again. Can't you do something about it?"

FATHER (helpless): "I've tried everything, honey. I guess we'll just have to move."

The mother and the kids look at him with disappointment.

MOTHER: "Gee, there must be a better way."

Stantz steps into the foreground.

STANTZ: "Are you troubled by strange noises in the night? Do you experience feelings of dread in your basement or attic? Have you or your family actually seen a spook, specter, or ghost? If the answer is yes, then don't wait another minute. Just pick up the phone and call the professionals -- Ghostbusters."

EXT. FIREHALL

Venkman, Stantz, and Spengler are standing in front of the Ghostbusters sign. Spengler steps forward.

SPENGLER (to camera): "Our courteous and efficient staff is on call 24 hours a day to serve all your supernatural elimination needs."

INT. RECEPTION AREA

Janine is seen answering the telephone with a big fake smile on her face.

JANINE (cheery): "Ghostbusters. We'll be right there."

INT. CHILDREN'S BEDROOM

Spengler is taking PKE readings along the baseboards. Stantz pops up from under the bed.

STANTZ (smiling proudly): "Got him! I don't think you'll have any more trouble with that ghost."

Father, mother, and Venkman—they all look as pleased as punch as Venkman hands the father a bill. Father looks at the total, and it's economical too!

MOTHER: "How can we ever thank you?"

VENKMAN (big cheesy smile): "All in a day's work, ma'am. After all..." [to camera] "... we're Ghostbusters." [He winks]

EXT. FRONT DOOR

Mother, father, and kids wave goodbye to the Ghostbusters. The family sings:

"If you have a ghost but you don't want to play host You can't sleep at all, so who do you call... Ghost Busters — Ghost Busters."

Venkman, Stantz, and Spengler smile at the camera as a phone number is supered on the screen.

GHOSTBUSTERS (in unison): "We're ready to believe you!"

Scene 9

Dana & Louis, rest of the film, Sedgewick Hotel.

I think they aren't so much sheer dicks as they are playing out a kind of class-conflict payback fantasy.

Throughout Act 1, Ivo Shandor appears sitting with his back to the audience and head shadowed, kind of like Dr. Claw from Inspector Gadget, interviewing citizens of New York and the characters of the play on various twisted psychological issues such as doubt, insecurity, addiction, compulsion, paranoia.

Egon's first prototype of the portable laser containment ecto-trap used in their encounter with Slimer was not fully effective. Slimer escapes easily. He follows the fellows to the station and becomes curious and preoccupied with Peter. He follows Peter to Dana's housecall. He sneaks into the fridge and gets sucked into 'ghost purgatory'—the 5th, 6th, and 7th dimensions of reality, Slimer's natural home—where he meets Slothgar, the assigned guard to that particular inter-dimensional portal which was forged by Gozer to actuate and set in motion the fulfillment of an old prophecy written about him (Gozer).

Slothgar is a pooled blob on the ground with a face who talks fast like a New Yorker. The human life to which Slothgar is attached was a man who used to run marathons, but then he needed work and became a NASA bed rest study test subject. He was inactive for 90 days and never recovered. He died long before his actual death with an unending urge or compulsion to rest, which effectively ended his former life, which life was created by the action/energy of his being: meeting people, doing work, creating things, moving things, building things, helping things, also developing skills and progressing.

Slothgar tells Slimer a little about how the place is ruled locally by the demi-god entity Ivo Shandor, how ghosts are born, and what they are sent to do in the physical world. He gives some information about death and spirits, dispelling the idea that ghosts are actually the souls of dead people.

Ghosts could be called the 'undead.' Ghosts come into existence when:

1. A person dies but has unresolved clinging to something in the physical world, and there is a psycho-kinetic energy that cannot move on to properly rejoin the 'one-ness'

2. When a living person is clinging to a deceased soul and will not let that PKE pass on or dissipate

3. When a mental fear, doubt, addiction, compulsion, vanity, or insecurity possesses the mind of a living person such that it affects their behavior in a significant way

In any case, these are not living souls, nor were they ever. They are corruptions of, or creations of, psycho-kinetic energy—mental-emotional energy; potential creative energy perverted to the point where they can become partially visible or audible as various gruesome specters or poltergeists.

To me, psycho-kinetic energy is a word that is attempting to describe something that exists with us—the energy realm, whatever it is, which animates/contains our thoughts, feelings, dreams, creations, moods, doubts, fears. It's completely a part of us, but we can't measure it with instruments beyond the electrical load in our brain cells and the effects on circulation.

It's the virtual realm where things can become real if you believe in them. It sounds cheesy to say it like that, but what I mean is that when you have a doubt or fear that becomes real through action—like it makes you do something which changes your life, changes the world a little bit. That thought in a brain cell, that ethereal fear, became real and physical when it made you treat someone differently or miss an opportunity.

So I see them all around me now. Little ghosts. Little fears or excuses or vanities. They pop into the visible world as little sniveling, slobbery goober ghosts or snarling hairy-looking ones with long teeth. They become real when a mental bubble—a twisted perversion of psycho-kinetic energy—ruptures, kind of like a giant blister twisted as a clown balloon. Pop! A little snarling, gooey ghost is born.

And I try to zap my own ghosts now with my hella cool proton pack.

In 'Fear the Ghostbusters Musical,' Ivo Shandor is a ruler of ghosts and keeper of the currency of fear in mankind. He is dead and powerless, but he knows how to wield that currency to become real: to wield the currency of fear to possess the mind from a distance and cause some action—or worse, inaction—on the part of an individual, which has real consequences. And he oversees the birthing chambers where the little minions pop out every time someone lets their doubt or mistrust or compulsion or attachment get the better of them. 'Cause once they get born, those things haunt you. Sniveling and snarling. Till you zap 'em.

Scott Autrey: "There's a thin line between patience and sloth. Make sure you know what side you are on and why."

David J. Lieberman - Never Be Lied to Again: "Strong emotions cloud our perception of reality. Over two thousand years ago, Aristotle had this to say about emotion and distortion: 'Under the influence of strong feeling, we are easily deceived. The coward under the influence of fear and the lover under that of love have such illusions that the coward, owing to a trifling resemblance, thinks he sees an enemy, and the lover his beloved.'

Emotional states are either self-induced, externally brought on, or arise from a combination of the two. Some of the more powerful ones are guilt, intimidation, appeal to ego, fear, curiosity, our desire to be liked, and love. If you're operating in any of these states, your judgment is likely to be impaired."

Song at Louis' Party

"Maybe if we start dancing, other people will start dancing too"

Gozer Terror Dog crashes party which has become a dancing orgy of nerdy sex.

Song: "Someone's Comin'"

The inmates of the county jail shuffle together rhythmically and ritualistically as the fellas are brought into the jail. They sing a chant-like dirge "Someone's Comin'" meant at first to exclude the newcomers with intimidating derision. They repeat the chant as another new inmate is hustled down the corridor. As the Ghostbusters make clear the state of things in the fight with the spirit world and lay out a plan of action, the inmates are slowly converted to the cause. A third verse of "Someone's Comin'" refers to the unknown spirits and forces that appear to be on the brink of unleashing their power in the heart of NYC.

Winston encounters the father of his lover's daughter in the prison. He displays manly rightness and freedom from jealousy or competition or ill-will against the man, even when challenged and affronted by him.

Self-Fulfilling Prophecy

Egon begins to realize that by using the proton weapons, they are widening the interdimensional rift and allowing more ghost access to the physical plane. They are causing the ghost problem. The EPA dick. In trying to keep the environment clean, he shut down the ghost holding facility, causing an environmental disaster.

Gozer, instigated and prodded by Shandor, sets in motion events to fulfill a glorious prophecy written about him.

Keymaster and Gatekeeper

There is no Dana... only Zuul. Frightening Medusa, Pee-Wee Herman's Big-Rig Adventure, scary animated Beetlejuice. Dana monster face pops up on the screen.

Stay Puft

At the end of the battle, the stage and the first two rows are covered in marshmallow foam.

Song: "I Love This City"

Louis Tully rescued from inside the stone statue: "I could franchise Ghostbusters International... You guys gotta learn how to monetize this—it's action figure pudding, gold bullion in the shape of little plastic proton packs all the little kiddies wear. You could have your own juice drink—even Donald Duck has his own juice drink! Think... of the possibilities... Ecto-Cooler... hrmm..."

Act II

They rebuild the enterprise and franchise GB worldwide. There is cool new equipment, vehicles, and GB equipment in every toy store.

Costume note: Dark blue special ops battle jumpsuits with combat boots and utility belts.

There are plenty of ghosts to fight, and the prophecy is becoming reality.

Winston's girl finally tells the ghost story her hoodoo grandmother used to tell, and it ends up aligning her with the prophecy events, sucking her in against her wishes.

The guys come under the tutelage of a guru in Koreatown. He's Splinter/Miyagi/the shopkeeper from Gremlins all in one. He schools them and tells more of the hungry ghost. He teaches them: do not fight against your enemy struggling, but instead learn to work with him. "When there is no enemy within, the enemies outside cannot hurt you."

At some point, they undergo a long fist/mantis kung fu intensive to test their resolve and refine their skills. With badass graphic novel montage on the rear-projection screens and epic '80s movie prepare-for-battle songs.

Peter ends up cracking a board in slo-mo with an echoing scream of pain. He appears in a doorway: "I got a... [pouty à la Leonardo in the first Ninja Turtles movie] splint-err."

Winston has a pimp Isaac Hayes/Curtis Mayfield/Teddy Pendergrass song called "Lovecrafter" about how he has so much love to give, and he has a secret addiction to making women come alive. Women just respond to him; he often sees through to their souls, and they can see his. He just has the master key. He sings to his lover that he is devoted to her as the only one he would ever want to come home to; his best friend. Their passions run deep, and their baths are long. She sees him through his most private battles and is the bandaging doctor when work or business has left him roughed up or injured. Yes, the song plays on H.P. Lovecraft, the ghost fiction author.

As Egon realizes the proton weapons are causing instabilities in the framework of dimensional existence, the cities of the world are going ecto-stream blastin' crazy with Ghostbusters franchises. Like any good street scientist given permission to act like Rambo mixed in with bounty hunter types and entrepreneurs, the exclusive members of Ghostbusters Worldwide (G-B-Dubz) protect their cities from every imagined terror. With lots of 'splosions and SUVs.

Egon begins to feel responsible for this growing threat to the fabric of spacetime. He realizes as the dense blast stream of protons fills the vast empty space between atoms, trapping ghosts in the 3-D world, that the framework which supports and separates our dimensions is taking stress. That the dimensional barriers which hold up the physical world and its course through time and its connection with the realm of thoughts, fears, instincts, imagination, creativity—the landscape of the other dimensions that accompany us in this perception of lifetime—all of the facets or dimensions of existence are in danger of collapse or twisting in unpredictable ways.

With a little help from Slimer and his voyages through the portal to visit with Slothgar, Ray and Egon uncover more about Gozer's intentions to fulfill that obscure, glorious, sexy prophecy about himself, the keymaster and the gatekeeper recorded conveniently in Tobin's Spirit Guide. They put it together that Ivo Shandor had arrived in the world of spirits when he disappeared from this earth and began to maneuver for power. He goaded Gozer into initiating the events which were supposed to unfold the prophecy, offering his selenium gateway as the perfect location for the portal which Gozer would have to forge using slave labor by his minions. In this way, Shandor set in motion a series of events which used Gozer like a tool.

His diabolical goal is nothing less than the collapse of spacetime into one single moment where fear rules and there is no action, and he can finally get some peace and quiet from all of humanity's vanities. These everyday vanities inside the human mind, which are the seeds of our fears, have been transmitted nonstop to his ears since he maneuvered his way to the top of a little fiefdom and acquired the local lordship of the currency of fear. And now that he has been listening to our minds nonstop for eons, all he wants is a little peace and quiet.

The location of the Gozer battle atop the tower, where a portal for crossing over was created by demonic, ill-willed, selfish, vain forces and where the original Ghostbusters team tempted fate by crossing the streams, had become an ever-widening rift where ghosts and powers from the realm of thought could exploit an active channel into the world of action. The more the Ghostbusters' proton weapons were being used, the more rips in spacetime were granting ghosts all-access passes to haunt. "Now that's how you run a business!"

Egon feels the guilty weight of this disastrous circumstance and creates a line of new 'green' Ghostbusters weapons that do not require a personal nuclear reactor carried as a backpack. They dazzle with their colorful laser containment light shows, but ghosts just walk right out of them. It's kind of pathetic. Some franchises who bought the new line of weapons are demanding their money back, and some begin to publicly accuse the Ghostbusters of profiteering—selling unnecessary upgrades that do not work—and most do not understand the risk to their very existence.

GB-Worldwide, Jersey via telephone: "Look bub, the more ghosts come out, the more business I get, and you wanna tell me that's a bad thing? Heh, what are you so afraid of? I know I ain't afraid o' no ghost. Looks like the OG-Bees have turned chicken. Now excuse me—I gotta go blast some spooks!"

The sophomore lab intern has been showing up at Ghostbusters calls, dressing up in Ghostbusters outfits, trying to invent his own gear. He usually makes a mess of things, and the guys get a laugh at his expense. When he first came to tell them he changed his mind—that he believed in them and wanted to help—they laughed and suggested he could carry their proton packs for them. Peter offered that they could call him 'Pack-Man,' a name the sophomore came to be embittered against. There is an '80s joke about Pack-Man running through sewer tunnels chasing ghosts.

As Pack-Man's efforts are never fruitful, he builds resentment, envy, jealousy, and obsession with the Ghostbusters. The super-villain archetype is fruited.

Winston has great lines massacring ghosts: "It's a great time to die... [beat] again!"

After so many ghost encounters, Peter no longer experiences fear in the presence of ghosts. He discovers what little power common spooks have to harm you when you are not reacting to them at all. With an unimpressed look on his face, Peter watches as a snarling specter (human-operated flying puppet) growls and screams ferociously at him—smaller heads out of mouth like Alien—but ultimately cannot harm him. When slobber and goo get on Peter and he reacts with disgust, the ghost suddenly knocks him back. It is only when he is able to become completely disinterested toward the ghost that its affect on his person is nullified. So Peter finally makes his peace with goo, with help from Zen Master Seung, and learns to take any ecto-mucus rupture spurts with a yawn.

Winston and the guys practice their fear-facing and attack ghosts with the new ineffective but distracting weapons. At the right moment during a ghost battle, the Ghostbuster drops his arms, relaxes, has a well-satisfying yawn. The confused specter will rage with haunting terror, scream like a banshee, transform into more and more ugly appearances, but will not be able to have any effect on a person who is not reacting to the ghost at all—just observing. Certain ghosts will display childlike confusion and curiosity if they are suddenly brought to such a halt. It's those type 2 ghosts where it always ends up better if you just make friends with them.

When a ghost is right up close snarling in your disinterested face, you can easily suck it right into a foot-activated trap. Or better yet, as Peter discovers, you can hear the ghost and what it is trying to say. Every ghost has a haunting phrase that it whispers into the wind, and usually it amounts to something like "you're not doing it right" or "you couldn't deserve to be loved like this" or "you can't do it," "there's no escape," "they'll think I'm stupid," etc.

Peter has found success in hearing the ghost out and addressing its need, following the fearful message to its logical conclusion, and then making the fear into a joke. With the laughter, as if released from a spell, the ghost dissipates into pure PKE energy strings—pure creative mental/emotional energy—which is drawn into and absorbed by the closest sentient beings. Raw soul food that takes the form of courage drawn from the courage of a slain enemy.

Louis gets himself caught up multitasking and flies around in a clumsy, stress-filled, unfocused frenzy, catching up with all of his incompleted tasks. Stretched thin and feeling threatened, he becomes subject to attack from an OCD ghost who is born in Ivo Shandor's birthing chambers with a pop like a vein bursting. The little gooey brain-scrotal energy ball takes on a shell—a costume—based on Louis' particular fears and circumstances. It's an uptight purple specter who reminds him of his old accordion teacher. She is micro-managing him and telling him the best way to do things. Often she has decent advice, but it's certainly not helpful in hindsight. Most of what she says is just negative commentary on the events taking place and on Louis' character in general. She literally stops the show when he tries to stand up for himself and attend to his most important tasks. When he talks back to her, she explodes, demanding all of his attention as a giant accordion-based machine who fumes and smokes and blasts overbearing music, lambasting Louis' good intentions and insulting him, among other things, for always having a soft spot for country music.

"People will think you're a dweeb." "I don't care if I'm a dweeb." "People will think you're old-fashioned." "I think people treated each other so much better in old movies." "People will exclude you and not want to be with you." "I..." He sings to her, and finally sings to it in a new country-house style: "That's a fine place to put it, let's get on with the show!"

Janine and Egon have an ongoing tense, unfulfilled romance as she tries to pierce Egon's shy, focused-on-work exterior. One of those moments leads her to sing:

Song: "Let Me Be the One"

"How can I tell you the things I see without making you run and hide? A brilliant and logical man, but deep inside I see a heart that needs a place to call home A place where you're respected, where you are understood Your theories need a place to breathe so they can come to good A place you can come home to, and I know that I could provide that place Which I have dreamed about a little more than I should I see a man who knows his work, whose goals are always clear Dedicated, passionate, you don't give in to fear And if you ever want to use a sympathetic ear All I am saying is... my heart is his Egon, I'm right here, I believe in you And I want to be the one who sees you through until the battle's won And when you're lost in your mind, you know I'd cross ev'ry stream to find you Let me be the one I won't know the answers to the questions in your head But I will be your pillow and I will keep you fed And when you're hiding and I want to run, I'll love you instead And all the pain that's there is ours to share if we're forever friends Egon, it's all I can do not to run and hold you when your mind is racing And you're pacing 'cross the floor When you face a crisis, that focused look in your eyes Is just like an archer taking aim with his bow And all the good and skillful archers know that you must unstring the bow Let the sinews relax, keep 'em working at their peak I know that you will see the power of clarity Just breathe, and your answers will come It's hard to know what's real and what isn't Since you aimed with such precision, and fired your arrow to the center of my heart I want to be the one you run to when you're scared and alone I will protect your mind from burning out I wanna keep you around, the world needs you as much as I do I believe in you, and I want to be the one who sees you through until the battle's won And when you're lost in your mind, you know I'd cross ev'ry stream to find you Let me be the one"

The Prophecy

The hungry ghost and the one who has committed the mortal sin. Prophecy is self-fulfilling—bring upon themselves. The mortal sinner wants destruction of time and space—all humanity short-circuited, everyone frozen in action at the point of spacetime collapse, with fear controlling all destiny. Peace and quiet.

Ivo Shandor: "Everything's simple. No fighting... gang on gang, black vs. white, left vs. right, cowboys vs. redskins... so irrelevant and annoying after a while. That's why I use that fighting, that everyday prejudice, as a fertile ground for the seed of every fear."

"If everyone is controlled, nice and orderly, by fear, there is no annoying bickering, and I can finally sleep!"

The hungry ghost becomes the tool as a puppet... or 'like an ass or a child's plaything.'

[Biblical-style prophecy text follows with verses 14-29, describing the rise of the beast, the imp, and the ultimate battle]

Many are the prognostications—many make everyday predictions, prophecies: "Well, this day's gonna suck"—some pessimistic—they create an idea which is set into motion to come true. Law of attraction prophecies are inherently self-fulfilling. Sometimes the prophecy itself moves people to act out its fulfillment, and sometimes people cause the prophecy to come true by attempting to fight against it.

EPA guy brings about environmental destruction in his misguided attempts to avoid it. Because he was afraid of there being an environmental disaster, or obsessed with it, he could not accept the simple path and acted on anger and competition and pride to pull the plug on Ghostbusters, thereby causing the object of his fear to occur. His obsession to prevent such a thing was the impetus of its occurrence.

Living child becoming born again: Ivo Shandor, through demonic mental exploration under the powerful demon Gozer, eventually surpasses Gozer, destroys his crippled master, was able to shed his mortal coil and transmit his persistent will to the realm of PKE. He never tasted death but was reborn into a non-physical immortality where he has assumed control of the concept of fear—a powerful link from the PKE world to the physical world—a channel by which ethereal things can become robust things if they cause action over time.

Ethereal fears from the realm of psycho-kinetic energy (which is a word for the place your thoughts and emotions and intelligence and 'will' are) can become real in the physical world if they cause you to do something about it—or to sit there and not decide.

Humans are a magnificent creation because they live inside the physical world, but each human has his own PKE world as well—the individual spirit. Some people feel their PKE world inside their heads, and some feel it more in their body. A ghost is an entity which only exists inside that ethereal realm of potential reality—PKE. A ghost can disappear if no one believes in it.

Ivo Shandor mastered the energy channels inside his own mind and spirit to make the transformation in which his physical body vanished into its component particles or energy strings, and his personal PKE world was born again as a powerful, persistent entity of PKE. Ivo's physical existence ended, but not with actual death, and he was reborn as a thought. This is what a demon or god is. The more people that believe in you and together call you by one name, the more powerful you may become in the realm of demons and gods.

Shandor's made the rounds of slick devilish appearances and expert haunting schemes. "I hear my notoriety in North Asia is demi-god status!"

Demons arise as the sludge of a hundred mouthsicknesses: Ghosts are born in Ivo's birthing chambers, prepared as they are to receive every little specter or vice or obsession or great demon as it is born—popping onto existence in an explosive tumble mid-air and a gooey burst of ectoplasm.

The Hive

After the streams were crossed and Gozer was repelled at the end of Act 1, the situation at Spook Central got much worse. The success of the Ghostbusters globally was a self-perpetuating goldmine as Egon's proton weapons serve to breakdown the usual barrier between our physical world and the realm of PKE. Crossing the stream at the location of the selenium ghost antenna created a rift that is continuously widened by every shot of the proton pack. As the Ghostbusters move toward international franchise success, the rift is widened and work is plentiful. It's a self-perpetuating profit scheme.

At Spook Central, the Shandor building is sealed off by the direct influence of the EPA—quarantined and condemned. Soon atop the tower, a nasty dark honeycomb-like growth begins to form, growing very slowly and mutating like a fungus until it becomes a giant bulging mass of pulsing dark matter and zipping energy—a gooey black honeycombed hive with multiple organically grown chambers, a phantasm-fortified evil fortress.

Apparitions and Proton Weapons

Apparitions become visible in our realm by their energy passing through as fluid in the space between protons. They can ride the negative energy of the electrons to have limited interaction in the physical plane. Egon's chaotic, forceful proton streams fill the localized area with solid oscillating protons, creating a seal around the fluid, trapping the ghost, restricting or controlling its movement and its access to dimensional regress/escape into its own natural state. This pressure of solid dense protons in the crevices clearly exerts a pressure on the fabric of spacetime.

The End of Time and Space

Ivo, his mind trained under the worship of the demon Gozer, mastered the channels of energy and the links between his own 10 dimensions. He was able to end his physical existence in a flash of un-creation and transmit his ego and memory, becoming an immortal entity of the PKE realm—the realm of belief, dreams, ideas, stories, gods, demons. As long as he keeps his notoriety up (need more converts, send demonic missionaries!), Ivo Shandor manipulated his former god Gozer into goading the Ghostbusters.

There are any number of prophecies spoken about any demi-god. That prophecy about the keymaster and the gatekeeper is very sexy; it's a pity you can't get that ball rolling. The glory of such a godly triumph would make a lot of folks around here pretty jealous.

Ivo wanted the Ghostbusters to be goaded into using the proton weapons, crossing the streams at the place of his ghost antenna and continuing use of the proton stream dimensional flooding technology. The rift started as a portal opened by the mighty power of Gozer in Dana's apartment, was sliced up by the fight and crossing the streams, then steadily enlarged and cauterized by the rampant use of proton weapons worldwide.

Egon realizes something is amiss while monitoring the energy transference across the 4th dimension using the ecto-chamber. The ecto-chamber is essentially a portal like Gozer's; an inter-dimensional conduit, a stitch in time. The ghosts are suspended between their home state of being in the PKE world and the physical presence they were manifesting to travel in the 3D world. They are released into the portal but with a dual laser containment field trapping the energy of the apparition in the physical plane.

He notices a strange buildup of energy and equates it with the hive. He knows something big is coming, and the numbers point to not just a threat of biblical proportions, but one of cosmological proportions. Nothing less than the collapsing of the structure of the lowest seven dimensions—the physical 3D world, the mental/emotional/astral/ethereal realm dimensions 5-7, and the flow of time which connects them.

Egon: "It would be like the infinite expanse of time was all contained at once in just one single moment. There would [be] no more need for rewind and fast forward, not even play. Just 'pause' forever; all at once, and the entire video tape is yanked out and laying like a ribbon on the floor that Shandor can sit and play with... Our power to choose is the hallmark of this existence. Life as we know it is the forging of the story of the 4th dimension by our own creative choices throughout every day. Ivo wishes to do away with that power to choose."

When he assumed control of the force of fear, he began to hear all the discontent, the fighting, the contention, the vanity, the hesitation, the self-loathing that we all put ourselves through, piped in like muzak into his ears. These things are the fertile ground where the immobilizing seed of fear is planted, and he began to go mad listening to it. Ivo sees that his only chance for sleep would be to use complete fear to rule everyone into an orderly efficient machine... to gain complete control, absolute power, by removing everyone's natural freedom to choose.

The Sumerian prophecy points to Ivo as the beast, and Egon deduces that Ivo is seeking the collapse of 7 dimensions into one.

Action Over Time

It is only through 'time' that a ghost or a thought or a fear or a beautiful idea or a creation can become real.

E = mc² (Energy equals mass times the speed of light squared)

Real, created in the physical world, energy divided into action by mass c², visible creation, action over time = creation.

A ghost or a thought can provide the reason, the impetus, the energy. Action over time is the way ethereal things—ghosts, dreams, fears, desires—can become real in the physical shared world.

Building Blocks

[Beautiful helpful animation accompanies Egon's elucidation]

In the past, when scientists went looking for the building blocks of existence, they looked inside a microscope and found cells and atoms, and eventually they found protons and quarks. They were looking at what we are made of physically in three dimensions, like when you look closely at this toy Ecto-1 and say it's made of Legos. They were looking in three dimensions because that's all we see. Or to be more precise, all we can see, hear, smell, touch, and taste.

The three dimensions we are all familiar with merely contain all the stuff we can observe with our senses: height, length, and width. And all of this 3-dimensional matter is animated forward inside another dimension we perceive as time.

But we living people are so much more than we can see, hear, smell, touch, or taste. There are essential building blocks—aspects of our makeup... things which make us who we are... which we cannot see. There are physicists today asking questions about those other building blocks.

We have come to see all of existence knitted together by this web of energy strings—strings which have no dimension themselves, imperceivable strings composed of the bright energy of pure potential creation. Pure nothingness. The web of ethereal strings is the birthplace of reality. Everything that exists is created in that web on the framework of eleven dimensions.

We can observe things around us in four of those dimensions, and the other seven may include all the space which holds our thoughts, emotions, dreams, ideas, natural sense of humor... and so many other aspects of being alive that we don't even have names for. And ghosts.

This is the same mental-ethereal plane where ghosts dwell. The realm of PKE.

But just as we cannot interact directly with those other seven dimensions, ghosts normally cannot affect our world on their own. They need an agreement from us. People have to act on their fears for the ghost to have any real power in the physical world.

"If a person runs from a ghost or has the physical pain from terror, then hasn't the ghost become real to them?"

Ray: "So ghosts are real, but they're not real here in the physical world."

Winston: "Where we live, breathe, work... lookin', touchin', all that."

Egon: "The ghost is not real here."

Ray: "Unless it causes an action by someone possessed by fear."

Winston: "That... never woulda happened... if she hadn't..." [beat]

Ray: "It's like there are thoughts in our head—right ideas—things we want to do which occupy the electro-chemical space of a brain cell; and when we act on them, when we do something about it, we can take something from the PKE and make it real in the physical world. And when I close my eyes and can see my childhood home—before it was repossessed—and I can smell my mama's pecan pie in the window, I'm doing that in the framework of seven other dimensions of my existence. And then when I take a giant cartoon paintbrush and paint it plaid, I'm doing that in the framework of seven other dimensions of my existence, but they stay [small] of no physical size...

A certain combination of those dimensions holds the fabric of our existence together, animates it... some combination of these tiny circular dimensions creates or contains psycho-kinetic energy just as we feel it in our own minds and bodies. Our thoughts and our emotions. Everything that starts as a dream or ends with a fear.

The whole Ghostbusters idea was created in the fluid of these smaller dimensions inside Peter's mind, but it became real in the physical world when he acted on it. Peter pushed us to build this together, and look at everything it's become. It became real, and the ecto-containment-chamber and the proton-packs—were born inside my brain in the ether of those smaller dimensions, the ether of psycho-kinetic energy—and they became real things too. I built them."

Final Battles

On the Ivo Shandor tower, a nasty hive or physical growth is forming around the top of the building. It is a frightening source of bury-the-needle PKE and a source of worry and terror for the citizens.

Ivo Shandor eventually draws the Ghostbusters telepathically into this inter-dimensional portal of madness to chat with him. He monologues: "I committed the mortal sin in a boobie theater!"

When Slimer pisses him off, he turns into a class 11 manifestation and almost levels NYC. Peter is pissed at Slimer because he's sure that he's the subject of the prophecy—the hungry ghost who will bring destruction. Peter can't wait till the prophecy is fulfilled and the hungry ghost perishes. Slimer runs off.

The battle rages, and the new "green" weapons Egon invented to avoid ripping bigger tears in the dimensional fabric are ineffective against the manifestation. Through the power of 'faith'—standing together—the monster, though supremely vicious, is rendered ineffectual. Technobabble explains how the ectoplasmic medium can only travel through conduits or channels of fear. So change the channel. Make a seal.

From a window few dozen flights up, Egon instructs the crowd via loudspeaker to gather around the beast and face down their fear, to realize that it cannot affect them if they stand together: "One love." They surround the building in hordes on the ground. Crowded around, fearless, they chant "I ain't afraid-a no ghost" as the gigantic clawing beast clutches the building and the hive, his giant over-sized mouth snaps and gnashes viciously.

Egon fears it's not enough and suggests via loudspeaker that they all do some action together to 'act' on their oneness to create a result—create something real together—a positive result, just as the mental fears inside the individual mind conspire to create a negative result in the world. Through action and creation by two or more creative beings together in creative cooperation, something comes into existence which is good: like a business, a helpful invention or technology, a piece of art and its audience, a song, a neighborhood, a nation, a conversation, a friendship, a commitment, a bond of love. All things created by people.

Egon suggests they do a primal community activity meant for establishing one-ness like singing or dancing.

"Yo people can't just spontaneously break into song together when they want to! How would we all know the words?"

As someone begins, they sing the cheesy jingle from the old Ghostbusters commercial over and over. Eventually everyone is chuckling, laughing, singing like an Irish tavern, and for all intents ignoring the entity in their eruptions of laughter and sudden camaraderie. The monster retreats—is pulled back—in forceful, defeated, gnashing rage as the rift opened at 'Spook Central'—the hive—is sealed completely.

Rejoicing.

Suddenly there is an explosion above, and the 'hive' bursts loose from the top of the building and comes crashing down. There is destruction and death in the crowd. In the rubble, they find Pack-Man, who had hatched the plan to blow up the hive to help—or to overshadow... the Ghostbusters. As he perishes by his own design, he fulfills the prophecy of the hungry ghost. He is the true hungry ghost—a person animated by jealousy, envy, and clinging attachments.

Slimer, who had saved two children before the fall, is welcomed back by Peter as an honorary Ghostbuster, as is everyone else who sing of their power in faith and unity and banishing 'mental ghosts' to freedom.

People become free. Some living-dead people with everyday mental ghosts stand up and find purpose, and some dead-living ghosts/manifestations are released from their clinging attachments and fade away to peace.

"I ain't 'fraid o' no ghost 'cause I'm a Ghostbuster!"

Mad Scientist

Ecto-Chamber Interdimensional Energy Transference Sensors

Egon's new ecto-chamber has light panel readouts showing energy transference across 11 dimensions.

11 Light Panel Readouts on the Ecto-Chamber

Rectangular rows of free-flowing light displays stacked vertically on the console.

Bottom 3 Panels (1st 3 dimensions)

Show flowing, dancing activity on the light panel readout. The lights respond to localized movement—motion of the arm gives a lightsaber-esque flowing energy across the panels; across three-dimensional space.

4th Panel Up (4th Panel Time - Boundary Link)

Crossover conduit of connection between 1st three and next 6 dimensions. Note: All dimensions have time. The 4th spatial dimension is not special in that regard. However, 'time' is often the word we use for how the next highest spatial dimension looks from inside it.

4th panel shows L to R energy streams—steadiness, constancy, but varying speeds of energy flow L to R in streams. Also crosswise up and down energy streams as energy is traded and connected between the physical world and the PKE realm. As a person reaches from their physical brain to access a dream or create an idea, the impetus rushes back from the PKE realm to answer—potential motivation, psycho-kinetic motivation or impetus to action; thoughts, fears, ideas becoming real in the physical world.

Panels 5-7

Light panel readouts for dimensions 5-7 indicate a more scattered, ethereal energy; forms that can disappear, reappear—the least constancy of any zone on the light panel readout. Ethereal energy that amasses in beautiful patterns, violent patterns, some large pulsing energy centers about which other patterns radiate and compete; fireworks, galaxies, swimming, spinning, disappearing, primordial soup. A random light show of organized chaos; every desire of the flesh, yearning of the spirit, perverted scheme, powerful demon, 10,000-year-old god, child's fantasy, grandpa's lifelong phobia—all represented by a light panel readout measuring energy transference. A primordial sea of pure human potential; non-physical, non-solid, non-robust floating specters, thoughts, dreams, evolutionary impulses, creations, gods, demons, characters, malleable personalities, the illusion of self, personality or a persistent soul, the ego, Santa Claus, Big Bird, the real Ghostbusters... they all are there and are real—especially as they produce a cause and effect in the real physical world.

Patterns—the matching energy patterns that match actions—habits that wish to persist—memories of former actions that tend to come to rest in a circular pattern—repeated thoughts/actions which tend to carve a rut in the brain as a wheel fixed on a circular track—to be repeated—to settle in—habits wish to be repeated. The PKE remnants of former actions, memories of what you have done before, tend to spin when the human spirit itself in the physical world wishes to dance instead. A creative being wishes to dance, not merely spin in a pattern, so more fluid, beautiful movements are seen in the bottom 3 panels than the scattered specter fest and god war of the brain's inside world built by each of us on the energy string framework of dimensions 5-7.

Panels 8, 9, and 10

Beautiful patterns of strength and creative exploration. Great frameworks of bipolar symmetry upon which other things can be built. Light and dark forces working in varying degrees of harmony.

Top Panel

Energy read from the 11th dimension - near-constant spiral flow, light/dark forever circling beautifully. Light is creation. God is the righteous flow. The devil is the dark flow or absence of flow—a dark area of no action. Darkness is void of creation—stagnant, empty, scattered.

The 11th dimension houses, encompasses, holds, supports, animates, surrounds, permeates, and contains the other ten dimensions. The 11th dimension is the meta-real boundary of pure light and dark, pure yin and yang, which forms the boundary to the bubble of our cosmos. The purest, most basic forms or building blocks of reality—the stuff out of which all of 'creation' is created; basic opposites; 2-sided coins; Legos with a peg side and a side with holes for pegs. The specifically formed energy patterns of good and evil, robust and fragile, light and dark which build all that is in our specific reality.

The substance or non-substance of the 11th dimension is connected directly with the pure energy strings of string theory—the most basic building blocks of an infinite number of potential realities. The eleventh dimension connects or contains them all.

Egon can view his photo-reactive interdimensional sensors which detect energy flowing across dimensions or crossing barriers and display in rows of colored light panels. There is activity registered in the first three dimensions when anything is in motion. When action happens. Crossing among the three dimensions. Moving back and forth. In the PKE realm, dimensions 5-7, chaotic ethereal energy patterns ebb and flow. The energy in the eleventh dimension is a slow, continuous ebb and flow from dark energy to light energy, circling in a simple gorgeous symmetry.

Ecto-Chamber Readouts

Matter/physical may tend toward chaos; the inert and dead tend steadily toward chaos; a dead tree or a rock or dead flesh tends toward decay and dissolution of physical particles. However, life tends toward creation. Things that are alive tend to grow, tend to create forms, tend to assemble in patterns, tend to create. 'Organized patterns and symmetry' is the yin-yang with chaos... the yin-yang of creation itself—creation vs. chaos or 'un-creation.'

The yin-yang of the physical world: the three dimensions are those in which we are created, and the six dimensions are the realm in which we are gods—the realm in which we have the godly reign to create. The link is time—the 4th dimension—the boundary or connecting link between the physical dimensions and the realm of our mental/emotional creations. Through time, work or action can turn an ethereal thing into a solid one. Raw creation born in the PKE realm, forged by the hands of man over time into a physical creation. Think of a table; build the table; nurture the fear; hurt your lover.

Ghosts' Crossover Abilities; Proton Streams

Ghosts can visit the physical world as apparitions 'appearing' and observing while riding electrons—pure negatively charged energy in the vast void of space between protons in physical matter. An Egon-invented proton stream is the forcing of a thick stream of concentrated protons into the space between protons in physical matter. This flooding action affords the apparition no room for escape into his home non-physical realm. He cannot hop an energy conduit home to come to rest in his natural state of pure potential energy—PKE. His natural home and the full natural power of his being exists in the 5th, 6th, and 7th dimensions; the place of natural desires, thoughts, urges, and abstract creative thoughts.

Human beings have crossed over in a similar reverse way—to be conscious in, observe the perspective of, and interact with parts of the 5th-7th dimension: waking dreams, out-of-body or near-death experiences, meditation, religious visions, drug trips, vision quests. It's the same sensitive experience that a ghost must feel when he initiates a crossover and is treading through inner space to interact with the physical world.

As the proton weapon floods the inner space with solid protons, trapping the ghost in the physical world, the magnetic attraction of positive protons to negative electrons allows the Ghostbuster to maneuver the ghost above the trap. This process drains the psycho-kinetic energy used by the ghosts to travel here as an apparition, thus weakening them and their ability to interact and exist here.

Crossing the streams would force two infinitely dense solid streams of protons to occupy the same physical space. This bloated rupture in the fabric of physical reality creates a weak, chaotic point of distressed creation where the fabric of space is ruptured along the dimension of time, connecting the physical world in unpredictable ways with the realm of potential reality—the other dimensions of thought, emotion, will, evolutionary instinct, and raw creative forces of infinite possibility. The rupture event has the dangerous potential to cascade and undo all of creation.

"Try to imagine all life as you know it stopping instantaneously and every molecule in your body exploding at the speed of light."

[Inhale]

"Total protonic reversal."

This crack can be exploited by psycho-kinetic entities as the girders framing the three physical dimensions are cracked. Ripped at the barrier of the 4th dimension—time—and vulnerable to penetration from independent actors within the 3-dimensional 5-7 world of thought and emotion and ego and ectoplasmic entities. The astral/ethereal realm of potential reality where things are missing only action to become real. The mental/emotional realm where people are gods/creators and gods are real because many people believe in them.

Individual Reality

Light Cones - What is the significance of light in special relativity perspective—subjective...

Everything in PKE world is subjective. Each person has their own PKE world—the home of their own personal godly creations, their memories, their own epic story, their future dreams, and unlimited potential to create out of that substance: psycho-kinetic energy. Their only recording of or experience with reality.

Example using sound instead of light, 2D instead of 3D:

Two people stand miles and miles away from one another, and there are two extremely loud blasts positioned in line directly between them, also miles and miles apart. The blasts are sounded simultaneously, but to the observers, they sound as one right after the other because of the time is takes for sound to travel and other factors. One observer clearly registers in his PKE memory and chemical-electro-ethereal life experience file that the closer blast sounded as if it went off first, then the blast further away. The other observer registered the opposite.

Both objective realities exist simultaneously—they are both real, though the facts on the ground in 'meaningless reality'—actual objective reality, if it even exists—the gorgeous perfect meta-reality of the formation of the cosmos and the revolving, circling, vibrating, swirling patterns built of energy strings formed to create all of nameless existence in all its creative glory.

Physical reality interacts with mental reality—humans' godly realm where they have the power to create anything or choose anything as a stream of events unfold along the timeline of what we call the 4th dimension. The things that occur along that dimension—events—may have a factual objective nature, but in every case, two events are interpreted by any two conscious beings slightly differently. In fact, through special relativity, it's possible to see how two 'facts' which happen at the same time/events can never share the same lighted reality.

What's funny is: If such an actual experiment took place, both observers would probably report the explosions as happening at the same time if they didn't have special equipment which would register the further away sound coming in microseconds after the closer sound. With the naked ear, both human observers could not even distinguish the subtlety of the event, nor its subtle illusory trick of the curvature of space-time as noises farther away sound as 'later in time' to an observer, let alone any of the event's true 11-dimensional or non-verbal, meaningless nature as well as their own meaningless created beauty.

It illustrates the ethereal nature of everything in meta reality—everything—which is all created out of compound arrangements of cyclical patterns of energy and vibrations. Our crazy world just as it is; layers and layers of energy patterns built upon one another. When any creation imaginable is possible upon the blank canvas of the energy strings through different vibrations forming complex random layered patterns forming material substances such as rock and wood, astral thoughts like wonder and fear, and life itself, and godly conscious creation within the mind of conscious beings who are themselves created from layers of energy patterns.

We are imagined—everything about consciousness, our experience of it, our interpretation and memory of it, along with our dreams, instincts, fears, and desires is completely 'imagined' or created by us each individually in our separate PKE realms. In such a way, the objective 3D world we share is also imagined.

'Day' and 'night' do not really exist from the perspective of the solar system. What is 'day' and 'night' in expansive meta-reality? Day and night are phenomenons or 'local concepts' that require the perspective of a person of particular small size on a planet revolving with a certain geometry. The whole concept of day and night is an imagined creation—a locally observed byproduct of swirling energy patterns and matter. Yet day and night has created life and life cycles, and indeed our very existence relies on this sun-goes-up-sun-goes-down thing, but no such thing even happens. The sun does not go up or down. We perceive it that way, and this perception is so real that our very existence is based upon it.

Everything is just swirling compounded energy patterns built upon one another inside and around each other, created by order itself. What's real? Nothing and everything.

It illustrates the ethereal, interpreted, subjective nature of human cognition and memory and its unreliability, fragility. And also the tendency to generalize—to eyeball it and take a general reading with the senses even while focusing on one phenomenon like listening for a blast. There is so much detail we miss every second around us.

Your PKE file, you could say, is a word for everything you are—or more specifically, everything you 'think' you are. The human-created mental/emotional world created on the framework of the 5th-7th dimension. Each of us have our own separate file or conscious experience, and this portion of man is disconnected from the rest. 100% unique. All are 'one' because all are independent and ethically 'equal.' Yet all of us [PKE files] and all share the exact same physical reality—we are here together... Meta reality—the reality which makes it into our being, our memory—what we get in our PKE file—is a tiny sliver of interpreted memories of the way we were able so see through blurry vision, eye allergies, optical illusions, and refracted scattered light.

I'm saying that god is here in 3-D reality. God is density/creation, the most solid formation of concrete past off of which light can reflect and signifying intrinsic evidence that a things has come into existence. Creating things in the physical world.

Wait... wait... wait... The 3D world is just as ethereal, just as fluid and impermanent. The process of decay and chaos—yang vs. the yin of life assembling patterns, growth, organization of matter, creation. God is everywhere, not 'somewhere,' and creation is light—'light' photon is the opposite or yin-yang of 'density' graviton.

Strings are merely lines. Not lines on paper, but actual lines. The stuff of mathematical theory, but real. A line of pure energy, meaning one-dimensional or perhaps dimension-less. Pure potential creation.

From our observation point and at this point in our human history along the 4th dimension, we are fascinated, awed, filled with wonder at 'all of creation' and exclaim with praise that there must have been a creator because we have not seen the whole breadth of creation from the outside—seen how it is all 'one thing.' We just cannot fathom how all of this around us could just 'be here.' It's too mysterious, beautiful. We don't understand/comprehend it. We haven't conquered it, unable to master it, to understand it and what it's made of. So we pursue understanding of this reality just outside of view to see more sides of our own creation.

We embody our own creation. We are it. We know we are real, and we all know by instinct that we are more than we appear to be. And this fact of our nature comes out in our lives as the electro-chemical-astral experience of 'wonder' or 'fascination.' It has led to massive consistent pursuit of the natural sciences, the formation of theologies, and questions like 'where does this come from?' 'why are we all here?' We have realized our creative powers in the physical world and built massive cities—fortified creations that have a perpetuating function; we've built things that are self-perpetuating.

Think of the wheel, the phrase 'come on,' the Bible, or the story of Snow White, or the Ghostbusters franchise. All of those things will outlive their human creators. The full power—the full impact—of those examples goes way beyond a local phenomenon. Each was created by millions or billions of conscious beings working in concert. The story of Snow White 'lived' a journey from a thought or dream in someone's mind to the creative collaborative action of the Brother's Grimm a couple hundred years ago to Broadway in 1912 to Disney in 1937 and thereafter to the heart and mind of nearly every citizen of the western world. And Japan.

And each and every one of those billions of contributing beings has a different impression of the phenomenon; each of them has his individual experience unlike anyone else's. Everyone who put Ghostbusters into his life and talked with a friend about it or marketed merchandise or wrote a musical—everyone who took part in making Ghostbusters—or Star Wars or the telephone or the song "Happy Birthday"—everything it is now in our world and our minds worked together as a system of energy patterns to create this thing—Ghostbusters—which exists in the physical world and also the 'imaginationland.'

Human society is not metaphorically an organism; we realistically are one—with the unconscious creative force of mob rule. 'Ghostbusters' and everything that goes with that word today in each of our lives was created by people together in concert, calling something by one name, just the same as people create gods and give them their power together, each contributor mostly creating simple events like writing the script, drawing the logo, running the camera, writing a review, becoming a fan, producing a toy line, operating a theater, having a dream or a philosophical diatribe in which the Ghostbusters cameo...

Through action over time, Ghostbusters joined the 'zeitgeist'—time ghost... We have dreamed up things that have taken on a life of their own. Creations that are thereafter able to generate more creations. Ghostbusters franchise is just one of those things. The 12-tone musical system is another. We are already god—we have played god when we invented music, capitalism, and reality TV.

When you dream something and then make it happen. Imagine the complex assemblage of symmetrical energy patterns that form 'us' and the clockwork of the layered cycles of slow and fast vibrations which comprise our very existence on the strings. Isn't it likely—even necessary—that other types of intelligence, animal/insect-type natural instincts, or higher forms of cognition exist built of the same patterns and other infinite combinations of patterns in a grand infinite creative symmetrical cyclical system?

To an entity possessing power and cognizance over 10 or 11 dimensions as we have over 3 or 4, the creation of patterns which we call life may be no more complex than it is for a child to draw shapes out of lines on paper. By drawing or playing creatively with one-dimensional lines of energy, the astonishing symmetry of the objects in nature are created, and their harmonic cascade of sympathetic vibrations appears across 11 dimensions as the harmonics of a musical tone sound when one main tone is played.

Everything that exists is the combination of the whims of every creative force in existence—every actor, every will, every whim of every conscious being who have the power to exercise action and manipulate portions of 10 dimensions and create the patterns that they find useful. Read everything we've decided to create.

The 'earth animal'—the two-eyed, four-limbed creature which progressed over time following a complex pattern of evolution and change, the creature that ended up diverging into such an amazing variety of earth mammals—is the beautiful creation story whim or cascading pattern set in motion across the dimension of time by some meta-cognitive creator, or perhaps the pattern itself is the creator and thus we are all its agent creators. We are god. The pattern of us created us and continues to do so.

We earned our mental trap, our high cognition, our solitude from years of evolution along with our entire animal family. They are also god, yet more possessed of it. They are god because they don't sit and talk about it. Like if you're really cool, you never 'think' you're cool.

Such a meta-cognitive entity or force—the creator—must certainly not be aware of our 'world,' our cognition, our story, our desire, our spirit and gumption, our natural preservation instinct, our jokes, our prayers.

Other types of entities all around, outside and within us, could exercise creative powers upon the energy strings as we do when we swing a hammer, wire a home for the internet, compose a symphony, annihilate protons in a collider, or create a deep bond of love with another conscious being. Together we all have created many things that last, persist, and perpetuate. We are the gods of any types of entities which result from the energy patterns we have manipulated, created, and organized to our own ends.

Given the organized electrical activity in my computer when it is on and the billions of organized patterns it cycles through every second, it is not too far-fetched to postulate that a temporary society of 'electro-aethereal animals' is organized and brought to a type of cognition, brought to life—an organized system where every creature may do the same thing every cycle, but they are 'alive' on some level—unrecognizable in any way to us, but maybe kindred spirits to other types of organized electrical entities—a type of cognition existing wherever the complexity of electromagnetic patterns creates it.

The particular brand of human cognition—the assemblage of layered energy patterns that make us 'us'—is the vantage point, the experience from which we look, hear, smell, and touch and comprehend our climbing relationship with time as it passes. Given the responsibility of every conscious being to choose or not choose across the entirety of this dimension—the 4th dimension.

2D Example

Imagine you were the 2D entity on a large rotating sphere—a common celestial body in the universe. From your everyday perspective, the object would seem to never end. You would call it the infinite surface. All you know of surfaces is similar to the information a scanner copier light gets in one instant as it passes over a surface. You don't have moving legs (those are 3D, so is that type of motion), so you don't have the capability to navigate back and forward across the third dimension as the planet spins under you. You are not attached to the body by gravity because you have no mass, and not by friction because you have no thickness.

You are staring down at this steadily advancing landscape, this theoretical 'surface.' It is fascinating because it is unknown and mysterious. Your people have made many sayings and stories and religious dogmas about the progression of 'surfaces.' Many tread across surfaces every day in fear of what unknowns will enter from the shadow of beyond as you proceed forth on what your scientists call 'surface.'

The scientific theories and mathematics of your 2D people tell you about 'surfaces'—how they are merely the stretched out length of your entire 2D world all there at once. Ha! You know about length—you see it stretched out to the left and right of you every day. It is hard to imagine when they use the word 'length,' but they mean 'stretched out in some theoretical direction,' and you wonder why that matters.

Your everyday perception of this fabled width is this mysterious unending progression of your linear world constantly changing in front of you. You see the progression of the linear surface always changing in front of you but cannot conceive that it's just another length shooting out in front of and behind you exactly like the one to the right and left of you; that it's all here already. The wise know that you could 'see it' if you just move with it and pay attention.

You proceed along the surface every day, and sometimes the thrill of the mystery is really worth living for—what is coming next out of the shadow in to the present length? This is the word your spiritual teachers use to refer to the left-to-right linear expanse of view right under your feet. The stuff you can see and do something about. They say that some people live out one way or out the other, and they mean that people spend time worrying about what type of things are on the surface coming into view—or they feel unsettled about something on the surface back the other way—bad and good things have been found all over the surface, so lots of people get caught up in worry and fear about it and are paralyzed to do anything, making no difference.

The best teachers tell you it's not about what comes on the surface, but what you do with it—what you make out of it.

Present

"People like us who believe in physics know that the distinction between past, present, and future is only a stubbornly persistent illusion." - Einstein

The present moment does not exist, at least not as separate from past and future. Looking at the present moment is like trying to observe a 3D shape if you were a 2D entity. You only see a sliver of one side of it. As a 2D entity, a circle appears to you as a line, a sphere appears as a line which seems to lengthen and contract. Squares and triangles are 2D like you are as a conscious 2D entity, yet the only way to even tell them apart is by examining their far edges if you are able to navigate around the object or touch it or hold it.

In the same way, all 3D objects have a nature which to us appears as constantly changing over time, but the reality of a 3D object is that it merely has more dimension. As one dimension has the properties of up-down, time has the properties of growth, decay, and for conscious beings, creative action/choice. We see one side of one sliver of every 3D object, including one's own hand in front of you.

Just as the line appears in front of the 2D entity and appears to get longer and shorter when the thing would look like a sphere moving through 3D space to us 3D creatures, all objects that we can see around us have a 4th dimensional progression of growth, assembling patterns, and decay, breaking them apart.

Divine nature is the special ability of conscious humans to create and destroy—in the physical world that we share and with limitless power in the dimensional playground of our own creation, the realm of PKE and individual spirit.

Some people are more or less naturally inclined to see the 'big picture.' To slow down and pay attention and watch time as it passes, to realize they are part of the flow, and if they watch long enough, they see the cyclical nature of the 4th dimension the same way large objects in 3 dimensions rotate. To be able to see time as one—to 'be present.'

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