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Chapter 02 introduces Callie, Trevor, Phoebe, and Lucky.


Listed as they appear in film.





Trevor ate and watched a video on his camera phone. In the video, a car was on the move. At the same time, his mother Callie was cutting his hair. The hair drop[ed into his bowl. They sat in their apartment near the front door. Trevor was put off by the hair and reminded Callie he was trying to eat breakfast. She informed him she was almost done then she made fun of his mustache and noted it was "really coming in." She touched it. He recoiled in annoyance. The power in the apartment hummed. Callie looked up at the ceiling and yelled out to her daughter, Phoebe. She inadvertently tagged Trevor's right ear with the electric shaver. He recoiled and touched his ear then he looked at his hand. She turned off the buzzer. Trevor was angered he was bleeding. Callie assured him he would live. She called out to Phoebe as she walked into her bedroom.

Phoebe was crouched down near an electrical outlet. The panel was gone and a hole was present where it used to be on the wall. Phoebe turned around and informed Callie that the neighbor's electricity was running out of phase so she tied in and bumped theirs up to 220. As she spoke, Phoebe's bright headlight shined into Callie's face. Callie told her to take off the headlight as she turned away and held out her hand. Phoebe revealed she could now run her lathe. Callie was taken aback Phoebe never asked her first. Phoebe pointed out she demonstrated zero aptitude for science. Phoebe took her head lamp off and put it away. Callie got it and noticed her hair drier on a pile. Phoebe added Callie was better at other things like quesadillas. She found her mother's quesadillas to be excellent. Callie thanked her for the compliment. To Callie's chagrin, there was a knock at the front door. Trevor called out to her. Callie was annoyed he did not get up to answer the door. Trevor pointed out he was not a legal adult.

Callie opened the front door just as the landlord was about to post something on it. She stated she was literally just leaving to pick up a check. In broken English, the landlord inquired if she won the lottery. She mused she kind of did and revealed her father died. The landlord naturally reacted to the bad news. Callie told him to relax then added she did not know him and was surprised he left her anything. The landlord remarked that sounded like his father. She asked him if his father abandoned his family and moved to a farm in the middle of nowhere. The landlord simply replied no. Callie threw out her pitch. She admitted she had not been a reliable or consistent tenant then promised if he could just give her a week to settle some loose ends, she would be back with everything she owed. The power went out. There was a thud sound. The landlord tried to look inside. Phoebe yelled from her room she could fix that. The landlord stated he would wait for her to leave then he would change the locks. He posted an eviction notice on the door and left. Callie took it off and closed the door.

The family made the long drive from Chicago to Summerville in their Subaru Outback.

Callie and Phoebe sat on the Subaru car's roof while Trevor fixed something under the hood.

Dusk arrived.

The next day, Trevor walked out of a motel to the car. Phoebe was playing with a Rubik's Cube on the rear of the car. Trevor was about to shut the rear hatch. Phoebe quickly stood up and got out of the way.

Callie drove past a ghost town and its older buildings.

Sunset arrived.

The next day, they drove past a giant cowboy cutout.

They drove under a green highway sign labeled "51 Summerville," indicating an exit to Summerville.

Summerville's water tower stood over the town. They drove through Summerville, past Spinners Roller Hop. Phoebe looked outside. Trevor held his camera phone around.

Callie declared they were in Summerville, where their grandfather lived. Phoebe added he died in Summerville, too. Trevor was exasperated at not getting a single bar on his phone. Callie dryly joked there had better be a bar. Phoebe scoffed and stated that was funny.

They passed by farmland. Callie turned up a driveway. There were improvised signs of wood and sheet metal flashing propped up. A part of a quote from Revelations 6:12 was spray painted on each of them in yellow. Trevor read the quote aloud, "Behold, there was a great earthquake. The sun became as black as cloth, the seas boiled, the Moon became as blood, the skies fell. Revelation 6:12." He quipped that was normal and suggested it might have been a good thing his mother never met her father.

Trevor got out of the car, took one look at the Farmhouse, and called it a murder house. Phoebe looked around. "DIRT" was tagged in yellow on the side of a slowly collapsing barn. Trevor sarcastically proclaimed all of it was now theirs. Phoebe shielded her eyes with a hand and looked up at the satellites on the roof. Callie tried to open the front door but it was locked. She bent over, lifted up the mat and looked for a key. She asked Phoebe to break in. Callie walk around and tried to look through the window. Phoebe knelt in front of the door and picked the lock. Trevor walked around to get a signal on his phone. He noticed the rusted cars in various states of salvage. Phoebe got the door open. Callie was pleased but took one look at the interior and became concerned. Phoebe looked up at something in the house. Callie headed to the room on the immediate left, the study. Callie scoffed at the lack of any photographs. Callie looked at a tall stack of books taller than her. Phoebe looked up at a sequence of numbers carved on the boards near the ceiling. Part of the sequence of years read, "...381 1432 1501 1596 1607 1782 182..." Callie looked at the armchair and the rips and thought it was rats. Phoebe picked up a miniature statue of Zuul standing on two legs.

Trevor stepped into the house and was about to tell them about the gold mine of junk he found out back but he looked around and realized the house was so much worse than he thought it was going be. The house started to shake. Callie realized it was an earthquake and ordered everyone under the dining table. Trevor joked, "Remember that summer we died under a table?" Callie figured the house was built on a fault line. Phoebe guessed it was just fracking. Callie called it fracking annoying. The earthquake stopped. Trevor took solace in the fact they were only going to be in Summerville for a week. Callie hesitated and clarified "give or take." Phoebe and Trevor looked at her. Trevor asked what that meant. Callie was silent then finally told the truth they were staying permanently. Phoebe noticed the P.K.E. Meter, still under the armchair. Trevor reminded Callie she said they were only going to be in Summerville for a week. Callie informed him she said that before they got evicted. Phoebe stepped out from under the table. Trevor recalled Callie said she had money saved up. Callie clarified she did before she had children. Callie stepped out from under the table. Trevor hit his head. Phoebe pointed out to Callie that she was never good with money. Callie thanked for that.

Phoebe held the P.K.E. Meter. Trevor walked over to her and asked what it was. Phoebe asked him how she was supposed to know. Trevor grabbed at the top of the meter but Phoebe pulled it out his grasp. Janine Melnitz walked in through the front door and asked if she could help them. Callie turned to her. Janine looked at Phoebe and Trevor. Trevor sat on the armchair. Janine looked back to Callie. Callie was at a loss for words and eventually blurted out the house was her father's. Janine turned and looked at Phoebe and Trevor again and waved then said hi. They said hi back to her at the same time. Janine introduced herself and brought up they spoke on the phone. She tried to tell Callie how she knew her father but stumbled and eventually stated they were friends and told her she was very sorry for her loss. Callie told Janine it was okay since she probably knew him better and she should be sorry for her loss. Janine downplayed her role and claimed she just tried to do things like keep the bills paid on time. Callie inquired if she was a money manager. Janine quickly stated there was no money to manage and added Egon could barely keep the power on. Phoebe and Trevor exchanged looks. Callie realized Egon left them nothing. Janine disagreed. She walked closer towards Callie and revealed there was quite a bit of debt. Callie was stunned. She told Janine she came to sign forms, pack the silverware, and leave with a rent check and asked if the property was worthless. Janine asked if she meant aside from the sentimental value.

In the evening. Callie drove to Spinners Roller Hop. Four teenage employees hung out outside. Lucky asked Swayze if they were going to that thing later. Swayze answered probably. Bunny rolled in between them and leaned towards the pick up window then asked where her order was. Callie parked in a stall as employees passed by on roller skates.


  • The interior of Callie's apartment was filmed in the Congress Apartments at 725 13th Avenue Southwest, Calgary, AB T2R 0K8, Canada.
  • One cut of the movie went from Egon's death straight to Callie, Trevor, and Phoebe arriving at the Farmhouse.[1]
  • Trevor's T-shirts were made for the movie.[2]
  • There is a straightened Slinky on Phoebe's night stand in her apartment bedroom in Chicago, a callback to Egon's line in Ghostbusters II, Chapter 5: Investigating Oscar, about straightening part of one in his childhood.[3]
  • Phoebe's coveralls were made for the movie.[4]
  • Phoebe's red shoes are by Billy Footwear.[5]
  • Phoebe shines her headlight in Callie's face, similar to when Egon did so to Peter in the first movie when they interviewed Dana Barrett.
  • Phoebe has a World Maker Faire 2012 poster by Molly Crabapple on her wall.
  • Callie's eviction notice is seen more clearly in Domestic Trailer #1, released on December 9, 2019.
    • The name of the apartment is the Anderson East Estates, located on Barneson Street, Chicago, Illinois.
    • The name of the landlord is listed as Matthew Cohen.
    • Callie and her children lived in 2B, it is seen on door eight seconds into Trailer #1.
  • Callie, Phoebe, and Trevor losing their home and getting wrapped up in a paranormal event mirrors how Peter, Egon, and Ray were fired from Columbia University in the first movie.
  • The exteriors of the apartment were filmed at the Anderson Estates at 804 18th Avenue Southwest, Calgary, Alberta 13 T2T 0G8, Canada.
  • The first day of filming was at the Anderson Estates. Jason Reitman posted a photo from the first day near 801 18 Ave SW.[6]
  • "The Clapping Song (Clap Pat Clap Slap)" plays at 6:35 during the montage of Callie and her children driving to Summerville.
  • Trevor's shirt references the car company Chevrolet.
  • At the 7 minute mark, Callie drives by a set of buildings. This is the ghost town of Del Bonita, Alberta Canada.
  • The giant cowboy figure is a sign for the Bar U Ranch in Longview, Alberta, Canada at the AB-22 (Cowboy Trail) and Township Road 171A intersection.
  • The motel scene was filmed at the Badlands Motel at 801 N Dinosaur Trail, Drumheller, AB T0J 0Y1, Canada.
  • At the motel, Trevor's shirt is a Vienna Beef Chicago Style Hot Dog T-shirt.
  • During the driving montage to Summerville:
    • They drive from the south to Drumheller from Highway Number 9 in the Bleriot Ferry area.
    • The Summerville Water Tower is the Drumheller Water Tower at 2 St. 2, Drumheller, AB T0J0Y4, Canada.[7]
      • The words "Summerville" only appears on the water tower starting in Trailer #2. In the same trailer, the nearby Village Plaza signage has been digitally erased.
    • They drive through Drumheller, down Third Avenue East between First and Center Street
      • In background behind Trevor is the Summerville American Legion Post No 426 building.
    • The interior of Spinners Roller Hop is from the set at First Avenue and Sixth Street in Beisker, Alberta.[8]
  • There is a plate of Timbits in the sheriff's office. Timbits are native to Canada, bite-sized doughnut holes made from leftover doughnut dough.
  • The quote of Revelation 6:12 is from the King James Version of The Bible, "And I beheld when he had opened the sixth seal, and, lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood."
  • The barley field grown by the crew by the Farmhouse was harvested and sold after principal photography wrapped.[9]
  • The license plate of Callie's Subaru Outback is "48IRG91" and unscrambles into "IRG1984" or Ivan Reitman's Ghostbusters 1984.
  • There is a 1958 Cadillac Series 62 4 door hardtop outside the barn.
  • The Farmhouse was built south of Calgary at Range Road 21A & 242 Avenue West, Foothills County, AB T0L 1W0, Canada.
  • Three of the location scouts independently logged the farmland that would eventually be used for the Farmhouse set.[10]
  • The farmland used for the Farmhouse set is mainly for canola crops.[11]
  • Everything at the Farmhouse was struck down and removed after production and returned to the way it was before production.[12]
  • Production designer Francois Audouy studied homes from "Psycho" to "Days of Heaven" for research in the making of the Farmhouse.[13]
  • An earlier concept design of the Farmhouse was more of a contemporary farmhouse.[14]
  • For locations like the Farmhouse, Bill Ives used a drone and did a couple of passes around the set location chosen then the images were uploaded into a computer and photogrammetry was done then set design was done in earnest.[15]
  • The antennas on top of the Farmhouse is a nod to the equipment on Ecto-1's roof rack.[16]
  • The Farmhouse was built from scratch twice, once in location in Calgary, Canada and on a sound stage.[17]
  • The production crew scouted dozens of farmhouses and barns in Alberta but they had either one great landscape, barn, or farmhouse and not all three. Eventually, they found a property with a beautiful knoll and great view up onto a ridge.[18]
  • The barn was 130 years old when it was found and it belonged to the Gibson family east of where the Farmhouse was built.[19][20]
  • The barn was found as is with a collapsed roof. The crew took it apart plank by plank. There was old lead paint peeling off so the team had to add a transparent paint to seal it up. A construction team in hazmat suits logged all the pieces of the barn and rebuilt it on the site chosen for the farmhouse which was a couple hours away. The team also had to add hidden structures to keep the barn structurally sound but still look decrepit.[21][22][23]
  • The glass used for the house was antique glass they bought, cut down to size, and laminated for safety.[24]
  • The wood used to build the house was brand new but it was theatrically painted to look old. Prefab took place months prior to the first day of filming at the Farmhouse set on location. Treatments were used to make it peel naturally.[25]
  • A stack of books in the living room is a nod to the Symmetrical Stacking found in the New York City Public Library in the first movie, Chapter 3: "Get Her!"
  • The number sequence Phoebe looks up at when she first enters the Farmhouse is part of the sequence of years seen later in the movie in the Shandor mine.
    • 1381
    • 1432
    • 1501
    • 1596
    • 1607
    • 1782
    • 1823
  • Phoebe finds a small statue of Zuul on the desk.
  • Janine Melnitz repeats one of her lines from the first movie, "Can I help you?" in Chapter 9: The 1st Customer.
  • Janine's hesitance alludes to the romantic sub-plot between her and Egon in the first movie.
  • "Baby It's You" plays at 11:55 in the scene where the family goes to the Spinners.


  1. "Art of the Cut: Bringing Ghostbusters Back to Life" 12/1/2021 Nate Orloff says: "A perfect example of that—and this is the opposite of instead of putting the scenes back in and then realizing, "Yeah, we don't need them,"—at one point we started the movie way later. We still had the opening sequence but we started the movie at the arrival of the house. I was a proponent of that saying, "Look, you figure out all the information and throw your audience into the middle of it," and I was very wrong."
  2. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Costume Department!" 12:00-12:03 1/12/2022 Danny Glicker says: "But a lot of these things were created for the movie."
  3. The A.V. Club YouTube "Ghostbusters Afterlife interview: Jason and Ivan Reitman on Easter eggs" 00:41-00:48 11/19/2021 Jason Reitman says: "And we had a straightened slinky on Phoebe's night table in Chicago at the beginning of the movie."
  4. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Costume Department!" 9:51-10:25 1/12/2022 Danny Glicker says: "So these coveralls I created for the movie. and then yeah, they're really fun, really utilitarian and they feel--and you don't know where, when they're from, you just know that she is just a gal who likes to get things done and as you see there's not a lof of staining on it but there's a ton of wear and it's about all the puckering so."
  5. MckennaGraceful Tweet 8/26/2021 Mckenna Grace writes: "The red shoes worn in the film are by BillyFootwear You can purchase the exact ones. If you go to the website and read the story about why these were made, it’s really remarkable and inspiring!"
  6. Jason Reitman instagram 7/12/2019
  7. Parade "Ghostbusters Then and Now! See the Original Cast Today and the New Stars of Ghostbusters: Afterlife" 10/29/2021 Line reads: "For Ghostbusters: Afterlife, exteriors were shot in Horsethief Canyon, the Drumheller water tower and on highways 570 and 848. Interiors were shot in and around Calgary, Alberta, including the Deerfoot City Walmart, the Apple Pie Cafe in Beiseker and Macleod's Java Shop. Grandpa Egon's barn was a set constructed in Canada."
  8. Parade "Ghostbusters Then and Now! See the Original Cast Today and the New Stars of Ghostbusters: Afterlife" 10/29/2021 Line reads: "For Ghostbusters: Afterlife, exteriors were shot in Horsethief Canyon, the Drumheller water tower and on highways 570 and 848. Interiors were shot in and around Calgary, Alberta, including the Deerfoot City Walmart, the Apple Pie Cafe in Beiseker and Macleod's Java Shop. Grandpa Egon's barn was a set constructed in Canada."
  9. JTFPod YouTube "Ivan Reitman & Jason Reitman - Full Interview" 20:23-20:35 11/12/2021 Jason Reitman says: "By the way, by the way. When we wrapped shooting, we harvested the barley. We made it hulled. That's the one thing so far the Ghostbusters: Afterlife has made money on. We made money on our crop."
  10. Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 6:29-6:33 1/19/2022 Bruce Brownstein says: "But it's funny of the scouts, three of us and stopped and photographed this hill."
  11. Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 3:59-4:19 1/19/2022 Bruce Brownstein says: "So we came here in the winter and we looked at this landscape and it had been a canola crop prior so it it was stubby with snow but we knew we wanted corn, we just didn't know exactly how much corn so in the end, the production designer and Jason, they figured out okay the footprint of the house, the barn, these silos, the dirt field and corn around it."
  12. Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 4:45-4:56 1/19/2022 Bruce Brownstein says: "No, our obligation is to return this land to the way it was exact full crop field. We'll remove all the pads, the roads, the gravel parking lots and put it all back the way it was."
  13. Jason Reitman instagram 11/21/2021
  14. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Art Department!" 9:24-9:38 2/1/2022 Bill Ives says: "And we started with something a little simpler. At the very beginning, it was more of a contemporary farmhouse, you know, but then we've changed it into a Victorian kind of style and really creeped it up and got all the Egon pieces."
  15. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Art Department!" 10:59-11:18 2/1/2022 Bill Ives says: "So what I do with that is I have a little drone that I fly around the location, do a couple passes and then bring it into the computer and do a photogrammetry based on that so when we design the sets, we're designing them on the actual geography of the location."
  16. IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 02:06-02:14 7/26/2021 Jason Reitman says: "First of all, I'm gonna point out that if you look at the top of the house, you see all these antennas and you know it was meant to kind of echo the top of Ecto-1."
  17. IGN YouTube "Ghostbusters: Afterlife - Exclusive Trailer Breakdown with Director Jason Reitman" 02:30-02:36 7/26/2021 Jason Reitman says: "This was a house that we actually built from scratch we built twice, once on this location and then once on a soundstage."
  18. Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 11:53-13:03 12/6/2021 Francois Audouy says: "We had-first we looked at dozens and dozens of actual farmhouses and barns and things in in Alberta and we would always find like a great like a great barn with no house or a great house with no barn or a barn on a non-interesting piece of landscape or a house you know we needed a great canvas, a great house and a great barn and you could never-we could only get one of those three things so we ended up-I-I really pushed hard to to do something where we would have absolute control and make it as good as we could possibly make it so we found a really beautiful knoll that was frozen over when and covered in snow when we first went to go scout it but it had this great view up onto this ridge so that we could put the house above the horizon very much like the Psycho house is-you know-you're always looking up at the house with the sky in the background and and we started from scratch and we-I did a lot of research looking at actual vernacular of farmhouse architecture from the Midwest and Oklahoma."
  19. Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 2:42-2:55 1/19/2022 Bruce Brownstein says: "There was a--the farm we really liked, the Gibson family, they had this barn on their property and it looked pretty much as it does now and so the idea was let's buy that barn, bring it and make it part of our set."
  20. Tested YouTube "Creating Ghostbusters: Afterlife's On Location Set!" 3:48-3:53 1/19/2022 Bruce Brownstein says: "It's the same barn material that sat on that farm for 130 years."
  21. Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 13:04-13:26 12/6/2021 Francois Audouy says: "We got lucky and we found it in a magnificent barn with a collapsed roof that we were able to salvage and take apart plank by plank and re-erect on site which was really kind of-I wasn't sure that was going to work but it was a miraculous feat of engineering by by the construction team so that bind-"
  22. Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 13:33-14:19 12/6/2021 Francois Audouy says: "When we scouted the barn, it was kind of remarkable it was still standing, it looked like it was ready to fall over at any minute you know so we had to-it was also old peeling lead paint you you it was an environmental disaster area and so we had to go in with a team and seal everything with a transparent paint basically to seal all of that peeling paint and then disassemble everything with a construction team basically in hazmat suits, log all of the you know all of the pieces of the barn so that we could put it back together like a big puzzle piece and then transport it a couple of hours away to our new location."
  23. Go Creative Show YouTube "Ghostbusters Afterlife Production Design (with Francois Audouy) GCS291" 14:25-14:45 12/6/2021 Francois Audouy says: "And another hard thing well not just the hard thing but another challenge was then then you have to put it together in a safer way that is not going to just fall down on top of the crew and so they were able to put all of this structure invisibly into the house-into the barn to make it appear decrepit but be completely structurally sound."
  24. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 2:19-2:29 1/26/2022 François Audouy says: "So we found old glass. We bought old glass, cut it down to size and then actually had to laminate it for safety so it's laminated so because you can't get anti-glass with tempered so that's the whole process as well."'
  25. Tested YouTube "The Production Design of Ghostbusters: Afterlife!" 2:34-2:58 1/26/2022 François Audouy says: "This is all brand new theatrically painted to appear old but we started prefabbing this house months ago in a parking lot near our stages and literally starting with brand new wood and then layering all those-all the five layers of paint to make it look like it was really really old and then we used treatments to make it peel naturally."'


Primary Canon

Images were grabbed from the Blu-ray by Paul Rudoff. Black bars have been removed, which leaves all images at a 2.40:1 aspect ratio.

Behind the Scenes

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