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Chapter 07 centers on Phoebe discovering Egon's underground laboratory and working a Proton Pack.


Listed as they appear in film.




"Can You Get To That" played. Trevor crouched down in the Spinners Roller Hop kitchen and lifted up a black mat with gloves on. Lucky crouched down near the doorway and remarked at the sight of the mat. He asked if it was ever cleaned. Lucky stated she never did then informed him they were all heading up to "the mountain." Trevor stood up. She asked him if he was coming, too.

Several of the teenagers employed at Spinners sat in the cargo bed of an old Ford Ranchero. The others followed in a pick up truck. Trevor laughed. Lucky smiled. Rufus, Zahk, and Swayze laughed. They drove to the top of a mountain and circled around a mine elevator. The teens piled out. Rufus concluded rivers were basically like the moms of canyons when you think about it. He playfully punched Trevor in the right arm. Lucky threw on a hoodie. Zahk picked up a rock and chucked it. Trevor went on the mine elevator and sat across from Lucky. He sighed.They chuckled awkwardly. He asked her why she brought him along. Lucky replied it was for entertainment value then asked if he could juggle. Trevor was startled by a gunshot. Rufus laughed. Someone remarked it was not funny. Lucky asked Trevor what he was doing in Summerville. Trevor contemplated his answer briefly and simply told her everything: his family was broke, they just got evicted, and the only thing that was left in their name was a creepy, old farmouse his grandfather left them in the middle of nowhere. She nodded. He meant no offense. Lucky clarified she was not offended and confirmed Summerville was a dump. He inquired why she lived in Summerville if that was so. She revealed she was fourth generation in her family to live in the town. He asked her if she would ever leave. She shook her head and asked what that said about her if she never did. Trevor quipped it meant she had no car. She laughed. The elevator suddenly began to shake. They hopped out onto the mountain and looked down the shaft. There was a growl. The other teenagers heard it. Trevor asked what that was. Lucky had no idea. The other teenagers gathered around. A spectral face formed down in shaft. They heard it say, "Gozer." A teenager asked what that was. An orange P.K.E. wisp shot out of the shaft. Bunny fell on her butt. Zahk was beside himself. There was silence then they started laughing.

Gary was confused and picked up an ancient looking map. Callie informed him it was a map. He laughed then elaborated that it was written in some kind of ancient cuneiform yet it was clearly a map of Summerville. Callie pointed out the obvious, that made no sense. He agreed, especially since Summerville was not even a hundred years old and the cuneiform was from thousands of years ago. Callie concluded that was the language Egon spoke for all she knew. Gary was put off by her disinterest and called it incredible, bizarre, and fascinating. He asked if he could have it. Callie obliged him, called him a weirdo and warned him that was how it always started. She teased there was a map first then you move into a haunted house and everyone calls you the Dirt Farmer. Gary smiled. He asked if Phoebe would want anything in the pile. Callie mused Phoebe would find something.

Phoebe walked around outside with the P.K.E. Meter. She followed a reading. She saw Callie inside. Callie laughed. Phoebe continued on towards a shed. She opened the dilapidated door. It creaked as it hit the side of the shed. There was a fire pole inside. She tucked the P.K.E. Meter in the back of her pants, exhaled, and rode the pole down. The room was dark. She got the P.K.E. Meter out and called out. Lights started turning on. It looked like an underground laboratory. There was a shelf with spores, molds, and fungus in petri dishes and glass jars. She looked at them. She heard a click and turned. There was a locker. She opened it and found four tan flightsuits. She noticed a name patch on one read "SPENGLER" on the front. She reached into the left chest pocket and found a crumpled Crunch Bar wrapper. She found a pair of glasses in the right chest pocket. She placed them in front of hers and it was about the same size and shape. A screen turned on. She gasped. There was a model of the Farmhouse and property on a table. On another, there was an unfinished Proton Pack. She sat down in front of it. The lamp moved on its own, shone at her face then at the pack. It was Egon making contact again. She took off the cyclotron cover with her hands and flipped it over. She looked at the capacitors inside and noticed two of the CRT Emitters were missing. A drawer shot open. Phoebe thanked him.

She installed the emitters one at a time by hand then set the cover aside. She took out the mini-cyclotron and wondered how on earth he built such a small version. The lamp head shined its light on wall. Around 12 framed diplomas were up on that wall. Phoebe understood how, he was a genius. She asked for needle-nose pliers. The lamp head shined on a pair on the table. Phoebe grabbed them off a magnet.


  • Spinners Roller Hop was a set built at at First Avenue and Sixth Street in Beiseker, Alberta at the former Apple Pie Diner and Gas Station.
  • "Can You Get To That" plays 38:30 starting when Trevor examines the dirty mat to when Lucky and friends take Trevor to the mountain, enters the mining property in trucks, and ascends the hill to the mine elevator.
  • The scene of Trevor joining Lucky and her friends after work was longer and was akin to a "Boogie Nights" one take shot.[1]
  • The drive to the Shandor mine was filmed at Horsethief Canyon in Drumheller.[2] It is about 17 minutes north of Drumheller. A false ramp was placed on the road when they drive up.
  • The mine shaft built on the top of the mountain was only 6 feet deep in reality.[3]
  • In the first domestic trailer, the P.K.E. stream that shoots up the mine elevator was green. By the second trailer, it was changed to orange.
  • The mine shaft entrance and elevator was added to the set location. It has since been removed and the hole filled back in.
  • Lucky reveals her family has lived in Summerville for four generations.
  • The teenagers looking down the shaft and seeing a figure say "Gozer" mirrors the first movie, Chapter 7: Fried Eggs & Zuul, when Dana Barrett looked in her refrigerator and sees a Terror Dog say "Zuul".
  • The ancient map that Grooberson notices while inside the Farmhouse first appeared off-screen as supplemental material with a tie-in merchandise release of Reebok shoes in November 2020.[4]
  • Gary notes Summerville isn't even a hundred years old, implying it was founded after 1921.
  • The pattern on Phoebe's maroon shirt are all the shapes on the Zener cards, the same used by Peter Venkman for his research at the start of the first movie, Chapter 2: Shock the Nerd.
  • The Farmhouse's shed was built from repurposed wood in the acquisition of the barn.[5]
  • When Phoebe slides down the fire pole to the underground laboratory, re-recording mixer Will Files reused the sound of when Ray Stantz slides down the fire pole in the original movie, Chapter 5: Fixer-Upper.[6]
  • The underground lab was built on the Studio 3 sound stage at the Calgary Film Centre.[7]
  • The underground lab set is actually two steel sea containers welded together.[8]
  • To populate the underground lab set, Paul Healy used screen grabs from the original movies, secret eBay accounts, and secretly got advice and assistance on Ghostbusters fan sites, forums, and threads.[9][10]
  • The Aura Video-Analyzer helmet was a replica. After Paul Healy commissioned the replica, he found the right colander for the prop.[11]
  • The various specimens references Egon's hobby of collecting spores, mold and fungus he mentioned in Chapter 8: "Bug-Eyes Thing".
  • Egon's Stethoscope earphones from the library scenes in the first movie, Chapter 3: "Get Her!", appear on the stack of objects.
  • The locker door has a maid door sign seen at the Weaver Hall lab's door in the first movie, Chapter 2: Shock the Nerd.
  • To Phoebe's left, when she opens the locker, there is a Slinky. It disappears in one shot, then reappears in the next.
  • The flightsuits were replicated from the originals down to the small details like the knife pocket being above the seam, using fewer stitches for the patch, using a machine to sew the patches, and matching a repair above the right thumb of Mooglie.[12][13]
  • Phoebe finds a Crunch bar in chest pocket of a flightsuit. In the first movie, Chapter 4: Terminated, Peter gave a Crunch bar to Egon after their encounter with the Library ghost.
  • The patches for the flightsuits in Ghostbusters: Afterlife were done by a local company in Calgary.[14]
  • Janine's whale paperweight from the first movie is on top of the old computer.
  • There is a box of Cheez-Its on the desk. Egon ate some after Dana's interview in the first movie, Chapter 9: The 1st Customer.
  • The Medrad Mark IV Angiographic Injector Injection System is near the table. It was rolled out by a mover in the first movie when Peter, Ray, and Egon are fired from Columbia University in Chapter 4: Terminated.
  • The original Proton Pack used by Harold Ramis in the first movie was Lidar-scanned then rebuilt down to the millimeter and aged.[15] Ramis's daughter Violet Ramis-Stiel accompanied Jason Reitman and the crew when they went to Sony's archives to scan the prop. She tried on the prop and started to well up.[16]
  • For budgetary and logistical reasons, the A.L.I.C.E. frames used for the Proton Pack props were knock-off versions bought from the same manufacturing stock run.[17]
  • Seven Proton Pack props were made for Ghostbusters: Afterlife.[18]
  • Some Proton Pack props were made on fly on set during filming of Ghostbusters: Afterlife.[19]
  • Ivan Reitman read a draft and commented Egon wasn't funny enough in the underground lab scene with Phoebe. Jason Reitman and Gil Kenan came up with the joke of Egon pointing the lamp at his framed diplomas.[20]
  • The Ghost Sniffer and Giga meter make a brief cameo in front of the wall where the framed diplomas are.
  • Paul Healy could not locate a Bacharach Sniffer 300 nor a replica so he got real parts from six different sources and made one himself.[21][22]
  • Initially, a puppeteer was manipulating the lamp with rods but needing better comedic pacing, Jason Reitman told him to just grab it with his hand and move it and they would digitally paint him out.[23]
  • Jason Reitman's original idea for Phoebe entailed a girl was in a corn field. She fired her Particle Thrower into the corn and it popped into popcorn. She ate the popcorn and smiled.[24] The popcorn flies up in the air, the girl catches it and eats it. The scene was filmed but it couldn't be quite pulled off so it was cut out of the movie.[25] There was an attempt to adapt the idea into a scene but it couldn't be pulled off and the scene was deleted.[26]


  1. Collider Interviews YouTube "Finn Wolfhard and McKenna Grace on Ghostbusters: Afterlife Deleted Scenes" 4:13-4:51 mark 11/15/2021 Finn Wolfhard says: "I'd say the most complicated is actually a shot that wasn't in the movie, it's like this Boogie Nights one take shot that actually makes the movie like longer. It's a really cool but it's like-it doesn't-there's a scene where like Celeste O'Connor's character Lucky asked me to go hang out with her firends and I'm cleaning and then I take off my apron and I go and I get in the car. with them. That was like a way longer scene. It was like she's like 'You coming with?' I'm like 'Yeah' and I see her walk out of the door and then I follow her to the window and I see her and I follow her and uh it's like a one take and I take off all my stuff and I run out the door then I jump in to the cars-the car is moving as the car is moving."
  2. 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."
  3. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 129. Titan Books, London UK, ISBN 1789096529. Line reads: "The mineshaft, which seemingly extends hundreds of feet deep into the mountain, was actually a six-foot pit dug into the earth on location."
  4. Reddit user Tiefighter21 "Easter Egg from New Movie Which Came..." 11/4/2020
  5. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 74. Titan Books, London UK, ISBN 1789096529. Line reads: "Production designer Francois Audouy recalls designing the shed using repurposed wood from an antiquated shack that was part of the barn acquisition."
  6. Variety "How ‘Ghostbusters: Afterlife’ Pays Homage to the Original With Audio Easter Eggs" 11/24/2021 Will Files says: "We took the sound when Dan Aykroyd slides down the pole at the beginning of ‘Ghostbusters. We just stole it from the original and we put it into Phoebe's [scene]."
  7. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 74. Titan Books, London UK, ISBN 1789096529. Line reads: "Through the magic of editing, she would ultimately land in a separate set built and located on the Studio 3 sound stage at the Calgary Film Centre."
  8. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 79. Titan Books, London UK, ISBN 1789096529. Francois Audouy says: "Occasionally, they're comprised of steel sea containers which have been modified and buried. So we purchased two of them, welding them together, and that became Egon's secret underground lab."
  9. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Line reads: "Healy pulled a ton of screen grabs, set up several secret eBay accounts, and went undercover, obtaining guidance and assistance from Ghostbusters fan sites, forums, and threads."
  10. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Paul Healy says: "I did whatever I could to maintain accuracy and acquire these obscure pieces. That meant sometimes purchasing them on eBay or replicating them, and keeping it true, one hundred percent, to the littlest detail."
  11. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Line reads: "Among the list of other items he dressed into the lab: an IM-179 gamma rate meter used by Egon briefly in the first movie, a few items from Ghostbusters II, and precise replica of the Aura Video-Analyzer worn by Louis Tully, which was commissioned after Healy found the right colander."
  12. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Costume Department!" 3:33-3:45 1/12/2022 Danny Glicker says: "Like in this knife pocket in the original suit, this little curve goes above the seam and in flight suits you get now, the curve is way below."
  13. Tested YouTube "Adam Savage Visits Ghostbusters: Afterlife's Costume Department!" 4:36-5:19 1/12/2022 Danny Glicker says: " One of the fun things was working with the embroiderer to create this kind of old school process where we were really using a lot more--we were covering a lot more space with a lot fewer stitches exactly like the original patch and everything you see in this patch is an exact replica of the original patch including how we sew it on the original patchs were sewn by machine then with these hand stitches around the ghost and then there's a detail in here that's really special and really insider, there's a repair right here which is an exact reproduction from the original Ghostbusters patch."
  14. dreadmakerroberts Tik Tok "Who made the patches for the Ghostbusters Afterlife uniform?" 00:26-00:34 12/18/2021 Ben Eadie says: "We found out the files were taken to Calgary and we found a tailor or seamstress or company right within the city and they made the patches right there."
  15. Farley, Jordan (November 2021). Spiritual Reawakening, Total Film magazine #317, page 42. Future Publishing, UK. Line reads: "In order to recreate Egon's Proton Pack, Harold Ramis' original prop was Lidar-scanned, rebuilt "down to the millimetre" and aged to give it "the kind of battle scars you would think it would have by now"."
  16. Grove, David (November 2021). Ghostbusters: Afterlife Links The Original Busters To The Next Generation - And Pays Tribute To A Fallen Hero, SFX Magazine #345, page 32. Future Publishing, UK. Article reads: "I'll never forget pulling the original proton packs from Sony's archives in order to scan them for our own equipment. Violet Ramis, Harold's daughter, joined us that day and actually tried on her father's pack. She was nervous at first but eventually slipped her arms through the straps and took up the blaster. She began to well up, and by the time that she put the pack down, we were both shaking"
  17. dredmakerroberts Tik Tok "What frame and shoulder straps were used for the ghostbusters afterlife packs?" 00:31-1:11 12/10/2021 Ben Eadie says: "This is what I've seen so that being said is that it's a knock off A.L.I.C.E. frame, pretty standard US issue style with the standard US shoulder pads and hip pad. There's a few reasons for it. One, it's a little less expensive to make those props if you have to buy a bunch of them. Two, is because you can buy from the same manufacturing stock run is that they're all going to look exactly the same. Which means you can beat them up to look the exactly same, you don't have to worry about color paint matches or anything like that. If you buy some of the random ones you can find on eBay that are not stock then you are going to have a bunch that don't match. And a few of them you're going to have to throw out and that becomes a bit of a logistical pain."
  18. Tested YouTube "Adam Savage's One Day Builds: Ghostbusters Proton Pack!" 2:02-2:20 10/6/2021 Ben Eadie says: "Well, especially when you take into account there was -- let's see, one, two, three, four, five, six, seven different styles of packs. So yeah, it--they're all the same foundation but it changes from scene to scene depending on what was going on and some of them are so so very cool."
  19. Tested YouTube "Adam Savage's One Day Builds: Ghostbusters Proton Pack!" 3:05-3:08 10/6/2021 Ben Eadie says: "And we were even creating some on the fly as needed."
  20. Tested YouTube "How Ghostbusters: Afterlife Brought Back THAT Legacy Character" 6:30-6:56 1/7/2022 Jason Reitman says: "So my father at one point had read the draft and said this is really lovely but you know Harold was really funny and his-and the ghost right now is a-it's a deeply emotional, very kind, and fatherly ghost but it's not very funny and Gil and I were sitting there going it's a lamp like how do we make the lamp funny? And that was the joke we came up with-was how on earth did you do this. Bwoop."
  21. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Caption reads: "Healy couldn't locate one on the market or find a replica that he was satisfied with, so he built his own."
  22. Inguanzo, Ozzy (2021). Ghostbusters: Afterlife The Art and Making of the Movie, p. 80. Titan Books, London UK, ISBN 1789096529. Paul Healy says: "By reaching out to six different sources, I ended up getting all the real parts and I put one together myself."
  23. Tested YouTube "How Ghostbusters: Afterlife Brought Back THAT Legacy Character" 7:08-8:03 1/7/2022 Jason Reitman says: "So this is one of those days where special effects wizards had been working on a lamp that could be puppeteered using these different rods and they had been showing me different versions of the arm and how the head moved and every time they tried to do it, it just didn't have that speed. There is a speed and pace to comedy and I remember finally going to the puppeteer and saying okay just disassemble all of that, grab the lamp shade with your hand, get in there, and just and because you have to move and because there's a move to the comedy beats but then there's also you know if this is Phoebe's head and as a grandfather, you're coming around to see what she's doing, there's a way that you move and turn and look that say I'm interested in what's happening here you're not going to do that with these rods like hold it with your hand, we'll paint you out, and just come in there."
  24. Polygon "Ghostbusters: Afterlife director Jason Reitman crossed the streams of reality and sequel lore" 11/21/2021 Jason Reigman says: "Originally she was in a field of corn. She fired into the corn and the corn popped up into popcorn, she ate the popcorn and smiled."
  25. Yes Have Some YouTube "Jason Reitman Interview - Ghostbusters Afterlife, Franchise Future, Bill Murray!" 6:48-7:26 11/25/2021 Jason Reitman says: "The image I always had was brings it out into a row of corn, fires it into the corn, the corn becomes popcorn, flies in the air and she catches it and she eats it like that was the image and we actually tried to shoot that. We we didn't quite pull it off and that's why it's not in the movie but but when I talked to Gil about it and Gil and I had been writing together and I really trust Gil as a storyteller and Gil's also an animator who who made Monster House and and Poltergeist and you know just has a sense of science fiction and horror that you know that isn't just not part of what I've done."
  26. Collider Interviews YouTube "Finn Wolfhard and McKenna Grace on Ghostbusters: Afterlife Deleted Scenes" 5:19-6:00 mark 11/15/2021 Mckenna Grace says: "My hardest scene was one that got cut out as well. Yeah, there was a whole bit where I took the Proton Pack out into a field and so that was like an entire day of just lugging this huge thing. I had like red marks all up and down my shoulders afterwards like my shoulders were raw from it rubbing because they were like doing this light pack and and I was like 'no, it looks better with the heavy pack and it was just me like running through this field with this thing on for and the acting like doing that is so hard it's just 'Ah! Oh!' and he's like be louder. It was really difficult. There was like bugs all over but it was still like the coolest."


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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