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Breaking and Entering is the twenty-fifth chapter on the DVDs of Ghostbusters II. In this chapter, the Ghostbusters with the Statue of Liberty break into the top of the Museum and come in.






Peter Venkman shouted, "I love it when you roughhouse!" Egon Spengler yelled, "Hit it, Mama!" Ray Stantz exclaimed, "Go! Drop the hammer!" Winston Zeddemore yelled, "Go! Do it now!" The Statue of Liberty smashed the skylight with its torch. Janosz Poha screamed. Dana Barrett hid behind a column with Oscar. She directed him to look up. The Ghostbusters rappelled down into the museum. Janosz was still confident in Vigo and ordered them to go away. Peter wished him a Happy New Year. Janosz proclaimed they were like the buzzing of flies to Vigo. He realized Vigo was absent from the painting. He was without words. Peter informed him he backed the wrong horse and cued Ray and Winston. They thoroughly slimed Janosz. He eventually slipped, fell, and passed out. Dana came over to them. She kissed Peter. Peter hugged them then greeted Oscar. Dana asked if Janosz was dead. Ray informed her their slime was positively charged and Janosz was going to wake up feeling like a million bucks. Peter noted Oscar was "a little bit ripe" and joked he thought he had an accident, too.


  • In the September 29, 1988 draft:
    • On page 108, Jason Locke transforms into a monstrous creature 12 feet tall with pterodactyl wings, clawed tentacles, and long fangs. The Ghostbusters hose him with pink slime. Jason dissolves into a smoking harmless puddle. Vigo screams as the painting melts.
      • In the movie, the Ghostbusters hose Janosz upon landing. After a longer battle with Vigo, he is weakened by people singing outside then his blasted into oblivion.
  • In the November 27, 1988 draft and February 27, 1989 draft, on page 124, Oscar starts to glow. After Janosz steps in front of the painting, Egon tells him to feel free to try something stupid.
  • The shot of the Statue of Liberty breaching the slime shell was a combination of the restoration room interior set at the Burbank Studios in Los Angeles, compositing in Jim Fye as the Statue of Liberty at ILM, the crown gimbal at Burbank Studios, and the exterior outside the Alexander Hamilton U.S. Custom House at 1 Bowling Green in New York City.
  • For the part when the Statue of Liberty strikes the skylight, Chuck Gaspar and his team threw debris, breakaway glass and foam beams down from the top of the set.[1]
  • Foolproof safety rigs were used for the stunt scene of the Ghostbusters rappelling down into the restoration room.[2]
  • Dan Aykroyd and Harold Ramis enjoyed the stunt scene of the Ghostbuters rappelling down into the restoration room and did it five times for fun.[3]
  • In the August 5, 1988 draft, on page 112, the Statue of Liberty hurls her torch at the Ghostbusters before she topples over. Rescue workers dig the Ghostbusters out of the wreckage of the torch just as the Mayor's motorcade arrives.
  • The Slime Blowers were 3-4 times as bulky as the Proton Pack props. It took 3-4 people to help get them on Ernie Hudson and Dan Aykroyd. The only practical part was the gun. It was a device with a spinner that sent out slime driven by compressed air. The tanks were empty. In reality, the blowers were attached to external tanks, 4-5 feet in height, that supplied the slime.[4]
  • In Ghostbusters Volume 1 #9:
    • On Page 1, in panel two, obscured by the Mayor's word balloons on the left side, is the painting "Gainsborough's Blue Boy," in reference to when Janosz Poha contrasted Vigo to it.
  • In Ghostbusters Volume 1 #16:
    • On Page 3, Janosz painted a recreation of Gainsborough's Blue Boy, something he mentioned in the second movie.
  • On Cover A of Ghostbusters Answer The Call Issue #3, a book on the shelf references Janosz Poha's line "He's Vigo!" from Chapter 25 of Ghostbusters II after they break into the Manhattan Museum of Art.

See Also


Peter: Happy New Year.


  1. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 44. Cinefex, USA. Line reads: "To help create the illusion that the Ghostbusters were crashing through the skylight, Chuck Gaspar and his crew threw debris, breakaway glass and foam beams down from the top of the set as the actors slid down their ropes and landed firmly on the floor."
  2. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 44. Cinefex, USA. Harold Ramis says: "I kept sliding down from the top of the stage--about seventy feet. Of course, they had us on safety rigs. We were not using rappelling rigs. They were the kind that rescue teams use to lower injured people from high places or to lower nonprofessionals off ski lifts or high mountain ridges. So it was foolproof--there was no way we could get hurt. We could be unconscious and be lowered down one of those rigs. So I got a lot of confidence and I went back to do it over several times. Whenever I went up to the top of the stage, a stuntman went with me to make sure I was hooking the harness securely."
  3. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 42. Cinefex, USA. Ernie Hudson says: "The nice thing about Ghostbusters was that nobody held back, no matter what they were asked to do. Everybody was committed , having fun and giving one hundred percent. When we did the scene where we slide down the rope and landed in the restoration room, we had to go pretty high up in the rafters to slide down the rope. But Bill was there, Danny was there and so was Harold. That made it pretty hard not to commit. We were up there with our backpacks on, and I was thinking, 'Gee I don't know about this.' But Danny was all excited about it and Harold loved it so much that he went up and down five times."
  4. Eisenberg, Adam (November 1989). Ghostbusters Revisited, Cinefex magazine #40, page 37. Cinefex, USA. Dan Aykroyd says: "The slimeblowers were three times as heavy and four times as bulky as the original packs. I think it took three or four guys to get us into them every time. These slimeblowers are going to every mother's nightmare if they ever go to the toy market, believe me--they were built to spew slime all over the walls. They were fun, though--and a beautiful practical effect. The only thing that worked on ours were the guns. The tanks were empty. The gun was actually a practical device with a spinner in it that sent the slime out, and it was driven by a lot of compressed air. Off camera were the real tanks that fed our lines. These tanks were huge--four or five feet high--and contained slime and air. So every time we blew slime on screen, we actually attached to these huge external tanks."


Selected Screengrabs

Discarded Material

Behind the Scenes

Storyboards of Final Version

Storyboards of Previous Drafts

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Chapter 24: A Harbor Chick Chapter 26: Ghostbusters vs. Vigo