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Phantasm Script Excerpt

The document is a script for the film 'Phantasm' by Don Coscarelli, depicting a story of grief and horror following the funeral of a character named Tommy. The narrative follows Michael and Jody as they confront supernatural threats and uncover dark secrets related to Tommy's death and the mysterious tall man. Themes of fear, loss, and the struggle against evil are prevalent throughout the dialogue.
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0% found this document useful (0 votes)
82 views12 pages

Phantasm Script Excerpt

The document is a script for the film 'Phantasm' by Don Coscarelli, depicting a story of grief and horror following the funeral of a character named Tommy. The narrative follows Michael and Jody as they confront supernatural threats and uncover dark secrets related to Tommy's death and the mysterious tall man. Themes of fear, loss, and the struggle against evil are prevalent throughout the dialogue.
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Scripts.

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Phantasm
By Don Coscarelli

Page 1/12
Oh!
Oh!
- Oh!
- Oh!
Oh, oh, baby.
Oh!
Tommy, Tommy.
Ah!
- Oh!
- Oh!
Oh, oh!
Oh! Oh, that was great, baby.
Jody.
Hi, Reg.
How's it goin'?
Tommy's gone.
It's, uh...
it's a hell of a way to end a tro.
It's hard to believe.
Killed himself.
Hey, I, uh...
I'm gonna go visit somebody. Uh...
- I'll catch you inside.
- Yeah.
The funeral is about to begin... sir!
OK... sir.
It was a good idea not to let
your brother come to the funeral
and see Tommy like this.
Yeah, after Mom and Dad's funeral,
he had nightmares for weeks.
And forgive us our debts
as we forgive our debtors.
Lead us not into temptation
but deliver us from evil...
Hey, I don't like this place.
Well, say goodbye to Tommy.
Let's just get the hell outta here.
Hi, Michael.
Hi. Is your grandmother home?
Sure, come in.
Grandmother, Michael has returned
and wishes to speak with you.
Grandmother is pleased you've come

Page 2/12
and wants to know what's bothering you.
Uh, tell her that I, um...
She can hear you.
Oh, yeah.
Uh... it's Jody again.
I found out that he's leaving.
I think
it's one of these headers in here.
- Hey, Toby!
- Hey!
- So what brings you back?
- Tommy.
Yeah... yeah, shoot.
I just don't get off on funerals, man.
They give me the creeps.
I just wanna tell you
I heard about your folks. I'm sorry.
Yeah, thank you, man.
In two years I guess you can
just about get over anything.
- So, I hear you've been out on the road.
- Yeah.
How come you're hanging
around this dump?
Well, I'm taking care of the kid.
Shit, I'd think after all that action,
this town'd drive you nuts.
You're damn right.
Now the kid's 13, I'm thinking
of sending him off to live with his aunt,
but I'll tell you, he ain't gonna like it.
As it is, he follows me everywhere,
it's like he knows I'm gonna leave.
He's a tough little kid. I love him.
I'm gonna miss him.
Grandmother says not to worry.
If he does leave, he'll take you with him.
- God, I hope she's right.
- She always is.
There's somethin' else.
I'm really scared about something I did.
I was messing around up at Morningside
Cemetery and I saw something...
something really scary.

Page 3/12
Michael,
Grandmother wants to play a little game.
Wow! How did you do that?
Put your hand in the box.
- What's in it?
- Just put your hand in the black box.
OK, but what's in it?
- Hey, this thing really hurts!
- Don't fear, Michael.
- I can't get my hand out!
- Don't fear.
- Gimme back my hand!
- Don't fear!
It was simply a reflection.
Fear is the killer.
That's what Grandmother
wants you to learn.
Boy, that really hurt.
It was all in your mind.
Um, yeah.
Come and visit us again soon.
Yeah.
Hi, Reg.
- Writin' a new tune?
- Yeah, working on it.
# I'm just a-sittin' here at midnight #
All right.
# And I'll be sittin' here till noon
# You see my lady left me lonely
# Yes, she did
# My baby left me blue #
Oh!
Huh! Whew!
All right. We're hot as love, you know.
Well, uh, let's see.
It's, uh, just right up the street.
This is, uh... kinda spooky, isn't it?
No, it's exciting.
So, uh... what's the only thing to do
in this town?
Well, it's, uh, something...
Oh.
- Wow!
- Wow!

Page 4/12
Oh.
What the heck?
Wait here. It's my little brother.
I think he's got some kind of a problem.
Mike!
What's wrong with you, man?
There's something up there.
I know it, I saw it!
What?
OK, look, I was following you guys.
I didn't mean any harm,
but it's out there, it's gonna get me!
What's out there?
I don't know. It was... it was little and brown
and low to the ground.
It's probably just a gopher in heat.
It wasn't any gopher!
Where's that girl, anyway?
She's waitin' back there for me, you idiot!
Hear that?
Nah, it's only the wind.
You better go get her
before it gets her.
You got some kind of overactive
imagination or somethin', man?
Look, tell you what...
You go on home.
I'll talk to you when I get back.
- You sure you're gonna be OK?
- Ah, get outta here.
Did that chick I left with last night
ever come back in here?
What happened? You get a hold
of something you couldn't handle?
Nah, she just ditched out on me, I guess.
We were, uh, messin' around
out there at Morningside.
- At the funeral parlour?
- Mm.
The cemetery.
Jody, is that you?
You hit my fuckin' foot, man!
You won't believe this, but these things
were here and they were gonna get me!

Page 5/12
Ah, gimme a break, will you?
They were jumping on the car,
making these weird sounds.
Sure it wasn't that retarded kid, Timmy?
No, it was the same thing
that chased me last night!
Well, what are we gonna do?
You're crazy, man.
Huh.
Um...
Oh, shit!
I gotta talk to you.
- And it's in that box?
- Yep.
OK, I believe you.
Jesus!
What's goin' on up there?
Well, there's somethin' I didn't tell you.
I was spying on Tommy's funeral
from the groves.
After everybody left, that tall man
picked up Tommy's coffin all by himself,
- put it in the hearse, and drove off.
- You're crazy.
I helped carry that sucker myself,
it must have weighed over 500 pounds.
I can't figure this thing out.
But I do know one thing.
Something weird is going on up there.
We're going for the sheriff.
Go get your... evidence.
All right!
That's funny.
Jody! Jody!
The garbage disposal. Come on.
You ready? Go!
Would you look at that.
Hi, guys.
Thought I'd come and see what was goin'
on before the kids got outta summer school.
Mike, you wanna ride along with me today?
It's pretty warm outside
and the ice cream'll be flyin' fast and furious.
Remember how good you were

Page 6/12
at crowd control last time...
Hey, what's goin' on here?
Ah!
Ah!
What the hell is goin' on?
Here, you keep that.
Now remember, you don't aim a gun
at a man unless you intend to shoot him,
and you don't shoot a man
unless you intend to kill him.
No warning shots.
Hey, you listenin' to me?
- Yeah.
- No warning shots.
Warning shots are bullshit.
You shoot to kill, or you don't shoot at all.
Now, you'll be safe here.
Just lock all the doors and windows.
And don't follow me.
You sure you're gonna be OK with that?
I'm just gonna go up there and take
a look around. Nobody's gonna see me.
But heck, a Colt army issue
will put a man down, and keep him there.
Remember that broken basement window
around by the side... and be careful.
Ah!
All right, who's in there?
Mike?
- Mike.
- Damn door latch! Get in.
- Uh-oh, here it comes!
- There's nobody drivin' that mother!
Pump's in the back seat.
OK, slow down
and let him ride right up on our ass.
There was nobody...
there was nobody driving!
I'm gonna get that bastard!
Oh, Jesus!
All right, speed up.
I'm gonna put a few in the engine.
OK.
Holy shit!

Page 7/12
Woo-hoo-hoo-hoo!
It's one of those dwarfs.
He went right through it!
Tommy!
Reggie...
we got one of 'em.
Uh, in Colton, in the groves.
All right. Uh, Reg?
Bring your truck.
Jesus!
You didn't tell me the dwarf was Tommy.
Hell, we buried him on Monday
and look what they did to him.
He's only three feet long,
he must still weigh 200 pounds.
What's all this yellow shit
comin' out of his head?
Careful, get him in there.
- Better padlock it.
- Yeah.
Hey, this guy's not gonna leak
all over my ice cream, is he?
Nah. I'll see you back at the house.
Right.
Hey, you boys back again?
Jesus Christ, Myrtle,
you almost gave me a coronary!
But I just can't figure out why.
Why they're taking these bodies
and crushing 'em down to half size.
Crushing 'em!
What about Mom and Dad?
They're up there too.
Hey, just forget about that.
OK... I see it, I see it all now.
What we gotta do is snag that tall dude
and stomp the shit out of him,
and we'll find out what the hell
is goin' on up there.
We'll lay that sucker flat and drive
a stake right through his goddamn heart!
You gotta be shittin' me, man,
that mother's strong!
Hey, hold on.

Page 8/12
First thing is, I want Mike outta here.
Reg, you take him over to Sally's,
the antique store.
He'll be safe there. Then hustle on back.
And Mike, no arguments.
Jody sure sounded strange on the phone.
I hope he's feeling OK.
Sally, did you see these new settings?
Oh, these are nice.
You know, I think I'm gonna lock up.
Michael, when you get sleepy,
I've got a bed made up for you in back.
You have to take me home.
- But why?
- No questions. You must take me home.
Aargh!
Oh, my God, pull over.
Stay in the car and don't get out.
I'll be right back.
Michael, wait a minute.
Is that Reggie's truck?
Let's get outta here, quick!
Michael, what is going on?
Just get me home.
What the hell's that?
Oh, shit!
Get outta here!
Don't open it!
No!
Oh!
Hey, man.
They got Sally and Susie.
What?
Up at Morningside. And Reggie too.
You better get on up to your room.
- I'm goin' with you!
- Nope.
I'm not letting you go by yourself.
Let me go, God damn it!
Son of a bitch,
you're not letting me go, are you?
You're never coming back,
you goddamn bastard!
Don't leave me alone!

Page 9/12
Open the damn door!
I've been waiting for you.
No.
Ah!
He has to be in there.
I'm sorry, Daddy... but we had to.
Oh, my God!
- Jody...
- Yeah?
Um, I opened up his...
Forget it.
C'mon.
There's this door down here...
and I'll bet there's something behind it.
Well, let's take a look, then.
Well, that's the door.
- Hey, man, I dunno...
- Hey!
Hi, guys.
Reg... you ain't dead!
No, and I ain't three foot two yet either.
- What's goin' on?
- Hey, man, I don't know.
I've been hiding in a casket
playin' like a stiff, but I did find the giris.
I found Sally and Sue, and a couple
of other giris I never even saw before.
Were they dead?
No. I snuck 'em out a window and they took
off through the bushes like scared rabbits.
All right.
Well... after you, my friend.
You be my guest.
Gee!
Dwarfs!
God, Reggie, look at this!
Don't fear.
Aargh!
Jesus!
God... I just grabbed him there.
- Slaves.
- What?
Slaves!
They're using 'em for slaves!

Page 10/12
The dwarfs.
And they gotta crush 'em...
cos of the gravity... and the heat.
And this is the door to their planet.
Yeah!
And these guys are all ready to go.
Yeah.
OK, stay together.
Wait, I think I got a lighter.
Light it up.
Over here, follow me.
Jody, where are you?
Mike?
Aw, shit!
Mike!
Mike, where are you?
Mike!
Jody!
Jody, where are you?
Jody! Jody!
Jody!
Jody, where are you?
Mike! Mike!
Mike, Mike, c'mon, we gotta find Reggie.
Where's Reggie? We gotta find him.
- It's Reggie! We...
- No!
- C'mon, we gotta help him!
- No, you can't help him, he's dead!
There's a...
there's an old mine shaft, way down
by... by the end of Singer's Creek.
A thousand feet straight down.
We just gotta... gotta figure out a way
to get him up there.
What are we gonna do without Reggie?
Reggie's the last he'll ever get...
cos we're gonna run that tall bastard
straight down to hell.
Look, you go in
and try and find some more ammo.
I'm gonna get rid of that warning barrier
around the mine shaft and camouflage it.
OK, lock up the house good,

Page 11/12
and stay in there. I'll be right back.
Ah!
Boy!
You play a good game, boy,
but the game is finished.
Now you die!
Don't fear.
Don't fear.
Oh!
Don't fear.
Ah!
I hear the sounds.
I know those rocks aren't gonna hold him.
Not for long.
Hey, you had a dream. Just a nightmare.
What do you expect? You've
hardly slept since the funeral last week.
I know those rocks aren't gonna hold him.
First he took Mom and Dad...
then he took Jody...
now he's after me.
Mike, that tall man of yours
did not take Jody away.
Jody died in a car wreck.
Mike... you had a bad dream.
Now, I know you're scared...
but you're not alone.
I'll take care of you.
I know I can't ever take Jody's place...
but I'm sure as hell gonna try.
Seems so real.
You know, partner,
what we need is a change of scenery.
Why don't you and me hit the road
for a couple of weeks?
Where will we go?
Well, I don't know. I guess we can
figure that one out when we get there.
OK.
Well, get on upstairs,
get your gear together,
cos we leave when the sun comes up.
Boy!
Aargh!

Page 12/12

Common questions

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Phantasm portrays the relationship between fear and courage through its characters Jody and Michael. Jody, as the older brother, embodies courage, often acting as a protector and showing bravery by facing the eeriness of the cemetery. Michael, although initially driven by fear, shows growth by confronting terrifying situations head-on, such as when he insists on investigating the strange occurrences despite his fear. Their dynamic illustrates that courage in the film is not the absence of fear but the persistence in facing it, which becomes pivotal as they confront the supernatural and attempt to unravel the mysterious phenomena threatening them .

The 'Tall Man' serves as a potent symbol of death and the unknown in Phantasm. His imposing presence and supernatural abilities embody an omnipresent threat that disrupts the natural order. The character's interactions highlight themes of inevitability and the fear of what lies beyond death. By representing an unstoppable force capable of manipulating reality, the 'Tall Man' enhances the film's exploration of dreams versus reality, mortality, and the fear of losing agency. This archetype increases the narrative's tension and mystique, reinforcing the horror elements by personifying the intangible and existential fears faced by the characters .

The funeral scene in Phantasm establishes the film's eerie tone and introduces key themes of fear and death. It marks the transition from normal life to the supernatural events that follow. By deciding not to let the younger brother attend the funeral due to past trauma, it signifies the protective instincts of the older brother and sets up the younger brother's ensuing curiosity and involvement in the mysterious occurrences. This scene anchors the narrative in themes of grief and loss, foreshadowing the supernatural horrors connected to the cemetery and the Tall Man .

In Phantasm, the transformation of characters into dwarfs carries significant metaphorical implications. This process reflects the ultimate loss of identity and autonomy, reducing individuals to grotesquely shrunken slaves. It symbolizes the dehumanization inherent in succumbing to fear and evil forces. The reduction in size due to gravity and heat underscores the oppressive nature of these forces, acting as a physical manifestation of psychological entropy. This transformation suggests a broader commentary on how unchecked fear and manipulation can strip away one's humanity, resonating with the film's themes of powerlessness and the struggle against a formidable, enigmatic enemy .

Reginald's character serves as a stabilizing force among the central characters, providing both comic relief and grounded pragmatism amidst the unfolding chaos. His interactions with Jody and Michael introduce a sense of camaraderie and loyalty, enriching the narrative's emotional depth. Reginald's practical approach and willingness to face dangers alongside the brothers promote a theme of unity and resilience, pivotal in their collective struggle against the supernatural. His perspective offers a contrast to the more intense experiences of Jody and Michael, highlighting themes of friendship and the enduring human spirit .

In Phantasm, family is central to illustrating themes of loss and survival. The storyline focuses on Michael and Jody, whose relationship is strained yet deeply bonded by the tragedies they face. Following the deaths of their parents, Jody steps into a protective role for Michael, underscoring their commitment to each other amidst adversity. This familial bond is a driving force in their quest for survival against supernatural threats. The brothers' interactions epitomize the struggle to maintain familial ties and personal identity in the face of overwhelming loss, conveying that familial love and loyalty can endure even in a fractured reality .

The dream-like sequence at the end of Phantasm plays a crucial role in shaping the film's resolution and its interpretation. The final scenes suggest that the events experienced by Michael may have been part of a dream or hallucination following his brother Jody's death in a car crash. This ambiguity challenges viewers to reconsider the reality of the narrative, leaving open the possibility that supernatural elements were imagined. The sequence impacts the film's interpretation by emphasizing themes of grief and the psychological effects of trauma, urging audiences to reflect on the power of the mind in shaping personal reality and blurring the lines between dreams and waking life .

The theme of fear is explored through Michael's interaction with his Grandmother, where she teaches him that fear is the true enemy. This is symbolically demonstrated when he puts his hand in a mysterious box that causes pain, yet it is revealed to be merely a psychological trick. The lesson here is that overcoming fear is crucial, as fear itself is debilitating and limits one's ability to react rationally. This moment foreshadows the psychological challenges Michael will face and underscores his need to confront—and not be overwhelmed by—fear .

Phantasm blurs the lines between reality and perception, challenging viewers to question the reliability of what is seen on-screen. This ambiguity underlies the entire film as Michael's experiences weave between dream-like sequences and real encounters. The use of fear-induced hallucinations and unclear transitions evokes a sense of paranoia, reflecting the characters' inability to discern truth from distortion. This thematic interplay impacts the viewer by creating a lingering sense of uncertainty, where the line between dreams and reality is deliberately obscured, deepening the psychological horror and compelling audiences to engage in deeper analysis of what is truly happening .

Morningside Cemetery serves as a crucial setting that enhances the horror elements of Phantasm. Its isolation and connection to death naturally evoke fear and suspense. The cemetery is not only a place of mourning but becomes a source of horror as bizarre and supernatural events unfold there. It is where Michael witnesses the Tall Man's unnatural strength, creating a visual and thematic bridge between the familiar world and the terrifying unknown. This setting amplifies the narrative's tension by grounding supernatural threats in a location traditionally associated with calm and respect, thereby subverting expectations .

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