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1.
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1 EXT. HOUSE - EVENING 1
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A big, old, three-story brick house in a small Chicago
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suburb.
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Three days before Christmas. There are lights and Christmas
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decorations on the house and the surrounding houses.
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2 INT. HOUSE - FOYER - NIGHT 2
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A uniformed POLICE OFFICER is standing here. Middle-aged.
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Paunchy. He's standing alone trying to catch the attention
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of passing adults and children who cross the foyer, go up
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and down the stairs and in and out of the house carrying
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clothing, luggage, toiletries and wrapped Christmas gifts.
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POLICE OFFICER
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Excuse me... May I ... ? Is your
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mother home?
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3 INT. MASTER BEDROOM - NIGHT 3
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KATE McCALLISTER is talking on the phone and packing a
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suitcase. She's handsome and energetic, in her early
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forties.
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Still dressed from work.
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KATE
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I don't want any calls. I'm not
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going to France so I can spend the
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holidays on the phone.
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KEVIN McCALLISTER enters. He's seven.
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KEVIN
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Mom? Uncle Frank won't let me watch
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the movie but the big kids can. Why
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can't I?
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KATE
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Kevin. I'm on the phone.
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KEVIN
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(insistent)
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It's not even an "R". He's just
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being a jerk.
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2.
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KATE
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(to the phone)
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Excuse me.
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(to Kevin)
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If Uncle Frank says, no. I say no.
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Kevin flops down on the bed.
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KATE
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Get off there.
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(to the phone)
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I'm sorry. Say that again.
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(to Kevin)
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Get out of herel
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KEVIN
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Hang up the phone and make me, why
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don't you?
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Her husband, PETER, comes out of the bathroom with his
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electric razor. He's 40, good-looking, easygoing.
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PETER
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Kate? Where's the voltage adaptor
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thing?
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KATE
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I didn't have time to pick one up.
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PETER
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How am I going to shave?
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KEVIN
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Dad. Nobody'll let me do anything.
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PETER
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I'll let you do something. Pick up
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your MicroMachines. Aunt Leslie
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stepped on one and almost fell
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down.
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KATE
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(covering the phone)
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And he was in the garage again.
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Playing with the glue gun.
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PETER
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What have I told you about that?
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KEVIN
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Did I b u m down the joint? I don't
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think so. I was making ornaments
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out of fish hooks.
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3.
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PETER
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My good fish hooks?!?
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KEVIN
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I can't make ornaments out of the
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old ones with the dried worm guts
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stuck on them.
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A woman, LESLIE McCALLISTER, comes into the room. She's in
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her late thirties she's a bit chunky, extreme in her dress
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and coiffure. She's Peter and Kate's sister-in-law.
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LESLIE
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There's a policeman downstairs.
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PETER
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What's he want?
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KEVIN
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Aunt Leslie? How come Uncle Frank
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won't..?
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LESLIE
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In a minute, Kevin.
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(to Peter)
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I have no idea.
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KEVIN
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I'm sick of everybody saying...
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(mocks her)
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... "in a minute."
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PETER
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Kevin! Out!
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(to Leslie)
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Do you have a voltage adaptor?
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LESLIE
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That's just what I was going to ask
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you.
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4 INT. FOYER - NIGHT 4
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The Police Officer is still waiting. TRACEY McCALLISTER
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crosses through the dining room into the foyer. She's 14.
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Very pretty. But dressed a little cheap.
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POLICE OFFICER
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Pardon me? Are your parents home?
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TRACEY
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4.
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Yeah. But they don't live here.
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She heads up the stairs as HEATHER McCALLISTER comes down
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the stairs. She's nineteen and a cousin. She's wearing a
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Northwestern University sweatshirt.
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HEATHER
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(to Tracey and Megan)
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Did you call for the pizzas?
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TRACEY
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Buzz did. My dad said an American
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hair dryer won't work in France. Is
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that true?
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HEATHER
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You need a voltage adaptor.
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TRACEY
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What's that?
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HEATHER
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Ask your mom.
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Tracey heads upstairs. The cop catches Heather's attention.
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POLICE OFFICER
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Excuse me. Are your parents here?
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HEATHER
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My parents live in Paris. Sorry.
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She exits into the dining room, as SONDRA McCALLISTER,
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enters the foyer. She's 11.
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SONDRA
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(to Heather)
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Bon jour.
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HEATHER
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Wrong. That's good day.
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POLICE OFFICER
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Hi. Are your parents home?
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SONDRA
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Yeah.
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POLICE OFFICER
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Do they live here?
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SONDRA
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No.
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5.
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5 EXT. HOUSE - NIGHT 5
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A LITTLE NERO'S PIZZA delivery car — a Red Ford Geo — with
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a cartoon rendering of a Roman holding a pizza and the
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slogan NO FIDDLIN' AROUND PIZZA IN THIRTY MINUTES OR LESS
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painted on the side and on the lighted roof sign whips into
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the driveway and skids to a stop.
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6 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 6
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Kevin and JEFF McCALLISTER come out of their bedroom.
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Jeff's Kevin's nine year-old brother. He's lugging a large
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canvas duffel bag. He's stocky and build, aggressive and
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confident.
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KEVIN
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I don't know how to pack a
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suitcase. I've never done it once
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in my whole life.
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JEFF
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Tough.
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KEVIN
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That's what Megan said.
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MEGAN McCALLISTER comes out of her room into the hall.
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She's 15, aloof, regal, vain, self-absorbed.
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MEGAN
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What did I say?
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JEFF
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You told Kevin, "tough".
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MEGAN
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The dope was whining about a
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suitcase. What am I supposed to do?
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Shake his hand and say,
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"Congratulations, you're an idiot"?
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KEVIN
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I'm not an idiot!
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MEGAN
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Oh really? You're completely
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helpless. Everybody has to do
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everything for you.
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JEFF
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She's right, Kev.
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6.
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Megan heads down the hall to the stairs and bounces down.
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KEVIN
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Excuse em, puke breath, I never
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packed a suitcase.
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LINNIE McCALLISTER, walks out of her room. She's twelve.
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Perfectly beautiful.
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LINNIE
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I hope you didn't just pack crap,
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Jeff.
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JEFF
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Shut-up, Linnie.
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KEVIN
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(to Linnie)
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Do you know what I should pack?
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JEFF
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Buzz told you, cheek-face, toilet
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paper and water.
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Jeff continues to the stairs. Kevin hangs back with Linnie.
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LINNIE
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What're you worried about? Mom's
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gonna pack your stuff anyway.
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You're what the French call les
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Incompetant.
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Linnie turns on her heels and goes into room.
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LINNIE
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P.S. You have to sleep on the hide-
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a-bed with Fuller and he still wets
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his bed.
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KEVIN
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What happened to my room?
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LINNIE
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Heather, Tracey, and Sondra took
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it.
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KEVIN
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This house is so full of people, it
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makes me sick! When I grow upand
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get married, I'm living alone!
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He stomps away. Linnie laughs.
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7.
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7 INT. HALLWAY-STAIRS / FOYER 7
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Jeff slings the duffel down the stairs.
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JEFF
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BOMBS AWAY!
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CLOSE-UP POLICE OFFICER
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He looks down at his feet and the bag that's just landed.
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He looks up.
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8 INT. BUZZ'S BEDROOM - MIGHT 8
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BUZZ McCALLISTER and ROD McCALLISTER are in Buzz's room.
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Buzz is packing his suitcase. He's stocky and muscular, a
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jock with a three-inch, waxed flattop. Rod is thin and
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lanky, dull and bookish. Rod is looking at Buzz's
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tarantula.
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ROD
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Who's gonna feed your spider while
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you're gone?
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BUZZ
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He just ate a shitload of mice
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guts. He's good for a couple weeks.
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(pause)
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Is it true that French babes don't
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shave their pits?
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ROD
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Some don't.
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BUZZ
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And they got nude beaches?
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ROD
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Not in the winter.
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Kevin opens the door and walks in.
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KEVIN
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Buzz?
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Buzz turns angrily to him
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BUZZ
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Don't you know how to knock, dick
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rash?
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KEVIN
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8.
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Can I sleep in your room? I don't
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wanna sleep in the family room.
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BUZZ
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I wouldn't let you sleep in my room
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if you were growing on my ass.
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Buzz notices something out the window. He moves to the
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window and points it out to Rod.
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BUZZ
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Check it out. Old man Marley.
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CLOSE-UP KEVIN
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The mention of Marley's name gives Kevin pause.
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ROOM WINDOW
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Buzz and Rod peer through the window.
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BUZZ'S POV - MARLEY - NIGHT
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A grizzled old fellow with a mangy Howard Hughes white hair
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and beard, shuffles out to his mailbox in a bathrobe and
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boots.
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He gets his mail, hurriedly running back into the house.
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BACK TO SCENE - NIGHT
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ROD
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Who's he?
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BUZZ
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Ever heard of the South Bend Shovel
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Slayer?
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ROD
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No ...
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BUZZ
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That's him. Back in '58, murdered
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his whole family and half the
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people on his block with a snow
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shovel. Been hiding out in our
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neighborhood ever since.
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ROD
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If he's the slayer... How come the
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cops don't arrest him?
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9.
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BUZZ
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They got no proof. But everybody
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around here knows he did it. That's
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why he only comes out once a day.
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To get his mail. His groceries and
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everything else gets delivered. He
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lives by himself. Never says a word
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to anybody.
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ROD
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Wow...
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BUZZ
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I keep watchin' that show...
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"America's Most Wanted." I know
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he's gonna be on it someday. Then
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I'm gonna call that 900 number.
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Turn his ass into the authorities.
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Make a trillion dollars.
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He turns to Kevin and stalks him to the door
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BUZZ
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(mean)
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And if you don't get outta my
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room... I'm gonna tie you to his
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front porch and ring the doorbell
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until he comes out.
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Kevin backs out of the room, scared. Buzz slams the door in
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his face. He turns to Rod with a grin.
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BUZZ
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The microveenie has the balls of a
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butterfly.
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9 INT. FOYER - NIGHT 9
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The PIZZA BOY nervously offers his stack of pizza boxes to
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the Police Officer.
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PIZZA BOY
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(to the Officer)
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$122.50. Sir.
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POLICE OFFICER
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I don't live here.
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PIZZA BOY
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Just here for the holidays?
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10.
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10 INT. HALLWAY - NIGHT 10
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FRANK McCALLISTER comes out of the bathroom with a Michel
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in Guide under his arm. He's Peter's brother. A bit
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younger, bulky and balding in department store casual
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clothes. Kevin comes out of Buzz's room. Frank gives him an
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affectionate, if a bit too hard, pat on the head with his
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Michelin Guide.
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FRANK
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Parlez vous Francais yet, squirt?
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Kevin gives him a chilly look.
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KEVIN
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My name's Kevin.
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FRANK
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Yeah? You know what they're gonna
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call you in France don't you?
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KEVIN
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What?
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Frank reaches around behind him, grabs the waist of his
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pants and gives him a sharp pull.
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FRANK
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YANK!
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He snorts and continues down the hall. Kevin glowers at
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him.
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11 INT. FOYER - NIGHT 11
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CLOSE-UP POLICE OFFICER AND PIZZA BOY
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They're staring down.
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THEIR POV
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FULLER and BROOKE McCALLISTER are staring back up at them.
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Fuller is five and wearing glasses. Brooke is eight and
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she's wearing glasses.
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The Pizza Boy leans over to Brooke and Fuller.
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PIZZA BOY
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You dinks are my witnesses. I was
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here in 30 minutes or less.
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11.
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Frank comes down the stairs.
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FRANK
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Pizza's here!
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He takes the pizzas from the Boy.
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PIZZA BOY
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$122.50.
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FRANK
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My brother'll get it. This is his
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house.
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He exits with the pizzas. A stream of kids run down the
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stairs and cross into the dining room to the kitchen. Aunt
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Leslie follows.
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POLICE OFFICER
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Are you Mrs. McCallister?
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AUNT LESLIE
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Yes. But I'm not the Mrs.
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McCallister that lives here.
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She exits into the dining room.
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AUNT LESLIE
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(calls)
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Use paper plates, Frank! And don't
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give Fuller any Coke!
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Peter comes down. The cop points.
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POLICE OFFICER
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Are you the Hr. McCallister who
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lives here?
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PETER
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Yes.
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PIZZA BOY
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Good. 'Cause somebody owes me
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$122.50.
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POLICE OFFICER
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I need a word with you, sir.
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PETER
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My wife's coming right down. She'll
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take care of both of you. Excuse
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me.
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12.
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Peter exits. The cop and the Boy exchange confused looks.
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12 INT. KITCHEN - NIGHT 12
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It's a pizza orgy. The boxes are spread across the counters
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and table. Everybody's talking at once, grabbing pizza,
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opening and closing the refrigerator, drawers, cupboards.
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AUNT LESLIE
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Take napkins and get your own
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drinks.
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FULLER
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What time do we have to go to bed?
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UNCLE FRANK
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Early. We're leaving the house at
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eight A.M. On the button.
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Kate comes down the back stairs into the kitchen.
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KATE
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Everybody have milk? I have to get
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rid of it.
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BROOKE
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Mom... Does Santa have to go
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through customs?
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PETER
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(to Kate)
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Honey? The pizza kid needs $122.50.
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KATE
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For pizza?
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Kate crosses to the counter, opens her purse, taking out an
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envelope of travel money.
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UNCLE FRANK
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Ten pizzas times twelve bucks
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AUNT LESLIE
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Frank? You have money, don't you?
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UNCLE FRANK
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Traveller's checks.
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KATE
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We have it.
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Kevin sifts through the pizza boxes.
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13.
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KEVIN
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(looking up)
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Did anybody order me plain cheese?
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Buzz, his mouth packed with pizza, looks at Kevin.
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BUZZ
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Yeah. But if you want any,
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somebody's gonna have to barf
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theirs up because it's gone.
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Kevin glares at Buzz, who smiles sadistically and begins to
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feign a barf. Kevin charges Buzz, knocking the loaded plate
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of pizza from his hands and ramming him into the counter,
|
|
knocking over a half-gallon carton of milk.
|
|
|
|
CLOSE-UP PASSPORTS
|
|
|
|
A stack of fifteen passports. Dosed with milk.
|
|
|
|
BACK TO SCENE
|
|
|
|
Kate grabs Kevin. Peter lunges from his seat, knocking the
|
|
table, spilling a glass of milk.
|
|
|
|
PETER
|
|
THE PASSPORTS1
|
|
|
|
Frank shoves his chair back to avoid the river of milk
|
|
heading his way.
|
|
|
|
FRANK
|
|
LOOK OUT!
|
|
|
|
He pins Fuller between the wall and the back of his chair.
|
|
|
|
FULLER
|
|
DAD!
|
|
|
|
AUNT LESLIE
|
|
(noticing Fuller)
|
|
FRANK!
|
|
|
|
FRANK
|
|
GET A NAPKIN!
|
|
|
|
Kate pulls Kevin off Buzz. Peter rescues the passports and
|
|
tickets.
|
|
|
|
KATE
|
|
What's the natter with you?
|
|
14.
|
|
|
|
|
|
She gives him a violent shake.
|
|
|
|
KEVIN
|
|
HE STARTED IT! HE ATE MY PIZZA ON
|
|
PURPOSE. HE KNOWS I HATE SAUSAGE
|
|
AND OLIVES AND ONIONS AND...
|
|
|
|
KATE
|
|
You get upstairs! Right this
|
|
Instant!
|
|
|
|
KEVIN
|
|
Why?!?
|
|
|
|
TRACEY
|
|
Kevin. You're such a disease.
|
|
|
|
KEVIN
|
|
Shut up.
|
|
|
|
PETER
|
|
Get upstairs!
|
|
|
|
KATE
|
|
Say good night, Kevin.
|
|
|
|
Kate yanks him out of the kitchen. Peter holds the drenched
|
|
passports and tickets over the sink.
|
|
|
|
|
|
13 INT. FOYER - NIGHT 13
|
|
|
|
The cop and the Pizza Boy are still waiting. They look to
|
|
the dining room as Kate drags a struggling Kevin through.
|
|
|
|
KEVIN
|
|
Why do I always get treated like
|
|
scum!?
|
|
|
|
POLICE OFFICER
|
|
Ma'am?
|
|
|
|
She hands the Pizza Boy his money
|
|
|
|
KATE
|
|
(to the cop as she pays
|
|
the boy)
|
|
15.
|
|
|
|
|
|
I'm sorry. We're going out of town
|
|
tomorrow and it's just crazy around
|
|
here. My husband's brother
|
|
transferred to Paris during the
|
|
summer and his daughter goes to
|
|
college here and his son is
|
|
finishing high school and staying
|
|
with my brother-in-law.
|
|
|
|
Kate gives the last of the cash to the Pizza Boy.
|
|
|
|
PIZZA BOY
|
|
Nice tip. Thank you. Have a very
|
|
Merry.
|
|
|
|
KATE
|
|
You, too.
|
|
|
|
He exits. Kate continues explaining to the cop.
|
|
|
|
KATE
|
|
So... as a Christmas present ... My
|
|
husband's brother gave us all a
|
|
trip to Paris ... So we can all be
|
|
together for the holidays. My
|
|
brother-in-law drove in from Ohio
|
|
today... we all leave for Paris in
|
|
the morning. We have a house full
|
|
of people here and...
|
|
(referring to Kevin)
|
|
... this one's a little out of
|
|
sorts. Give me a minute and I'll be
|
|
right with you.
|
|
|
|
POLICE OFFICER
|
|
Fine.
|
|
|
|
She marches Kevin up the stairs.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He looks back at the police officer.
|
|
|
|
KEVIN'S POV - NIGHT
|
|
|
|
Moving away from the Police Officer, who smiles and winks.
|
|
|
|
The cop's upper right incisor is gold.
|
|
|
|
|
|
14 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 14
|
|
16.
|
|
|
|
|
|
Kate and Kevin round the landing and come up into the
|
|
hallway.
|
|
|
|
KATE
|
|
There are fifteen people in this
|
|
house. And you're the only one who
|
|
has to make trouble.
|
|
|
|
KEVIN
|
|
I'm the only one getting dumped on.
|
|
|
|
KATE
|
|
You're the only one acting up. Now
|
|
get upstairs.
|
|
|
|
KEVIN
|
|
I am upstairs, dummy.
|
|
|
|
Kate resists the urge to belt him. She reaches up, pulls
|
|
open the door at the end of the hall. A stairwell to the
|
|
third floor.
|
|
|
|
KEVIN
|
|
The third floor?
|
|
|
|
Solemn, distant CHURCH BELLS TOLL. Kevin's tough, little
|
|
face droops. Third Floor" is parent for "Hell." Kate knows
|
|
she has the upper hand.
|
|
|
|
KATE
|
|
Go.
|
|
|
|
KEVIN
|
|
It's scary up there.
|
|
|
|
KATE
|
|
You should have thought about that
|
|
before you lost your temper.
|
|
|
|
KEVIN
|
|
I'm sorry.
|
|
|
|
KATE
|
|
It's too late. Go.
|
|
|
|
Kevin realizes the softer approach won't work.
|
|
|
|
KEVIN
|
|
Everybody in this family hates me!
|
|
|
|
KATE
|
|
Then maybe you should ask Santa
|
|
Claus for a new family.
|
|
17.
|
|
|
|
|
|
He steps onto the first stair.
|
|
|
|
KEVIN
|
|
I don't want a new family! I don't
|
|
want any family! Families suck!
|
|
|
|
KATE
|
|
You stay up there. I don't want to
|
|
see you for the rest of the night!
|
|
|
|
KEVIN
|
|
I don't want to ever see you again
|
|
for the rest of my whole life and I
|
|
don't want to see anybody else
|
|
either!
|
|
|
|
KATE
|
|
(after a pause)
|
|
I hope you don't mean that. You'd
|
|
feel pretty sad if you woke up
|
|
tomorrow and we were all gone.
|
|
|
|
Kevin has shocked himself. But he doesn't give in. As much
|
|
to save face as to continue the battle.
|
|
|
|
KEVIN
|
|
No, I wouldn't.
|
|
|
|
A long, hurt stare is on Kate's face.
|
|
|
|
KATE
|
|
Say it again, then. Maybe it'll
|
|
happen.
|
|
|
|
She closes the door.
|
|
|
|
|
|
15 INT. STAIRWELL - NIGHT 15
|
|
|
|
Kevin's furious that Kate closed the door on him. That he
|
|
lost.
|
|
|
|
KEVIN
|
|
I hope I never see any of you jerks
|
|
again!
|
|
|
|
Hearing himself, he realizes how wicked and horrible it
|
|
sounds.
|
|
|
|
He feels immediate remorse.
|
|
|
|
|
|
16 INT. UPSTAIRS HALLWAY/FOYER - NIGHT 16
|
|
18.
|
|
|
|
|
|
Kate is hurt, but dismisses it as temper. She turns and
|
|
heads down the stairs. She slows and stops as she looks
|
|
down into the Foyer.
|
|
|
|
HER POV
|
|
|
|
The Police Officer is gone.
|
|
|
|
CLOSE-UP KATE
|
|
|
|
A Curious look. Why did he leave? She shrugs it off and
|
|
continues down.
|
|
|
|
|
|
17 INT. STAIRWELL - NIGHT - THIRD FLOOR - CLOSEUP - KEVIN 17
|
|
|
|
He slowly walks up the stairs. He's worried and frightened.
|
|
|
|
Has he gone too far?
|
|
|
|
|
|
18 EXT. HOUSE - NIGHT 18
|
|
|
|
The lights are out. A strong wind is blowing. Trees sway.
|
|
|
|
Christmas decorations blow over. A plastic Santa tumbles
|
|
across the lawn. A large limb snaps. It falls across the
|
|
power and phone lines, bringing them down in a shower of
|
|
sparks.
|
|
|
|
CLOSEUP - ALARM CLOCK - NIGHT
|
|
|
|
In Peter and Kate's room. The digital light goes out.
|
|
|
|
|
|
19 EXT. HOUSE - MORNING 19
|
|
|
|
Two blue and yellow airport minivans are parked in the
|
|
driveway. Two uniformed drivers are on the porch. One is
|
|
hammering on the door.. The other steps back from the
|
|
house, trying to see if there is anyone inside.
|
|
|
|
A Power Company truck is parked in the street. A LINEMAN
|
|
isrepairing the wire.
|
|
|
|
|
|
20 INT. MCCALLISTER HOUSE - MASTER BEDROOM - MORNING 20
|
|
19.
|
|
|
|
|
|
Peter and Kate are still sleeping. We hear the DOORBELL and
|
|
the POUNDING. Kate stirs. Confused. She sits up, looks at
|
|
the clock. It takes a moment for her to realize that it's
|
|
not working. She quickly looks at her wristwatch on the
|
|
night stand and seeing the real time, Kate panics.
|
|
|
|
KATE
|
|
Peter!
|
|
|
|
|
|
21 INT. HOUSE - FOYER - MORNING 21
|
|
|
|
Parents and kids clamor down the stairs.
|
|
|
|
KATE
|
|
Where're the passports?
|
|
|
|
PETER
|
|
You have 'em!
|
|
|
|
AUNT LESLIE
|
|
I have 'em.
|
|
|
|
KATE
|
|
Ours!
|
|
|
|
FRANK
|
|
You know what they're gonna call
|
|
you in France, Pete?
|
|
|
|
|
|
22 EXT. HOUSE - MORNING 22
|
|
|
|
The two drivers, who load a suitcase and duffel bags into
|
|
the two minivans. A neighbor BOY is watching them. He's
|
|
Kevin's age.
|
|
|
|
BOY
|
|
You guys going out of town?
|
|
|
|
|
|
23 INT. FOYER - MORNING 23
|
|
|
|
Kate and Peter, Aunt Leslie and Uncle Frank, are making a
|
|
last minute check of money and passports and tickets.
|
|
Peter's adjusting his trousers.
|
|
|
|
KATE
|
|
Peter, you have the tickets.
|
|
|
|
PETER
|
|
Yes
|
|
20.
|
|
|
|
|
|
KATE
|
|
Count 'em.
|
|
|
|
Peter counts.
|
|
|
|
AUNT LESLIE
|
|
Frank? You have the money?
|
|
|
|
UNCLE FRANK
|
|
Son of a bitch.
|
|
|
|
AUNT LESLIE
|
|
You left it upstairs?
|
|
|
|
UNCLE FRANK
|
|
No. I'm wearing a dirty shirt
|
|
|
|
|
|
24 EXT. HOUSE - HORNING 24
|
|
|
|
Heather wearily goes through her head count including the
|
|
neighbor Boy who is turned away, looking into the van.
|
|
|
|
HEATHER
|
|
Six... Seven... Eight ...
|
|
|
|
BUZZ
|
|
(loudly, to throw her
|
|
off)
|
|
Ninety-three ... Six hundred...
|
|
Elevendy-trillion ...
|
|
|
|
HEATHER
|
|
Nine. Buzz. Don't be a moron.
|
|
Ten...Eleven.
|
|
(to the kids)
|
|
Get in! Half in here, half in the
|
|
front one.
|
|
|
|
She shuffles to the van pulled first into the drive and
|
|
gets in. The older girls follow her. The boys and the
|
|
little girls get into the other van. The kids are tired and
|
|
groggy.
|
|
|
|
CLOSE-UP NEIGHBOR BOY
|
|
|
|
He wishes the kids a good trip.
|
|
|
|
BOY
|
|
Have a good trip. Bring me
|
|
something French.
|
|
21.
|
|
|
|
|
|
25 EXT. FRONT PORCH - MORNING 25
|
|
|
|
The parents come out. Peter locks the door. Leslie and Kate
|
|
hurry to the first van. Frank hangs back with Peter.
|
|
|
|
UNCLE FRANK
|
|
No way on earth we're gonna make
|
|
that plane. It leaves in forty five
|
|
minutes.
|
|
|
|
PETER
|
|
Think positive.
|
|
|
|
UNCLE FRANK
|
|
You be positive. I'll be realistic.
|
|
|
|
They move toward the vans.
|
|
|
|
|
|
26 EXT. PORCH - MORNING 26
|
|
|
|
The electric company LINEMAN approaches them.
|
|
|
|
LINEMAN
|
|
Power's fixed. Phone lines were
|
|
tore up real bad, though... It's
|
|
gonna take Ma Bell a couple days to
|
|
make a house call... 'specially
|
|
around the holidays
|
|
|
|
KATE
|
|
(not listening, passes'
|
|
by)
|
|
Excuse me. I've got to catch a
|
|
plane.
|
|
|
|
The Lineman shrugs. Kate and Leslie hurry to the first van.
|
|
|
|
Peter and Uncle Frank get inside the other van.
|
|
|
|
|
|
27 INT. VAN - MORNING 27
|
|
|
|
Kate turns to Heather, her head against the window and eyes
|
|
closed.
|
|
|
|
KATE
|
|
Heather? You counted heads?
|
|
|
|
HEATHER
|
|
22.
|
|
|
|
|
|
Eleven. Including me. Five boys.
|
|
Six girls. Four parents. Two
|
|
drivers and a partridge in a pear
|
|
tree.
|
|
|
|
|
|
28 EXT. HOUSE - STREET - MORNING 28
|
|
|
|
The two vans zip out of the drive and speed off down the
|
|
street.
|
|
|
|
|
|
29 INT. O'HARE AIRPORT - CONCOURSE - MORNING 29
|
|
|
|
The two frenzied families run down the corridor.
|
|
|
|
|
|
30 INT. DEPARTURE AREA - MORNING 30
|
|
|
|
The Air France flight has boarded. A COUNTER PERSON exits
|
|
the ramp, and secures the door. The McCallister horde
|
|
thunders into the departure area.
|
|
|
|
KATE
|
|
Did the plane leave?
|
|
|
|
The Counter Person glances around the board to the windows
|
|
and sees the plane is still in place.
|
|
|
|
COUNTER PERSON
|
|
No. You just made it.
|
|
|
|
She hurriedly takes all of the tickets, counting them
|
|
quickly.
|
|
|
|
COUNTER PERSON
|
|
Four in First class. Eleven in
|
|
coach.
|
|
|
|
KATE
|
|
Right.
|
|
|
|
COUNTER PERSON
|
|
(as she hands the tickets
|
|
back)
|
|
Single seats only in coach. Take
|
|
whatever's free.
|
|
|
|
The family storm into the tunnel as a group.
|
|
|
|
|
|
31 INT. PLANE - FIRST CLASS - MORNING 31
|
|
23.
|
|
|
|
|
|
Kate and Peter move to their section. The kids hurry
|
|
through the curtain, to the back of the plane.
|
|
|
|
PETER
|
|
We made it
|
|
|
|
KATE
|
|
I hope we didn't forget anything
|
|
|
|
|
|
32 INT. HOUSE - UPSTAIRS HALLWAY - THIRD FLOOR DOOR-MORNING 32
|
|
|
|
It's closed. A long beat. The door opens. Kevin pokes his
|
|
head out.
|
|
|
|
|
|
33 EXT. AIRPORT - MORNING 33
|
|
|
|
An Air France 747 takes off. In a thundering ROAR.
|
|
|
|
|
|
34 INT. HALLWAY - MORNING 34
|
|
|
|
O.S. a TOILET FLUSHES. Kevin exits the bathroom, heads down
|
|
the hall, to stairs. He's yawning, scratching his rump.
|
|
|
|
|
|
35 INT. FOYER - MORNING 35
|
|
|
|
Kevin comes down the stairs. Still unaware that he's alone
|
|
|
|
|
|
36 INT. KITCHEN - MORNING 36
|
|
|
|
Kevin walks in, turns ON the TV and sits down at the
|
|
kitchen table. He waits for his breakfast to be served.
|
|
|
|
Kevin sits hunched over, chin resting on his hands, his
|
|
eyelids slung low, his hair twisted and twirled from sleep.
|
|
He sits for a long beat before looking to the side.
|
|
|
|
KEVIN'S POV - MORNING
|
|
|
|
Sink. Stove. Counter. No people.
|
|
|
|
Something is starting to bother Kevin. He slowly sits up.
|
|
|
|
He turns, looking around behind him.
|
|
|
|
KEVIN'S POV - MORNING
|
|
|
|
The dining room table and chairs. But no people.
|
|
24.
|
|
|
|
|
|
Kevin turns back. He slides off the chair and walks to the
|
|
TV. He turns it OFF and listens.
|
|
|
|
KEVIN
|
|
Mom?
|
|
|
|
|
|
37 INT. 747 FIRST CLASS - MORNING 37
|
|
|
|
Kate and Peter are having breakfast. Frank and Leslie are
|
|
across the aisel from them.
|
|
|
|
PETER
|
|
Do you feel like a heel flying
|
|
First Class while the kids fly
|
|
coach?
|
|
|
|
UNCLE FRANK
|
|
When I was a kid we didn't even fly
|
|
coach. We flew station wagon. And
|
|
it wasn't to France. They're fine.
|
|
|
|
KATE
|
|
Do you know how strange it's going
|
|
to be to come home from a vacation
|
|
to a house where the beds haven't
|
|
been made?
|
|
|
|
|
|
38 INT. MASTER BEDROOM - MORNING 38
|
|
|
|
The bed is unmade. Kevin enters the room.
|
|
|
|
KEVIN
|
|
Dad?
|
|
|
|
He walks toward the master bath. Kevin peeks into the
|
|
shower, looks into the linen closet.
|
|
|
|
KEVIN
|
|
Where are you guys?!
|
|
|
|
|
|
39 INT. BUZZ'S ROOM - MORNING - CLOSEUP-TARANTULA AQUARIUM 39
|
|
|
|
THROUGH the glass, PAST the tarantula, we see Kevin step
|
|
into the room. Kevin scans the room.
|
|
|
|
KEVIN
|
|
Buzz?
|
|
|
|
HIS POV
|
|
25.
|
|
|
|
|
|
Buzz's messy room is dominated by sports and muscle heroes.
|
|
|
|
There is a row of sports figurines on one shelf.
|
|
|
|
|
|
40 INT.BASEMENT - MORNING 40
|
|
|
|
He opens the door and looks into the basement.
|
|
|
|
KEVIN
|
|
Is this a joke? Megan? Rod? Uncle
|
|
Frank? Uncle Frank? Is this a joke?
|
|
|
|
HIS POV
|
|
|
|
Moving from one side to the other, past the accumulated
|
|
rubbish * of a couple of generations. Boxes, old
|
|
furnishings, lamps, discarded toys, a huge, old boiler with
|
|
wrapped pipes that look like tentacles reaching into the
|
|
floor and the house above, a pair of naked store
|
|
manneouins, a work bench loaded with old tools, jars of
|
|
nails and paint cans and finally, a collection of a dozen,
|
|
old, tattered, marionettes hanging from the rafters by
|
|
their strings. It's an altogether unsettling place for a
|
|
lonely, young boy.
|
|
|
|
CLOSEUP KEVIN
|
|
|
|
He gulps at the mass of potentially scary material.
|
|
|
|
|
|
41 INT. HOUSE - BASEMENT STAIRS - MORNING 41
|
|
|
|
Kevin charges up the stairs as fast as he can go and slams
|
|
the door.
|
|
|
|
|
|
42 EXT. HOUSE - PORCH - MORNING 42
|
|
|
|
Kevin unlocks the door and peeks out into the yard.
|
|
|
|
HIS POV
|
|
|
|
The garage door is open. A Ford wagon and a Ford Taurus are
|
|
parked in the garage.
|
|
|
|
CLOSSEUP KEVIN
|
|
|
|
A look of deep concern.
|
|
|
|
KEVIN
|
|
26.
|
|
|
|
|
|
The cars are still here. They
|
|
didn't go to the airport!
|
|
(worried)
|
|
Oh, no. What did I do?
|
|
|
|
He goes back inside.
|
|
|
|
|
|
43 INT. KITCHEN - MORNING 43
|
|
|
|
Kevin leans on the counter to sort things out in his mind.
|
|
|
|
Something occurs to him. He slowly looks down at the
|
|
counter and recoils. The coffee maker is still "on." A full
|
|
pot.
|
|
|
|
Kevin is in horror as he comes to a chilling conclusion.
|
|
|
|
KEVIN
|
|
I made my family disappear!
|
|
|
|
|
|
44 EXT. SKY - DAY 44
|
|
|
|
The Air France 747 drifts AWAY FROM CAMERA.
|
|
|
|
|
|
45 EXT. STREET - DAY 45
|
|
|
|
A dirty, salt-stained Ford van drives slowly down the
|
|
street.
|
|
|
|
Painted on the side of the van is — "OH-KAY HEATING AND
|
|
PLUMBING."
|
|
|
|
|
|
46 INT. VAN - DAY 46
|
|
|
|
Two men in the van. The one driving we recognize as the
|
|
police officer from the night before. He's no longer in
|
|
uniform.
|
|
|
|
His name is HARRY LYME. His partner, MARVIN MURCHENS, sits
|
|
beside Harry. Marvin is in his late thirties. A police
|
|
blotter perfect crook. Thin. Bad skin. Heavy brow. Circles
|
|
under his deep set eyes. Tattoos on the back of his hands.
|
|
|
|
These two are obvious burglars.
|
|
|
|
HARRY
|
|
Five families gone on one block
|
|
alone. And they told me from their
|
|
own mouths.
|
|
27.
|
|
|
|
|
|
MARV
|
|
It's almost too easy.
|
|
|
|
HARRY
|
|
Remember the old days, Marv? When
|
|
everybody stayed home for the
|
|
Holidays?
|
|
|
|
MARV
|
|
Now it's off to Hawaii. Aspen.
|
|
Paris. Whatever happened to just
|
|
sittin' around the fireplace with
|
|
your family...? Roastin' chestnuts
|
|
...? Singin' Christmas Carols?
|
|
|
|
HARRY
|
|
People have become too cynical. Too
|
|
jaded. Just another sign of ongoin'
|
|
moral decay of contemporary
|
|
society.
|
|
|
|
MARV
|
|
Yeah.
|
|
(long pause)
|
|
So which house you wanna' hit
|
|
first?
|
|
|
|
|
|
47 INT. MCCALLISTER HOUSE - FOYER - DAY 47
|
|
|
|
Kevin yells at the top of his voice.
|
|
|
|
KEVIN
|
|
Somebody? Anybody? I'm starving!
|
|
|
|
|
|
48 EXT. STREET - DAY 48
|
|
|
|
Harry and Marv's van pulls deep into the neighbor driveway.
|
|
|
|
CAMERA SWINGS BACK to reveal the McCallister house a few
|
|
doors down.
|
|
|
|
|
|
49 INT. KITCHEN - DAY 49
|
|
|
|
Kevin's in the kitchen, standing before the open
|
|
refrigerator.
|
|
|
|
KEVIN
|
|
I don't remember the food groupsI
|
|
28.
|
|
|
|
|
|
50 INT. NEIGHBOR'SHOUSE- BASEMENT - DAY 50
|
|
|
|
A cellar door bursts open. Harry and Marv enter.
|
|
|
|
|
|
51 INT. FAMILY ROOM - DAY 51
|
|
|
|
CLOSE-UP TELEVSION SET
|
|
|
|
A McCallister family video is playing. The image is a hand
|
|
held shot of a Busch Garden's brochure. CAMERA ZOOMS BACK
|
|
to reveal that Megan is holding the brochure. She's wearing
|
|
a nightgown.
|
|
|
|
The drapes are drawn. Kevin is in his pajamas. We hear
|
|
PETER NARRATING.
|
|
|
|
PETER
|
|
We're here in our luxurious hotel
|
|
at Busch Gardens in Tampa Bay
|
|
Florida.
|
|
|
|
|
|
52 INT. KITCHEN - CLOSE-UP ICE CREAM CARTON - DAY 52
|
|
|
|
A half gallon container sits on the counter. Dripping. A
|
|
sticky, ice-cream-covered serving spoon rests on the
|
|
counter beside the container.
|
|
|
|
|
|
53 INT. FAMILY ROOM - DAY 53
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He's sitting inhis father's chair in the family room
|
|
watching the video tape. He's eating a huge bowl of ice
|
|
cream. Between bites, he dips Cheetos into the ice cream.
|
|
He's drinking a Pepsi. CLOSE-UP TELEVISION Kevin is now
|
|
standing next to Megan. He slips on an elephant mask with a
|
|
rubber trunk. Buzz steps INTO FRAME. He's in shorts with no
|
|
shirt.
|
|
|
|
PETER
|
|
Our first guest is Kevin the
|
|
elephant boy McCallister.
|
|
|
|
BUZZ
|
|
(stepping around behind
|
|
Kevin)
|
|
Hold on, Dad. Elephants don't
|
|
wear...
|
|
29.
|
|
|
|
|
|
Buzz slaps his hands to Kevin's hips and yanks down his
|
|
pajama bottoms.
|
|
|
|
BUZZ
|
|
PAJAMAS!
|
|
|
|
Kevin swings at him and catches Megan in the belly.
|
|
|
|
MEGAN
|
|
OOF! YOU LITTLE BASTARD!
|
|
|
|
PETER (O.S.)
|
|
CUT IT OUT!
|
|
|
|
The CAMERA swings down and goes off. It goes back on with
|
|
Kevin yelling and screaming to Peter.
|
|
|
|
KEVIN
|
|
THIS IS THE WORST VACATION OF MY
|
|
LIFE! HOW WOULD YOU LIKE TO HAVE
|
|
SOMEBODY PULL YOUR PANTS DOWN IN
|
|
FRONT OF FEMALE RELATIVES WITH BIG
|
|
MOUTHS? HUH?!
|
|
|
|
Kate rushes into FRAME and speaks to the CAMERA.
|
|
|
|
KATE
|
|
Buzz! Turn that damn thing off!
|
|
(to Kevin)
|
|
Get in the other room!
|
|
|
|
KEVIN
|
|
Buzz pants'd me!
|
|
|
|
KATE
|
|
I don't care what Buzz did, nobody
|
|
in this family hits anybody!
|
|
|
|
KEVIN
|
|
Why am I always the one who gets in
|
|
trouble? I should never have come
|
|
here with your stupid children.
|
|
|
|
KATE
|
|
Maybe you'd like to spend this
|
|
vacation by yourself?
|
|
|
|
KEVIN
|
|
Fine
|
|
|
|
KATE
|
|
We oughta just leave you and teach
|
|
you a lesson.
|
|
30.
|
|
|
|
|
|
(to CAMERA)
|
|
BUZZ! SHUT THAT THING OFF!
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He points the remote at the TV.
|
|
|
|
CLOSE-UP TV
|
|
|
|
The tape rewinds, stops and starts.
|
|
|
|
KEVIN
|
|
Fine.
|
|
|
|
KATE
|
|
We oughta just leave you and teach
|
|
you a lesson.
|
|
|
|
The FRAME FREEZES.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
A little grin sneaks across his lips.
|
|
|
|
CLOSEUP - KEVIN - DAY
|
|
|
|
He bounces IN and OUT OF FRAME
|
|
|
|
|
|
54 INT. MEGAN'S BEDROOM - DAY 54
|
|
|
|
Kevin's jumping on the bed as he eats microwave popcorn.
|
|
|
|
CLOSEUP - PLAYBOY MAGAZINE - DAY
|
|
|
|
A stack of Playboys.
|
|
|
|
|
|
55 INT. BUZZ'S BEDROOM - DAY 55
|
|
|
|
Kevin has gone through Buzz's room and discovered his
|
|
secret suitcase. He's looking through a Playboy. It's not
|
|
so great.
|
|
|
|
KEVIN
|
|
No clothes on anybody. Sickening.
|
|
|
|
He flips it aside, reaches into the trunk and comes up with
|
|
a package of firecrackers.
|
|
|
|
KEVIN
|
|
Cool.
|
|
31.
|
|
|
|
|
|
He reaches into it again and comes up with a handful of
|
|
candy.
|
|
|
|
KEVIN
|
|
I'll save this for later.
|
|
(yells)
|
|
Buzz? I'm going through all your
|
|
private stuff! You better come out
|
|
and pound me!
|
|
|
|
He pulls out a 4x6 school photo of a girl.
|
|
|
|
KEVIN
|
|
Buzz! Your girlfriend? Woof!
|
|
|
|
|
|
56 INT. HALLWAY - DAY 56
|
|
|
|
Kevin comes out of Buzz's room with a stack of sports
|
|
figurines. He crosses to the laundry chute and opens the
|
|
door.
|
|
|
|
KEVIN
|
|
We'll just store these...
|
|
|
|
He dumps the sports figurines down the chute. He listens as
|
|
they clang and bang down to the basement.
|
|
|
|
KEVIN
|
|
...in the basement.
|
|
|
|
He heads down the stairs.
|
|
|
|
|
|
57 INT. KITCHEN - DAY - CLOSEUP - ICE CREAM CARTON 57
|
|
|
|
A half gallon container sits on the counter. Dripping. A
|
|
sticky, ice-cream-covered spoon protrudes from the
|
|
container.
|
|
|
|
CLOSEUP - VCR - DAY
|
|
|
|
A movie is playing. We hear the dialogue.
|
|
|
|
MAN'S (V.O.)
|
|
Who is it?!
|
|
|
|
SECOND MAN'S (V.O.)
|
|
It's me, Winston. I got the stuff.
|
|
|
|
MAN'S (V.O.)
|
|
Leave it on the doorstep and get
|
|
the hell outta here.
|
|
32.
|
|
|
|
|
|
SECOND MAN'S (V.O.)
|
|
Awright, Johnny. But what about my
|
|
money?
|
|
|
|
CLOSEUP - TV - DAY
|
|
|
|
An action film is now playing. A door opens and a burly,
|
|
scarfaced mobster looks out.
|
|
|
|
MOBSTER (V.O.)
|
|
What money?
|
|
|
|
A thin, ashen-faced young man cowers at the sight of the
|
|
mobster.
|
|
|
|
MAN'S (V.O.)
|
|
Acey said you'd have some dough for
|
|
me.
|
|
|
|
MOBSTER (V.O.)
|
|
That a fact? How much do I owe you?
|
|
|
|
|
|
58 INT. FAMILY ROOM - DAY 58
|
|
|
|
Kevin is sitting in his father's chair, watching the
|
|
videotape.
|
|
|
|
He's eating a huge bowl of ice cream. He's drinking a
|
|
Pepsi.
|
|
|
|
KEVIN
|
|
You guys? I'm watching an 'R'
|
|
movie! You better stop me!
|
|
|
|
MAN'S (V.O.)
|
|
Acey said ten percent.
|
|
|
|
MOBSTER (V.O.)
|
|
Too bad Acey ain't in charge no
|
|
more.
|
|
|
|
MAN'S (V.O.)
|
|
What do you mean?
|
|
|
|
MOBSTER (V.O.)
|
|
He's upstairs taking a bath. He'll
|
|
call you when he gets out.
|
|
|
|
CLOSEUP - TV - DAY
|
|
|
|
The young man rears back in horror. He knows that Acey is
|
|
dead. The mobster leans in. CLOSE and ugly.
|
|
33.
|
|
|
|
|
|
MOBSTER (V.O.)
|
|
I'll tell you what I'm gonna give
|
|
you. Snakes. I'm gonna give you to
|
|
the count of ten to get your ugly,
|
|
yella, no-good ass off my property
|
|
before I pump your guts fulla lead.
|
|
|
|
MAN'S (V.O.)
|
|
Awright, Johnny. I'm sorry. I'm
|
|
goin'.
|
|
|
|
MOBSTER (V.O.)
|
|
One! Two! ... Ten!
|
|
|
|
The mobster lifts a MACHINE GUN INTO FRAME and OPENS FIRE.
|
|
|
|
Kevin's eyes are open wide. Filled with horror. The GUNFIRE
|
|
ENDS.
|
|
|
|
MOBSTER (V.O.)
|
|
Keep the change, you filthy animal.
|
|
|
|
Kevin grabs the remote control and STOPS the movie to avoid
|
|
seeing the bloody carcass.
|
|
|
|
KEVIN
|
|
Mom!
|
|
|
|
CLOSEUP - KATE - FIRST CLASS SECTION - NIGHT
|
|
|
|
She's sleeping against Peter's shoulder. Suddenly, her eyes
|
|
pop out. She sits up. CAMERA PULLS BACK. A movie plays In
|
|
the cabin. The plane's shades are drawn.
|
|
|
|
Passengers sore watching and chuckling. Peter lowers his
|
|
book and looks at Kate. She's in the first stages of a full
|
|
panic. She opens her purse.
|
|
|
|
PETER
|
|
What's the matter?
|
|
|
|
Kate rummages through the purse, comes up with passports
|
|
and money.
|
|
|
|
PETER
|
|
Honey?
|
|
|
|
KATE
|
|
I have a terrible feeling.
|
|
|
|
PETER
|
|
About what?
|
|
34.
|
|
|
|
|
|
KATE
|
|
That we didn't do something?
|
|
|
|
PETER
|
|
(smiles warmly)
|
|
It's just that we left in a hurry.
|
|
We took care of everything.
|
|
|
|
KATE
|
|
I turned off the coffee?
|
|
|
|
PETER
|
|
I did.
|
|
|
|
KATE
|
|
You locked up?
|
|
|
|
Peter nods in the affirmative. Her thoughts are coalescing,
|
|
taking a disturbing form.
|
|
|
|
KATE
|
|
Put the timers on the lights?
|
|
|
|
PETER
|
|
Yeah...
|
|
|
|
Peter starts to worry that they've forgotten something
|
|
important.
|
|
|
|
PETER
|
|
I closed the garage?
|
|
|
|
Kate nods slowly.
|
|
|
|
KATE
|
|
Did you put the answering machine
|
|
on?
|
|
|
|
Peter thinks. That's the one.
|
|
|
|
PETER
|
|
No. That's it. I forgot to put on
|
|
the machine.
|
|
|
|
KATE
|
|
That's not it.
|
|
|
|
She thinks. Peter thinks.
|
|
|
|
PETER
|
|
I don't know. What else could we be
|
|
forgetting?
|
|
35.
|
|
|
|
|
|
She stares into his eyes. It suddenly occurs to Kate what's
|
|
troubling her. She grabs Peter's arm. She screams.
|
|
|
|
KATE
|
|
Kevin!
|
|
|
|
Her cry coincides with a funny moment in the airplane movie
|
|
and is covered by the passengers' laughter.
|
|
|
|
|
|
59 INT. HOUSE - FOYER - STAIRS - DUSK 59
|
|
|
|
Kevin is at the top of the stairs on his saucer sled. He
|
|
pushes off, flies down the stairs, across the foyer floor
|
|
and out the door.
|
|
|
|
|
|
60 EXT. PORCH - DUSK 60
|
|
|
|
Kevin shoots out of the door, jumps the porch and crashes
|
|
in the yard.
|
|
|
|
Kevin rolls over. Dazed and sore. He's taken a big hit. He
|
|
sits up and rubs his roasted ass. He glances around slowly.
|
|
|
|
The sun is setting. A florid, yellow, purple and black
|
|
winter sunset. Kevin looks up. The bare trees move in the
|
|
breeze.
|
|
|
|
Kevin is getting nervous. He looks across the street. To
|
|
old mem Marley's house. Marley is scraping his front walk
|
|
with a snow shovel. Kevin Freaks.
|
|
|
|
|
|
61 EXT. HOUSE - DUSK - WIDE 61
|
|
|
|
The street lights go on. Kevin jumps up and mins into the
|
|
house. He slams the door.
|
|
|
|
|
|
62 INT. 747 - FIRST CLASS - NIGHT 62
|
|
|
|
Kate's calmed down a fraction. Frank and Leslie are doing
|
|
their best to console both Kate' and Peter.
|
|
|
|
AUNT LESLIE
|
|
We'll call as soon as we land. I'm
|
|
sure everything's okay.
|
|
|
|
Kate isn't interested in Leslie's consolations.Frank leans
|
|
across.
|
|
|
|
UNCLE FRANK
|
|
36.
|
|
|
|
|
|
(to Peter)
|
|
If it makes you feel anybetter, I
|
|
forgot my reading glasses.
|
|
|
|
|
|
63 EXT. STREET - NIGHT - LATER 63
|
|
|
|
The street lamps are fading "On". Harry and Marv's van is
|
|
parked at the far end of the street.
|
|
|
|
|
|
64 INT. VAN 64
|
|
|
|
Harry and Marv sit inside, surveying the street. Harry
|
|
glances from his vristwatch to the various houses.
|
|
|
|
HARRY
|
|
Check it out. All the houses with
|
|
nobody home have automatic timers
|
|
on their lights... I got it all
|
|
figured out... Number 1128 should
|
|
go on right about... now...
|
|
|
|
Outside, the white Christmas house lights of address #1128
|
|
turn on. Harry points to another house, while glancing to
|
|
his watch.
|
|
|
|
HARRY
|
|
Number 1135... Now.
|
|
|
|
Outside, the McCallister house lights FLASH ON. Harry
|
|
smiles.
|
|
|
|
HARRY
|
|
That's the one, Marvin. That's the
|
|
silver tuna.
|
|
|
|
MARV
|
|
It's very G.
|
|
|
|
HARRY
|
|
It's loaded. Lots of top-flight
|
|
goods. Antiques, collectibles,
|
|
objects d'art. Lots of kids means
|
|
lots of stereos, VCR's, TV's. We're
|
|
probably looking at some nice
|
|
jewelry, possible cash hoard, the
|
|
odd marketable security. Who knows.
|
|
It's a gem.
|
|
|
|
MARVIN
|
|
We'll probably need anight and day
|
|
in there to clean itout.
|
|
37.
|
|
|
|
|
|
HARRY
|
|
Grab the crowbar.
|
|
|
|
|
|
65 EXT. HOUSE - LATER 65
|
|
|
|
The house is dark.
|
|
|
|
|
|
66 INT. MCCALISTER FAMILY ROOM - NIGHT 66
|
|
|
|
Kevin is asleep. The house is silent. Dark. Save for the
|
|
exterior Christmas lights, which throw strange, elongated
|
|
shadows along the walls. The outside wind is strong.
|
|
|
|
Howling. Kevin wakes. The house boards creak. Kevin's eyes
|
|
are wide. Afraid.
|
|
|
|
He hears a sound. His name. Echoing in a scratchy, eerie
|
|
whisper. Kevin. Kevin. Kevin. He slowly turns to the sound.
|
|
|
|
It is only a branch, scratching against the window.
|
|
|
|
Kevin takes a breath, gathers his courage, attempting to
|
|
calm himself.
|
|
|
|
KEVIN
|
|
Okay. Just relax. Stay calm. Just
|
|
like Dad always says, "Don't let
|
|
your fears get the best of you.
|
|
It's all in your imagination."
|
|
|
|
Suddenly, Kevin hears more voices. Singing. An accapella,
|
|
devilish version of "Silent Night". Kevin turns.
|
|
|
|
The nutcrackers are singing. Their mouths flapping wildly.
|
|
|
|
Kevin screams and runs out of the room.
|
|
|
|
|
|
67 INT. FOYER - NIGHT 67
|
|
|
|
x Kevin skids to a stop. A long, shadow of a man in a hat
|
|
is on
|
|
|
|
the wall. The shadow transforms into a "Night On Bald
|
|
Mountain" demon. Kevin jumps back, cries out and runs out
|
|
of the room. CAMERA WHIPS to the source of a shadow. It's
|
|
only a hat and coat, hanging from the hall cloak rack. The
|
|
shadow is back to normal.
|
|
|
|
|
|
68 INT. DINING ROOM - NIGHT 68
|
|
38.
|
|
|
|
|
|
Kevin dashes inside. Face to face with the Grandfather
|
|
Clock./ The clock- suddenly comes to life. Its face and
|
|
body ditorts for a moment, scaring the hell out of Kevin.
|
|
Kevin screams and dashes out of the room.
|
|
|
|
|
|
69 INT. KITCHEN - NIGHT 69
|
|
|
|
Kevin stops. Catches his breath. Gets a sudden chill.
|
|
|
|
KEVIN
|
|
It's freezing.
|
|
(a realization)
|
|
The furnace.
|
|
(a worse realization)
|
|
The pilot light.
|
|
|
|
|
|
70 INT. BASEMENT - NIGHT 70
|
|
|
|
A LOW ANGLE HIDE SHOT, from the bottom of the basement
|
|
stairs.
|
|
|
|
The top stair opens. Kevin stands here, looking down at the
|
|
longest descent of his life.
|
|
|
|
CLOSE-UP: KEVIN.
|
|
|
|
Pondering.
|
|
|
|
KEVIN
|
|
Like Dad always says "You gotta
|
|
face your fears if you wanna'
|
|
conquer 'em."
|
|
(gulp)
|
|
If I don't face my fears now...
|
|
I'll be a dreamsicle by tomorrow
|
|
morning.
|
|
|
|
Kevin takes a deep breath. He slowly takes a step. Into the
|
|
basement. The stair creaks. Kevin gingerly walks down the
|
|
stairs. The basement is dark. Damp.
|
|
|
|
He arrives at the bottom of the stairs. Kevin's foot hits
|
|
something. He looks down.
|
|
|
|
It's the mannequin head. Its blank features have been
|
|
replaced by a face. The head is alive. It SPEAKS to Kevin.
|
|
|
|
MANNEQUIN HEAD
|
|
Only a dummy would come into the
|
|
basement.
|
|
39.
|
|
|
|
|
|
The mannequin head laughs. Joined by more laughter. Kevin
|
|
looks up. The other mannequins are laughing. Headless
|
|
bodies slap their knees. Disembodied heads chuckle.
|
|
|
|
Kevin closes his eyes.
|
|
|
|
KEVIN
|
|
It's not real.
|
|
|
|
Kevin slowly opens his eyes. The mannequins are calm.
|
|
Quiet.
|
|
|
|
The head at h is feet is faceless. Kevin turns. He looks at
|
|
the enormous FURNACE ahead of him.
|
|
|
|
Kevin slowly walks to the furnace. He gets to his knees and
|
|
moves toward a mouth-like opening, located near the bottom
|
|
of the furnace. Kevin reaches for the lever that opens the
|
|
furnace. He pulls the lever forward. A loud grinding sound
|
|
is heard. The mouth opens. Kevin peers inside.
|
|
|
|
KEVIN'S POV
|
|
|
|
A red button. Tiny letters read: PILOT above the sign. A
|
|
few mousetraps, laced with cheese, are scattered on the
|
|
floor in front of the pilot light.
|
|
|
|
A nervous Kevin slowly moves his arm into the opening, His
|
|
trembling hands pass only inches above the mousetraps.
|
|
|
|
The sound of several squealing mice fill Kevin's head.
|
|
Getting louder. Louder. Kevin closes his eyes to stop the
|
|
sound.
|
|
|
|
KEVIN
|
|
STOP!
|
|
|
|
The sounds stop. Kevin continues to move his hand toward
|
|
the pilot light button.
|
|
|
|
He presses the button.
|
|
|
|
The furnace erupts.
|
|
|
|
Kevin jumps back and looks up.
|
|
|
|
The furnace has COME TO LIFE. Its mouth roars. Its dials
|
|
become bulging eyes. Steam rushes from its cracked pipes.
|
|
|
|
Kevin turns and runs up the stairs. CAMERA PANS BACK to the
|
|
furnace. It is calm, still. Purring gently.
|
|
40.
|
|
|
|
|
|
71 INT. FAMILY ROOM - NIGHT 71
|
|
|
|
Kevin wakes up with a scream.
|
|
|
|
|
|
72 EXT. CHARLES DEGAULLE INTERNATIONAL AIRPORT - MORNING 72
|
|
|
|
The 747 touches down.
|
|
|
|
|
|
73 EXT. MCCALLISTER HOUSE - NIGHT 73
|
|
|
|
Harry and Marv's Ford van pulls in the driveway.
|
|
|
|
|
|
74 INT. VAN - NIGHT, 74
|
|
|
|
Harry shuts off the lights and turns off the engine. They
|
|
exit the van.
|
|
|
|
|
|
75 INT. FAMILY ROOM - NIGHT 75
|
|
|
|
Kevin's sitting in the chair, breathing heavy, shaking off
|
|
the dream. He looks at the TV. He scrambles to his feet and
|
|
turns on the light, he turns on another.
|
|
|
|
|
|
76 EXT. HOUSE - BACK YARD - NIGHT 76
|
|
|
|
Harry and Marv walk down the cellar stairs
|
|
|
|
|
|
77 INT. BASEMENT - NIGHT 77
|
|
|
|
Harry and Marv peek in the dirty windows of the cellar
|
|
door.
|
|
|
|
|
|
78 EXT. HOUSE - CELLAR STAIRS - NIGHT 78
|
|
|
|
Harry positions his crowbar at the jamb. Behind them we see
|
|
light.
|
|
|
|
|
|
79 INT. KITCHEN - NIGHT 79
|
|
|
|
Kevin's turned on the kitchen lights. He carefully opens
|
|
the basement stairs and...
|
|
|
|
CLOSE— UP SWITCH
|
|
41.
|
|
|
|
|
|
He turns on the basement lights.
|
|
|
|
|
|
80 INT. BASEMENT - CLOSE-UP HARRY AND MARV - NIGHT 80
|
|
|
|
Through the glass, looks of shock.
|
|
|
|
|
|
81 INT. KITCHEN - NIGHT 81
|
|
|
|
Kevin turns on the kitchen TV and the radio.
|
|
|
|
|
|
82 EXT. HOUSE - CELLAR STAIRS - NIGHT 82
|
|
|
|
Harry and Marv hear the TV. They turn to see the light.
|
|
|
|
HARRY
|
|
Shit.
|
|
|
|
MARV
|
|
I thought you said they were
|
|
gone?!?
|
|
|
|
HARRY
|
|
They were supposed to leave this
|
|
morning!
|
|
|
|
MARV
|
|
We gotta get outta here!
|
|
|
|
They race across the back yard, back to their van.
|
|
|
|
|
|
83 INT. AIRPORT - ARRIVAL AREA - MORNING 83
|
|
|
|
ROB McCALLISTER, his wife, GEORGETTE, their eight year old
|
|
son, KEITH, and eleven year old son, STEFFAN. Rob looks
|
|
down at his kids.
|
|
|
|
ROB
|
|
Okay, kids. Try the sign.
|
|
|
|
The kids grumble and unenthusiastically unfurl a long
|
|
computer sign that reads — WELCOME TO PARIS! MERRY
|
|
CHRISTMAS. Rob is craning his neck to see over the crowd.
|
|
He spots the McCallisters.
|
|
|
|
ROB
|
|
There they are!
|
|
|
|
Rob puts his arm around Georgette and grins.
|
|
42.
|
|
|
|
|
|
ROB
|
|
Look how excited they are to see
|
|
us!
|
|
|
|
ROB'S POV - MORNING
|
|
|
|
Kate and Peter lead the horde from the arriving flight.
|
|
|
|
They're running. Aunt Leslie, Uncle Frank and the kids
|
|
trail behind. Nothing is stopping Peter and Kate.
|
|
|
|
ROB
|
|
(wave)
|
|
Pete! Kate!
|
|
|
|
|
|
84 INT. AIRPORT - MORNING 84
|
|
|
|
Peter and Kate burst through the sign. Uncle Frank and Aunt
|
|
Leslie follow, then the kids, all running past. Rob,
|
|
Georgette and his family are completely stunned.
|
|
|
|
CLOSEUP - PAY PHONE AREA - MORNING
|
|
|
|
In the foreground. The running throng approaches, like a
|
|
festive, holiday marathon. Kate arrives and grabs the
|
|
phone.
|
|
|
|
She turns and shouts orders to the others.
|
|
|
|
KATE
|
|
I'm gonna try our house. Peter, you
|
|
call the Bensons. If they're home,
|
|
they can run over and get Kev.
|
|
(to the kids)
|
|
Kids. Get some change. Start
|
|
calling people you know.
|
|
(to Leslie)
|
|
Leslie. Frank. Take my address
|
|
book. Call anybody who lives on our
|
|
street. Maybe somebody will still
|
|
be home.
|
|
|
|
|
|
85 INT. MCCALLISTER HOUSE - UPSTAIRS HALLWAY - NIGHT 85
|
|
|
|
CLOSEUP KEVIN
|
|
|
|
Kevin sitting on the top stair. He's terrified and
|
|
breathing heavily.
|
|
|
|
|
|
86 INT. AIRPORT - PHONE AREA DAY - KATE AND PETER 86
|
|
43.
|
|
|
|
|
|
Kate stands at the phone, listening with distress. In the
|
|
background the kids huddle around another phone, trying
|
|
various numbers.
|
|
|
|
Aunt Leslie and Uncle Frank are on another telephone. Kate
|
|
hangs up the phone. Frustrated.
|
|
|
|
KATE
|
|
The phone's still out of order.
|
|
|
|
Kate hurriedly dials another number.
|
|
|
|
|
|
87 INT. POLICE STATION - NIGHT 87
|
|
|
|
A switchboard OPERATOR answers a call.
|
|
|
|
OPERATOR
|
|
Oak Park Police Department. Mmm
|
|
Hmmm. You want to report a missing
|
|
child?
|
|
|
|
|
|
88 INT. AIRPORT - DAY/NIGHT 88
|
|
|
|
The following scene INTERCUTS BETWEEN the switchboard
|
|
Operator and Kate, between DAY/NIGHT.
|
|
|
|
KATE
|
|
He's not missing.
|
|
|
|
Peter reacts instinctively to the strength of the word.
|
|
|
|
PETER
|
|
Missing?
|
|
|
|
KATE
|
|
(waves him silent)
|
|
He's at home. We left on an
|
|
overseas flight and somehow, we had
|
|
eleven kids, somehow we overlooked
|
|
him.
|
|
|
|
OPERATOR
|
|
The child is not missing?
|
|
|
|
KATE
|
|
(frustration growing)
|
|
Ma'am. I need someone to go to my
|
|
house and see if my child is
|
|
alright and to tell him that...
|
|
|
|
She looks to Peter.
|
|
44.
|
|
|
|
|
|
PETER
|
|
We're coming home for him.
|
|
|
|
KATE
|
|
...that we're coming home for him.
|
|
|
|
OPERATOR
|
|
Let me connect you with family
|
|
crisis intervention.
|
|
|
|
KATE
|
|
It's not a family crisis.
|
|
|
|
OPERATOR
|
|
(making the transfer)
|
|
Hold on.
|
|
|
|
Kate curses silently, and silently turns to Peter.
|
|
|
|
KATE
|
|
Go down to the ticket counter. Book
|
|
a flight.
|
|
|
|
PETER
|
|
For all of us?
|
|
|
|
KATE
|
|
There's no sense taking the kids.
|
|
You stay here with them. I'll go
|
|
get Kevin and come back.
|
|
(tender)
|
|
You hold Christmas for us.
|
|
|
|
Peter nods, gives a comforting smile and hurries off to the
|
|
ticket counter. A voice interrupts Kate on the phone.
|
|
|
|
KATE
|
|
Hello?
|
|
|
|
|
|
89 INT. POLICE STATION - OFFICE - NIGHT/DAY 89
|
|
|
|
A grumpy, prune faced officer in a rumpled uniform sits
|
|
behind a desk. His PHONE RINGS and he answers.
|
|
|
|
OFFICER BALZAK
|
|
Family crisis intervention.
|
|
Sergeant Balzak.
|
|
|
|
KATE
|
|
(begins to explain)
|
|
45.
|
|
|
|
|
|
Hi... Look... I'm calling from
|
|
Paris... I have a little boy who's
|
|
home alone...
|
|
|
|
OFFICER BALZAK
|
|
Has the child been involved in a
|
|
violent altercation with a drunken
|
|
or mentally ill family member?
|
|
|
|
KATE
|
|
No ...
|
|
|
|
OFFICER BALZAK
|
|
Has the child been involved in a
|
|
household accident?
|
|
|
|
KATE
|
|
I don't think so...
|
|
|
|
OFFICER
|
|
Has the child swallowed poison or
|
|
an object that has become lodged in
|
|
his throat?
|
|
|
|
KATE
|
|
(hysterical)
|
|
NOI HE'S JUST HOME ALONE! I JUST
|
|
WANT YOU TO SEND SOMEBODY OVER TO
|
|
THE HOUSE! JUST TO CHECK ON HIM!
|
|
|
|
OFFICER
|
|
You want someone to go over to your
|
|
house and check on your son?
|
|
|
|
KATE
|
|
(breathless)
|
|
YES!
|
|
|
|
OFFICER
|
|
Let me transfer you to the police
|
|
department.
|
|
|
|
KATE
|
|
But they just transferred me to
|
|
you...
|
|
|
|
OFFICER
|
|
(making the trams far)
|
|
Hold on.
|
|
|
|
Kate stops herself from smashing the receiver into the
|
|
wall.
|
|
46.
|
|
|
|
|
|
The kids, Leslie and Frank surround her. Kate gives a
|
|
hopeful look.
|
|
|
|
KATE
|
|
Any luck?
|
|
|
|
The kids shake their heads. Kate turns to Frank and Leslie.
|
|
|
|
They shake their heads.
|
|
|
|
AUNT LESLIE
|
|
Nothing but a bunch of answering
|
|
machines.
|
|
|
|
|
|
90 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 90
|
|
|
|
Kevin stands up. The sadness is gone. He's finding his
|
|
courage.
|
|
|
|
|
|
91 INT.FRENCH AIRPORT - TICKET COUNTER - DAY 91
|
|
|
|
Peter is there. Kate walks into the scene. Peter turns to
|
|
Kate. He is solemn.
|
|
|
|
PETER
|
|
Tonight's flights are all booked.
|
|
|
|
KATE
|
|
To Chicago.
|
|
|
|
PETER
|
|
To Chicago. New York. Detroit. I
|
|
tried everything.
|
|
|
|
KATE
|
|
What about a private plane?
|
|
|
|
PETER
|
|
I checked. Nothing. I'm booking you
|
|
on a flight that leaves Friday
|
|
morning.
|
|
|
|
KATE
|
|
Friday morning? That's two days
|
|
from now.
|
|
|
|
Kate gives a frustrated sigh. Peter tries to comfort her.
|
|
|
|
PETER
|
|
47.
|
|
|
|
|
|
Look, honey... We've done all ve
|
|
can here... The kids are exhausted.
|
|
Let's go to Rob's. We can call the
|
|
police again from there...
|
|
|
|
KATE
|
|
(strong-willed)
|
|
No. I have a child at home alone.
|
|
I'm not leaving here unless it's on
|
|
an airplane.
|
|
|
|
Peter sighs, helpless. The TICKET AGENT, a French woman
|
|
with a light accent, having overheard the conversation,
|
|
looks at Kate.
|
|
|
|
TICKET AGENT
|
|
Ma'am... If you stay at the
|
|
airport... Maybe we can get you on
|
|
standby... There's a very slim
|
|
chance that a seat will open up...
|
|
And you may have to wait several
|
|
hours... But it is the Holiday
|
|
season. Miracles can happen.
|
|
|
|
Kate nods. It's her only hope.
|
|
|
|
|
|
92 EXT. MCCALLISTER HOUSE - FRONT DOOR - NIGHT 92
|
|
|
|
The door swings open. Kevin marches out to the end of the
|
|
driveway. Angry, he looks left and right and yells at the
|
|
top of his little voice.
|
|
|
|
KEVIN
|
|
I'm not afraid anymore1
|
|
|
|
Mr. Marley steps but of the darkness, standing a few feet
|
|
in front of Kevin. Marley is holding the snow shovel. He
|
|
nods to Kevin. Kevin's eyes pop wide in fear. His face goes
|
|
white.
|
|
|
|
He screams, turns and runs into the house. He slams the
|
|
door.
|
|
|
|
Marley turns to the curb and continues poking the handle at
|
|
a clog in the gutter.
|
|
|
|
|
|
93 INT. FOYER - NIGHT 93
|
|
|
|
Kevin runs into the Foyer screaming, He slams the door and
|
|
runs up the stairs screaming.
|
|
48.
|
|
|
|
|
|
94 INT. KITCHEN - NIGHT 94
|
|
|
|
Kevin runs down the back stairs screaming. He stops at the
|
|
foot of the stairs. He sees he's run back down stairs,
|
|
turns and runs back up. Screaming.
|
|
|
|
|
|
95 INT. KEVIN'S BEDROOM - NIGHT 95
|
|
|
|
Kevin jumps into his bed and scrambles under the covers.
|
|
|
|
|
|
96 EXT. KEVIN'S HOUSE - NIGHT 96
|
|
|
|
A Police Officer steps up on the porch and rings the bell.
|
|
|
|
|
|
97 INT. KEVIN'S BEDROOM - NIGHT 97
|
|
|
|
CLOSEUP KEVIN
|
|
|
|
He peaks out from under the covers. He's shocked.
|
|
|
|
|
|
98 EXT. FRONT PORCH - NIGHT 98
|
|
|
|
The Officer bangs on the door.
|
|
|
|
|
|
99 INT. KEVIN'S BEDROOM -NIGHT 99
|
|
|
|
CLOSEUP KEVIN
|
|
|
|
His eyes are wide with terror. He pulls the covers over his
|
|
head.
|
|
|
|
|
|
100 EXT. HOUSE - NIGHT 100
|
|
|
|
The Police Officer steps back and looks up at the house. It
|
|
looks okay to him. He returns to his car.
|
|
|
|
|
|
101 INT. DEGAULLE AIRPORT - DAY 101
|
|
|
|
A soft, sweet voice croons "I'LL BE HOME FOR CHRISTMAS” in
|
|
French over the airport speakers. Peter and the kids say
|
|
their goodbyes to Kate. With a final kiss, Peter and the
|
|
kids join Rob and the rest of the family. They exit. Kate
|
|
watches for a moment. Saddened. She takes a seat. Alone in
|
|
the crowded airport.
|
|
49.
|
|
|
|
|
|
102 EXT. MCCALLISTERHOUSE - NEXT MORNING 102
|
|
|
|
A dark, grey day.
|
|
|
|
|
|
103 INT. BATHROOM - DAY 103
|
|
|
|
He's taken a shower. His hair is vet and he has a towel
|
|
wrapped around his waist. He's being very adult and very
|
|
conscientious about his brushing.
|
|
|
|
KEVIN
|
|
I took a shower, washing every body
|
|
part with actual soap including all
|
|
my major crevices including between
|
|
my toes and my belly button which I
|
|
never did before but sort of
|
|
enjoyed. I washed my hair with
|
|
adult-formula shampoo and I used
|
|
cream rinse for the just-washed
|
|
shine. I can't find my toothbrush
|
|
so I'll pick one up when I go out
|
|
today. Other than that I'm in good
|
|
shape.
|
|
|
|
He opens a bottle of after-shave, splashes a quantity on
|
|
his hands, as his father does, and slaps it on his cheeks.
|
|
He smiles at himself. Then screams!
|
|
|
|
|
|
104 EXT. MCCALISTERHOUSE - DAY 104
|
|
|
|
We hear Kevin scream inside.
|
|
|
|
|
|
105 INT. BUZZ'S ROOM - DAY 105
|
|
|
|
Kevin pulls a chair over to a shelving unit attached to the
|
|
wall. He stands on the chair and tries to reach to the top
|
|
of the unit and a tin baseball card box. Kevin reaches up,
|
|
woefully short-armed. He tests the strength of the shelf
|
|
with his foot. He begins to climb the shelf unit. He
|
|
gingerly steps up on the next shelf, then the next. He
|
|
makes it to the top. His little fingers barely touch the
|
|
box.
|
|
|
|
The box slides forward into his hand as the shelving unit
|
|
pulls away from the wall. The shelf unit topples, throwing
|
|
Kevin and everything on the shelves to the floor. CRASH!
|
|
|
|
The tin box hits the floor and splits open, spilling coins
|
|
and crumpled bills.
|
|
50.
|
|
|
|
|
|
Kevin emerges stunned and shocked, but unharmed from the
|
|
heap of rubbish that was once Buzz's shelves. CAMERA PANS a
|
|
few feet away.
|
|
|
|
The tarantula is free from its shattered aquarium. It
|
|
skates across the floor.
|
|
|
|
|
|
106 EXT. HOUSE - BACK DOOR - LATER - DAY 106
|
|
|
|
Kevin comes out the door, bundled in his coat, hat and
|
|
scarf.
|
|
|
|
He leaves the door WIDE OPEN, as he would if his mother
|
|
were there to close it for him. He jumps down off the porch
|
|
and heads around the corner of the house, to the driveway.
|
|
|
|
|
|
107 EXT. HOUSE - FRONT YARD - DAY 107
|
|
|
|
Kevin tiptoes around the corner of the house. He glances
|
|
across the street, to Marley'shouse, making sure that the
|
|
coast is clear. It is. Kevin breathes a sigh of relief. He
|
|
comes down the drive to the sidewalk and heads up the
|
|
street. He glances to his left.
|
|
|
|
HIS POV - DAY
|
|
|
|
The van is parked far up the driveway of the MURPHY house
|
|
across the street. They're back.
|
|
|
|
Kevin notes the van with curiosity. He whispers to himself.
|
|
|
|
KEVIN
|
|
I thought the Murphy's went to
|
|
Florida...
|
|
|
|
Kevin shrugs and EXITS FRAME, hurrying by Marley's house
|
|
|
|
|
|
108 EXT. PARIS - NIGHT 108
|
|
|
|
The Christmas lights are shining bright. Traffic's moving.
|
|
|
|
The city is charged with spirit and movement. CAMERA PULLS
|
|
BACK. This is the view from the window of
|
|
|
|
|
|
109 INT. ROB MCCALLISTER'S APARTMENT - NIGHT 109
|
|
|
|
Peter stands in the foreground on the telephone. Megan and
|
|
Buzz are talking.
|
|
51.
|
|
|
|
|
|
MEGAN
|
|
You aren't even worried. Are you?
|
|
|
|
BUZZ
|
|
Why should I be?
|
|
|
|
MEGAN
|
|
He's home alone.
|
|
|
|
BUZZ
|
|
Good. He's acted like an asshole
|
|
once too many times and this time
|
|
he caught it in the butt.
|
|
|
|
MEGAN
|
|
He's so little and helpless: Don't
|
|
you think he's flipped out?
|
|
|
|
BUZZ
|
|
He's probably going through a stage
|
|
ten brain fry-down right now, but
|
|
he asked for it.
|
|
|
|
MEGAN
|
|
You're really cruel.
|
|
|
|
BUZZ
|
|
The little trout can use a couple
|
|
days in the real world.
|
|
|
|
MEGAN
|
|
You're not at all worried that
|
|
something might happen to him?
|
|
|
|
BUZZ
|
|
No. For three reasons. A. I'm not
|
|
that lucky. 2. We have smoke
|
|
detectors and D. We live on the
|
|
most boring street in the United
|
|
States of America where nothing
|
|
even remotely dangerous is ever,
|
|
did ever, or will ever happen.
|
|
Period.
|
|
|
|
|
|
110 INT. MURPHY'S HOUSE - BEDROOM - DAY 110
|
|
|
|
Marv and Harry are sacking the house. Marv is dumping
|
|
drawers.
|
|
|
|
The PHONE RINGS. He freezes. An ANSWERING MACHINE CLICKS
|
|
ON.
|
|
52.
|
|
|
|
|
|
MALE VOICE (V.O.)
|
|
Hello. We're not home right now. If
|
|
you'll leave your name and number,
|
|
and the time you called, we'll get
|
|
back to you as soon as possible.
|
|
Thank you.
|
|
|
|
BEEP.
|
|
|
|
PETER (V.O.)
|
|
Chuck? This is Peter McCallister
|
|
again. We're in Paris. At my
|
|
brother's apartment. Let me give
|
|
you the number here... The country
|
|
code is...
|
|
|
|
As Peter recites the number, Marv recognizes something in
|
|
Peter's message.
|
|
|
|
MARV
|
|
Harry! The house we were at last
|
|
night, was that McCallister?
|
|
|
|
HARRY (O.S.)
|
|
Yeah.
|
|
|
|
MARV
|
|
(smiles)
|
|
You're right. They're gone.
|
|
|
|
|
|
111 INT. DRUGSTORE - DAY 111
|
|
|
|
CLOSE-UP PHARMACY CLERK
|
|
|
|
LEANING INTO CAMERA. A WOMAN in her mid-fifties. A little
|
|
too much make-up, a little too much hairspray. She's
|
|
grinning.
|
|
|
|
CLERK
|
|
How may I help you?
|
|
|
|
DRUG STORE
|
|
|
|
It's a small, local drug store. Drugs. Toiletries. Notions.
|
|
Kevin's at the pharmacy counter. He sets a toothbrush on
|
|
the counter.
|
|
|
|
KEVIN
|
|
Is this toothbrush approved by the
|
|
American Dental Association?
|
|
|
|
DOOR - CLOSE-UP FEET
|
|
53.
|
|
|
|
|
|
The door opens and a pair of worn galoshes shuffle in.
|
|
|
|
PHARMACY COuNTER
|
|
|
|
The clerk Is wearing half-glasses trying to read the
|
|
printing on the toothbrush package.
|
|
|
|
CLERK
|
|
It doesn't say, hon.
|
|
|
|
STORE - CLOSE-UP GALOSHES
|
|
|
|
Shuffling down an aisle.
|
|
|
|
CLOSE-UP CLERK
|
|
|
|
She sets downthe toothbrush and turns back to the counter.
|
|
|
|
CLERK
|
|
Herb? I have a question about a
|
|
toothbrush.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He awaits his answer, he reaches into his pocket and takes
|
|
a twenty dollar bill. Behind him a FIGURE approaches.
|
|
|
|
CLOSE-UP COUNTER
|
|
|
|
Kevin fiddles with the toothbrush. He turns it over.
|
|
Suddenly, a bloodied hand slaps down on the counter.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
His eyes open wide in fear as he looks at the hand.
|
|
|
|
HIS POV - CLOSE-UP HAND
|
|
|
|
CAMERA follows the hand up to a tatteredovercoat sleeve
|
|
to...
|
|
|
|
CLOSE-UP MARLEY
|
|
|
|
He's looking down at Kevin. A HORROR STING.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
TERROR! He backs away from the counter.
|
|
|
|
CLOSE-UP CLERK
|
|
|
|
She turns back to the counter.
|
|
54.
|
|
|
|
|
|
HER POV
|
|
|
|
Marley's at the counter, looking back at Kevin as he moves
|
|
away from the counter. The toothbrush is still in his hand.
|
|
|
|
CLOSE-UP CLERK
|
|
|
|
She calls to Kevin.
|
|
|
|
CLERK
|
|
Hon? you pay for that here.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He doesn't hear her, pays her no mind, doesn't think that
|
|
he has the toothbrush in his hand. He'sonly interested in
|
|
getting out.
|
|
|
|
HIS POV
|
|
|
|
MOVING AWAY. The Clerk is calling tohim. Marley's watching
|
|
him.
|
|
|
|
CLERK
|
|
Son? Come back! Hey!
|
|
|
|
STORE - WIDER
|
|
|
|
Kevin keeps moving, not taking his eyes off Marley.
|
|
|
|
CLOSE-UP CLERK
|
|
|
|
She yells.
|
|
|
|
CLERK
|
|
Stop that boy!
|
|
|
|
CLOSE-UP STOCKBOY
|
|
|
|
He looks up from the shelf he's stocking.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He's overwhelmed by panic. He turns and bursts out of the
|
|
store.
|
|
|
|
|
|
112 EXT. TOWN SQUARE - DAY 112
|
|
55.
|
|
|
|
|
|
Kevin speeds out of the drugstore, across the street, past
|
|
Santa's Village. TheStockboy breaksout of the store and
|
|
charges after Kevin, who runs across the street, past
|
|
Santa's Village. A police car is parked a few feet away.
|
|
The Stockboy sees the cop,grins, puts his fingers to his
|
|
mouth and whistles, waving to the cop. The police car
|
|
stops. THE COP rolls down his window and looks to the
|
|
Stockboy
|
|
|
|
STOCKBOY
|
|
Shoplifter!
|
|
|
|
People within earshot turn at the Stockboy's cry. All eyes
|
|
are upon Kevin. Accusing. Angry. A frightened Kevin
|
|
sprints.
|
|
|
|
Pumping his legs as hard and fast as they'll go. The cop
|
|
begins to follow Kevin, chasing the scared little boy
|
|
through the town square.
|
|
|
|
Kevin runs onto the ICE SKATING RINK. He hits the ice
|
|
SPRINTING. Kevin crouches down and GLIDES across the ice,
|
|
barely avoiding a collision with several skaters.
|
|
|
|
KEVIN'S MOVING POV
|
|
|
|
Ice skaters leaping out of his path.
|
|
|
|
|
|
113 EXT. TOWN SQUARE 113
|
|
|
|
The cop attempts to make his way across the ice rink.
|
|
|
|
Stumbling. He takes a few steps and FLIPS BACKWARD, falling
|
|
on his ass. Kevin emerges on the opposite side of the rink.
|
|
|
|
Kevin escapes across a bridge leading into the suburbs. He
|
|
glances back.
|
|
|
|
KEVIN'S POV ...
|
|
|
|
The cop is being helped to his feet by two skaters.
|
|
|
|
Kevin turns and continues running, DISAPPEARING into the
|
|
suburbs.
|
|
|
|
|
|
114 INT. DRUGSTORE - PHARMACY COUNTER - DAY 114
|
|
|
|
Marley is paying for a purchase.
|
|
|
|
INSERT - A BAANDAID BOX
|
|
56.
|
|
|
|
|
|
115 EXT. NEIGHBORHOOD STREET - LATER - DAY 115
|
|
|
|
Kevin shuffles down the street, tired, cold and frightened.
|
|
|
|
He looks at the toothbrush in his hand.
|
|
|
|
KEVIN
|
|
I'm a criminal.
|
|
|
|
|
|
116 INT. MURPHY HOUSE ACROSS STREET - LIVING ROOM - DAY 116
|
|
|
|
It has been sacked, thoroughly searched and plundered.
|
|
|
|
Cabinets are smashed and overturned, tables upended. The
|
|
drapes are drawn. Marv comes down from upstairs with a
|
|
heavy cotton sack in one hand, a VCR in the other.
|
|
|
|
He exits toward the back of the house.
|
|
|
|
As he passes through the kitchen, Marv stuffs a dish towel
|
|
in the sink drain. He turns on the water. He grins
|
|
sadistically
|
|
|
|
|
|
117 EXT. HOUSE - DAY 117
|
|
|
|
Harry's in the van. - The MOTOR'S RUNNING. Marv comes out,
|
|
looks to the street and quickly deposits his loot in the
|
|
van.
|
|
|
|
|
|
118 INT. VAN - DAY 118
|
|
|
|
A huge haul from the house sits in the back of the van. The
|
|
door slides shut. A grinning Marv gets inside. Harry glares
|
|
at him.
|
|
|
|
HARRY
|
|
You did it again. Didn't ya'? You
|
|
left the water runnin'.
|
|
|
|
Mary continues to smile deviously, saying nothing.
|
|
|
|
HARRY
|
|
I told you to stop that. There's no
|
|
reason for it
|
|
|
|
HARRY
|
|
It's our calling card. All the
|
|
great ones leave their mark. We're
|
|
the 'Wet Bandits'.
|
|
57.
|
|
|
|
|
|
Harry stares incredulously at Marv for a moment, then puts
|
|
the van in reverse.
|
|
|
|
HARRY
|
|
Sick bastard.
|
|
|
|
|
|
119 EXT. HOUSE - DRIVEWAY - DAY 119
|
|
|
|
The van backs out. Kevin continues to walk down the street.
|
|
|
|
|
|
120 EXT. HOUSE - DAY 120
|
|
|
|
The van comes down the drive. Kevin is in line for a
|
|
collision. Harry glances into the van's side mirror. Kevin
|
|
is visible in the mirror, walking across the drive. Seeing
|
|
this, Harry reacts with surprise and jams the brakes on.
|
|
The van's TIRE LOCKS and SKIDS on the- slick pavement.
|
|
Kevin looks up and around in shock, as the van slides in
|
|
front of him.
|
|
|
|
Missing him by inches.
|
|
|
|
KEVIN'S POV - DAY
|
|
|
|
The van slides to a stop on Harry's face.
|
|
|
|
HARRY'S POV - DAY
|
|
|
|
Kevin's frightened little face. Nose nearly touching glass.
|
|
|
|
Harry feigns a look of false concern. He doesn't recognize
|
|
Kevin. He rolls down his window.
|
|
|
|
HARRY
|
|
Keep an eye out for traffic, son.
|
|
|
|
Marv leans around Harry and adds his less skillful two
|
|
cents.
|
|
|
|
MARV
|
|
Santa don't visit the funeral
|
|
hones, little buddy.
|
|
|
|
HARRY
|
|
Step back.
|
|
|
|
Kevin takes a step back away from the van.
|
|
|
|
Harry smiles and winks, revealing his gold tooth.
|
|
58.
|
|
|
|
|
|
HARRY
|
|
Merry Christmas!
|
|
|
|
Kevin recognizes Harry as the police officer who was at his
|
|
house the night before. Kevin's jaw drops.
|
|
|
|
The van pulls out of the driveway. Kevin watches it. He
|
|
starts to run across the street. The van stops.
|
|
|
|
|
|
121 INT. VAN - DAY 121
|
|
|
|
Harry looks back out the window.
|
|
|
|
MARV
|
|
What's the matter?
|
|
|
|
HARRY
|
|
I don't know. I don't like the way
|
|
the kid looked at me.
|
|
|
|
MARV
|
|
You ever seen him?
|
|
|
|
HARRY
|
|
I seen a hundred kids this week.
|
|
|
|
MARV
|
|
See what house he's goin' to.
|
|
|
|
CLOSEUP - KEVIN - DAY
|
|
|
|
Kevin reaches the parkway, when he realizes that the van
|
|
has stopped. He slows and peeks over his shoulder.
|
|
|
|
KEVIN
|
|
You're not afraid...
|
|
|
|
KEVIN'S POV - DAY
|
|
|
|
The van, waiting in the middle of the street.
|
|
|
|
CLOSEE-UP KEVIN
|
|
|
|
Kevin wants to cry, he's so scared. He stops when he
|
|
reaches the sidewalk. He looks at his house. Hakes a quick
|
|
decision, turns and heads down the street, passing the
|
|
house.
|
|
|
|
|
|
122 INT. VAN - DAY 122
|
|
59.
|
|
|
|
|
|
Harry watches the mirror.
|
|
|
|
|
|
123 EXT. STREET DAY 123
|
|
|
|
Kevin is walking down the street. The van is tailing him.
|
|
|
|
Kevin hurriedly begins to sprint. He turns and disappears
|
|
around the corner. The van follows.
|
|
|
|
|
|
124 INT. VAN - DAY 124
|
|
|
|
As Harry and Marv turn the comer, a blank, puzzled look
|
|
covers Harry's face.
|
|
|
|
HARRY AND MARV'S POV
|
|
|
|
The street. Bare. No sign of Kevin. He's disappeared.
|
|
|
|
|
|
125 INT.VAN - DAY 125
|
|
|
|
Harry and Marv squint. Baffled.
|
|
|
|
HARRY
|
|
Shit I Where 'd he go?
|
|
|
|
|
|
126 EXT. STREET - CHURCH - DUSK 126
|
|
|
|
Harry and Marv's van pass the Church. A LIFE-SIZE NATIVITY
|
|
SCENE decorates the church's front lawn. Figures of Joseph,
|
|
Mary, Jesus, the Wise Hen and various animals are here.
|
|
There is also a very realistic LITTLE DRUHMER BOY standing
|
|
over the manger. Head lowered.
|
|
|
|
|
|
127 EXT. VAN - MOVING SHOT - MARV - DUSK 127
|
|
|
|
Staring out the window, at the nativity scene, then looking
|
|
away.
|
|
|
|
|
|
128 EXT. NATIVITY SCENE - DUSK 128
|
|
|
|
CAMERA DOLLIES TOWARD the Little Drummer Boy. He slightly
|
|
raises his head. It is Kevin, dressed in the statue's robes
|
|
and holding the drum. Kevin watches Harry and Marv's van
|
|
TURN and DISAPPEAR around the corner.
|
|
60.
|
|
|
|
|
|
129 INT. VAN - DUSK 129
|
|
|
|
Harry is still baffled.
|
|
|
|
HARRY
|
|
How could he just disappear like
|
|
that?
|
|
|
|
MARV
|
|
Why don't we forget it, huh? You
|
|
shouldn't be following a kid, man.
|
|
That's like sending invitations to
|
|
the cops.
|
|
|
|
HARRY
|
|
I don't like the way that kid
|
|
looked at me.
|
|
|
|
MARV
|
|
You're just gettin' an edge on ya'.
|
|
We're doin' good. Now, c'mon. It's
|
|
gettin' dark. Let's drop this stuff
|
|
off, get a bite to eat and come
|
|
back for some more Holiday
|
|
surprises.
|
|
|
|
Harry grins. Marv laughs. Harry hits the gas.
|
|
|
|
|
|
130 EXT. NATIVITY SCENE - DUSK 130
|
|
|
|
Kevin hurriedly removes the Little Drummer Boy costume. He
|
|
hurries away from the church. He glances up. The street
|
|
lamps are turning on. It is getting dark.
|
|
|
|
|
|
131 EXT. STREET - NIGHT 131
|
|
|
|
Kevin runs as fast as he can. All up and down the block.
|
|
The CHURCH BELLS strike a fifth time, calling it five
|
|
o'clock.
|
|
|
|
The timers in the houses of the people away for the
|
|
holidays turn on the Christmas lights. Kevin arrives at his
|
|
driveway.
|
|
|
|
|
|
132 INT. HOUSE - NIGHT 132
|
|
|
|
Kevin runs in and turns on the foyer light, locks the front
|
|
door, secures the chain and the deadbolt. He collects
|
|
himself.
|
|
61.
|
|
|
|
|
|
KEVIN
|
|
This is my house. I have to defend
|
|
it.
|
|
|
|
He runs up the stairs.
|
|
|
|
|
|
133 EXT. HOUSE - LATER - NIGHT 133
|
|
|
|
All of the upstairs and downstairs lights are on. A beat,
|
|
and the attic lights go on. BRENDA LEE'S "ROCKIN' AROUND
|
|
THE CHRISTMAS TREE" FILLS THE SOUNDTRACK. A MONTAGE BEGINS.
|
|
|
|
The Brenda Lee song plays over the following images: Kevin
|
|
arranging the living room chairs to face toward the
|
|
windows, a Piano song book being flipped to "Joy To The
|
|
World", the Sports hero poster being peeled from Buzz's
|
|
wall, an ELECTRIC t TRAIN being removed from the closet, a
|
|
laugh box being removed from Jeff's drawer, one of the
|
|
nutcrackers with a rifle being snatched from the piano top,
|
|
Kevin carrying mannequins up from the basement and carrying
|
|
stereo speakers from the family room to the kitchen.
|
|
|
|
|
|
134 EXT. HOUSE - LATER - NIGHT 134
|
|
|
|
A Little Nero's Pizza delivery car pulls into the driveway.
|
|
|
|
The delivery boy, who we remember from earlier, walks to
|
|
the porch.
|
|
|
|
A note attached to the front door. It's written in child's
|
|
hand, it reads: "BACK DOOR, PLEASE.”
|
|
|
|
The Pizza boy reads the note and shrugs. The back door is
|
|
no problem for him. He hops down off the porch and walks
|
|
around to the back door.
|
|
|
|
|
|
135 INT. FAMILY ROOM - NIGHT 135
|
|
|
|
Kevin is listening to the Brenda Lee song. THE DOORBELL
|
|
RINGS Kevin jumps up, turns OFF the CD PLAYER and sneaks
|
|
into the kitchen.
|
|
|
|
|
|
136 EXT. PORCH - NIGHT 136
|
|
|
|
The Pizza Boy tries to look in the window. The kitchen door
|
|
curtains are closed. He knocks. A voice comes from inside.
|
|
|
|
MAN (V.O.)
|
|
Who is it?
|
|
62.
|
|
|
|
|
|
PIZZA BOY LITTLE
|
|
Nero's Pizza, sir! I have your
|
|
pizza.
|
|
|
|
CLOSEUP - TELEVISION - NIGHT
|
|
|
|
The mobster MOVIE fast-forwards, stops, and the mobster
|
|
says
|
|
|
|
MOBSTER (V.O.)
|
|
Leave it on the doorstep and get
|
|
the hell outta here.
|
|
|
|
The picture freezes. MOTE comes on and it steps to the next
|
|
cut.
|
|
|
|
|
|
137 EXT. PORCH - NIGHT 137
|
|
|
|
The Pizza Boy is startled by the angry tone of the man's
|
|
voice.
|
|
|
|
PIZZA BOY
|
|
(timidly)
|
|
Okay. But what about the money?
|
|
|
|
|
|
138 INT. KITCHEN - NIGHT 138
|
|
|
|
Kevin holds the remote towards the combination TV- VCR. The
|
|
speakers are hooked up to the television. Kevin un-pauses
|
|
the video picture.
|
|
|
|
MOBSTER (V.O.)
|
|
What money?
|
|
|
|
Kevin hits pause, mute and stop.
|
|
|
|
PIZZA BOY (O.S.)
|
|
You have to pay for the pizza, sir
|
|
|
|
CLOSEUP - TELEVISION - NIGHT
|
|
|
|
The picture unfreezes.
|
|
|
|
MOBSTER (V.O.)
|
|
That a fact? How much do I owe you?
|
|
|
|
|
|
139 EXT. PORCH - NIGHT 139
|
|
|
|
The Pizza Boy looks at the ticket.
|
|
63.
|
|
|
|
|
|
PIZZA BOY
|
|
$11.80, sir.
|
|
|
|
|
|
140 INT. KITCHEN - NIGHT 140
|
|
|
|
Kevin counts out twelve dollars of Buzz's money. It's
|
|
difficult for him. He lifts the doggie door and flips the
|
|
money out.
|
|
|
|
|
|
141 EXT. PORCH - NIGHT 141
|
|
|
|
The Pizza Boy reaches down for the money and is
|
|
disappointed to see that It's only twelve dollars.
|
|
|
|
MOBSTER (V.O.)
|
|
Keep the change, you filthy animal!
|
|
|
|
PIZZA BOY
|
|
(under his breath)
|
|
Cheapskate.
|
|
|
|
|
|
142 INT. KITCHEN - NIGHT 142
|
|
|
|
Kevin flips on a desk lamp that rests behind the
|
|
Nutcracker, which is positioned on the counter in front of
|
|
the door. The Nutcracker's rifle is extended. The light
|
|
casts a large shadow of the nutcracker on the kitchen
|
|
curtains. Kevin hits the video "Play" button.
|
|
|
|
MOBSTER (V.O.)
|
|
I'm gonna give you to the count of
|
|
ten to get your ugly, yella, no
|
|
good ass off my property ...
|
|
|
|
|
|
143 EXT. PORCH - NIGHT 143
|
|
|
|
The Pizza Boy stares fearfully at the shadow of the
|
|
Nutcracker, which resembles a gangster holding a gun.
|
|
|
|
MOBSTER (V.O.)
|
|
Onel Two!... Ten!
|
|
|
|
|
|
144 INT. KITCHEN - NIGHT 144
|
|
|
|
Kevin drops a row of LIT FIRECRACKERS into the metal
|
|
kitchen garbage can. They EXPLODE, creating a LOUD GUNFIRE
|
|
SOUND.
|
|
64.
|
|
|
|
|
|
145 EXT. BACK PORCH - NIGHT 145
|
|
|
|
Hearing the "gunfire', the Pizza Boy picks himself up and
|
|
scrambles to his car.
|
|
|
|
CLOSEUP - PIZZA CAR - NIGHT - REAR TIRES
|
|
|
|
They SPIN and the car zips OUT OF FRAME.
|
|
|
|
|
|
146 INT. KITCHEN - NIGHT 146
|
|
|
|
Kevin cautiously opens the door and retrieves his pizza. He
|
|
comes back in, grinning.
|
|
|
|
KEVIN
|
|
A lovely pizza just for me.
|
|
|
|
|
|
147 INT. FRENCH AIRPORT - NIGHT 147
|
|
|
|
Kate has snared a MIDDLE-AGED WOMAN and is trying to talk
|
|
her out of her seat assighment.
|
|
|
|
KATE
|
|
I have the five hundred dollars,
|
|
pocket translator, the first class
|
|
— that's an upgrade from your coach
|
|
seat.
|
|
|
|
WOMAN
|
|
Is that a real Rolex?
|
|
|
|
KATE
|
|
Do you think it is?
|
|
|
|
WOMAN
|
|
No.
|
|
|
|
KATE
|
|
But who can tell? And I have a
|
|
ring.
|
|
|
|
She displays a modest sapphire ring.
|
|
|
|
WOMAN
|
|
It's lovely.
|
|
|
|
A MIDDLE-AGED MAN joins them.
|
|
|
|
MAN
|
|
Come on, Irene. They're boarding.
|
|
65.
|
|
|
|
|
|
WOMAN
|
|
This gal's offered us two first
|
|
class seats back to Chicago next
|
|
week plus a ring, a watch, a pocket
|
|
translator, five hundred dollars
|
|
and...
|
|
|
|
KATE
|
|
The Samsonite luggage.
|
|
|
|
MAN
|
|
(thinks)
|
|
What do we do about our Christmas
|
|
plans?
|
|
|
|
KATE
|
|
You forgot the bracelet.
|
|
|
|
WOMAN
|
|
I didn't care for the bracelet.
|
|
|
|
Kate holds out her wrist.
|
|
|
|
MAN
|
|
I don't like it either.
|
|
(shakes his head)
|
|
Thanks anyway.
|
|
|
|
KATE
|
|
You liked the necklace, ma'am.
|
|
|
|
MAN
|
|
She's got a necklace.
|
|
(to the wife)
|
|
Let's go.
|
|
|
|
KATE
|
|
(almost breaking down)
|
|
My little boy's home all by
|
|
himself. I'm desperate. I beg you.
|
|
From A mother to a mother. Please.
|
|
|
|
WOMAN
|
|
Ed?
|
|
|
|
HAN
|
|
(taps his ear)
|
|
Hearing aid went out. Damn. Come
|
|
on, honey. Hello? Hello?
|
|
|
|
He takes her arm and leads her away.
|
|
|
|
MAN
|
|
66.
|
|
|
|
|
|
Say what?
|
|
|
|
He sneaks a look back at Kate.
|
|
|
|
CLOSE-UP KATE
|
|
|
|
She's crushed. Boarding PASSENGERS jostle her as they head
|
|
for the ramp.
|
|
|
|
|
|
148 EXT. NEIGHBORHOOD - NIGHT 148
|
|
|
|
Harry and Marv's van slowly PULLS UP to the front of the
|
|
McCallister house.
|
|
|
|
|
|
149 INT. VAN - NIGHT 149
|
|
|
|
Harry and Marv look out. They exchange puzzled glances and
|
|
look again to the house.
|
|
|
|
THEIR POV - NIGHT
|
|
|
|
The lights are all on. Two chairs are turned toward the
|
|
window. He can see the back of a man's head and the back of
|
|
a woman's head. They're both wearing hats and jerking
|
|
slightly back and forth. LAUGHTER and MUSIC is heard.
|
|
|
|
|
|
150 INT. VAN - NIGHT 150
|
|
|
|
Marv is completely baffled. He shifts his eyes slightly to
|
|
the dining room window.
|
|
|
|
|
|
151 EXT. HOUSE - NIGHT 151
|
|
|
|
A shirtless sports hero bobs past the dining room window.
|
|
|
|
|
|
152 INT. VAN - NIGHT 152
|
|
|
|
Harry looks around Marv. They're-both confused.
|
|
|
|
MARV
|
|
Did they come home?
|
|
|
|
HARRY
|
|
From Paris?
|
|
|
|
They shrug and continue to watch.
|
|
67.
|
|
|
|
|
|
153 INT. HOUSE - DINING ROOM - NIGHT 153
|
|
|
|
CLOSE-UP: ELECTRIC TRAIN. The train is set up on a winding
|
|
track that is spread across the dining room. CAMERA FOLLOWS
|
|
the train, CAMERA RISES and WIDENS to reveal a straightened
|
|
coat hanger taped to the train cars. The life-size sports
|
|
hero cut-out from Buzz's room is taped, from the back to
|
|
the hanger which runs up the spine. A piano plays "JOY TO
|
|
THE WORLD".
|
|
|
|
|
|
154 INT. LIVING ROOM - NIGHT - CLOSEUP - PIANO KEYS 154
|
|
|
|
Kevin's uncertain fingers play with the keys. He tries to
|
|
concentrate on the sheet music. Each time there is a break
|
|
in the music, Kevin reaches over and touches the LAUGH BOX,
|
|
causing the laughter to begin. CAMERA MOVES DOWN FROM the
|
|
keys TO Kevin's foot. A pair of taut strings are tied to
|
|
his ankle.
|
|
|
|
He's wiggling his foot to the music.
|
|
|
|
CAMERA TURNS AWAY to reveal, sitting in the chairs at the
|
|
window, the mannequins from the basement. They're dressed
|
|
in Kate and Peter's clothes. String is tied around their
|
|
waists.
|
|
|
|
The wiggling of Kevin's foot rocks the mannequins in time
|
|
to the music.
|
|
|
|
|
|
155 INT. VAN - NIGHT 155
|
|
|
|
A confused and worried Harry and Marv continue to watch the
|
|
activity. Marv turns to Harry.
|
|
|
|
MARV
|
|
Somebody's in there.
|
|
|
|
HARRY
|
|
Yeah. C'mon. Let's get outta' here
|
|
before somebody sees us. We'll come
|
|
back again tomorrow. Maybe they'll
|
|
be gone by then.
|
|
|
|
|
|
156 EXT. HOUSE - NIGHT 156
|
|
|
|
The van pulls away. CAMERA PANS TO the dining room window.
|
|
|
|
Kevin's head peers up over the windowsill. Seeing the van
|
|
pull out of the driveway, Kevin smiles to himself.
|
|
68.
|
|
|
|
|
|
157 INT. MASTER BEDROOM - LATER - NIGHT 157
|
|
|
|
Kevin finishes flossing his teeth, shuts off the bathroom
|
|
light, turns ON the TV, crosses to the bed and gets in.
|
|
JOHNNY CARSON.
|
|
|
|
KEVIN
|
|
Heeeeeeere's Johnny.
|
|
|
|
|
|
158 EXT. PARIS - NIGHT 158
|
|
|
|
A cold sun is a moment away from rising.
|
|
|
|
|
|
159 INT. ROB MCCALLISTER'S APARTMENT - GUEST ROOM - NIGHT 159
|
|
|
|
Peter is in bed. He's not sleeping. He's staring out the
|
|
window.
|
|
|
|
CLOSEUP - MEGAN - NIGHT
|
|
|
|
She's in bed with Linnie. She's not sleeping CAMERA SLIDES
|
|
OVER TO Linnie. She's not sleeping, either.
|
|
|
|
CLOSEUP - JEFF - NIGHT
|
|
|
|
He's in bed with Fuller. Jeff can't sleep either
|
|
|
|
CLOSEUP - BUZZ - NIGHT
|
|
|
|
He's snoring like a bear.
|
|
|
|
|
|
160 INT. MASTER BEDROOM - LATER - NIGHT 160
|
|
|
|
Kevin watches TV for a moment before the lonely thoughts
|
|
creep into his head. He turns to the nightstand. He picks
|
|
up a family portrait in a silver frame.
|
|
|
|
Kevin pushes out his lower lip to keep from crying as he
|
|
looks at the photo.
|
|
|
|
KEVIN
|
|
I didn't mean it. If you come back.
|
|
I'll never be a pain in the butt
|
|
again. I promise.
|
|
|
|
He searches for and finds his strength. He addresses the
|
|
photo.
|
|
|
|
KEVIN
|
|
69.
|
|
|
|
|
|
Good night.
|
|
|
|
Kevin looks around the room. An instinctive reaction to
|
|
what will be an embarrassing act. He kisses the picture and
|
|
puts it back on the nightstand. He turns off the light.
|
|
|
|
CLOSE-UP TELEVISION
|
|
|
|
Johnny Carson is reading kid's letters to Santa Claus.
|
|
|
|
|
|
161 INT. DEGAULLE AIRPORT - DAWN 161
|
|
|
|
Kate is sleeping on the seats. She's curled up with her
|
|
purse for a pillow. A P.A. ANNOUNCEMENT wakes her.
|
|
|
|
MALE VOICE
|
|
This is the final call for boarding
|
|
American Airlines flight 561 to
|
|
Boston connecting to Detroit.
|
|
Standby passenger McCallister
|
|
please come to the ticket counter.
|
|
|
|
Kate sits up. She grabs her purse and her overnight bag.
|
|
She takes off.
|
|
|
|
|
|
162 INT. GROCERY STORE - NEXT DAY - DAY 162
|
|
|
|
Kevin is pushing a grocery cart. He's wearing a hat that's
|
|
I pulled down over his eyes. The collar on his coat is
|
|
turned up. He stops at the dairy section and picks up a
|
|
carton of milk.
|
|
|
|
|
|
163 INT. STORE - BREAD AISLE - DAY 163
|
|
|
|
Kevin comes down the aisle. He selects a loaf of bread. A
|
|
WOMAN shopper comes up behind him.
|
|
|
|
WOMAN
|
|
Pushing the cart for Mommy?
|
|
|
|
KEVIN
|
|
Yes, ma'am.
|
|
|
|
WOMAN
|
|
What a good littlehelper you are.
|
|
I'll bet you'll be getting lots of
|
|
swell things from Santa tomorrow
|
|
morning, huh?
|
|
|
|
KEVIN
|
|
70.
|
|
|
|
|
|
You never know.
|
|
|
|
The woman smiles as she passes him.
|
|
|
|
KEVIN
|
|
Excuse me. What's the stuff you put
|
|
in the washing machine to make
|
|
clothes feel as fluffy soft as a
|
|
kitten and smell as fresh as a
|
|
springtime breeze?
|
|
|
|
The Woman is puzzled by the request.
|
|
|
|
KEVIN
|
|
It's for... Mommy.
|
|
|
|
WOMAN
|
|
Fabric softener. Two aisles over.
|
|
|
|
KEVIN
|
|
Thank you and have a most Merry,
|
|
Merry, Merry Christmas.
|
|
|
|
He turns his cart around and heads up the aisle.
|
|
|
|
|
|
164 INT. STORE - CHECKOUT COUNTER - DAY 164
|
|
|
|
A college age CHECKOUT GIRL begins ringing up Kevin's
|
|
purchases. He smiles at her. She looks at him curiously.
|
|
|
|
He picks up a "Woman's Day" and leafs through it. She rings
|
|
up the milk, fabric softener, bread, soup, a microwave
|
|
dinner.
|
|
|
|
KEVIN
|
|
(refering to the dinner)
|
|
Are those any good?
|
|
|
|
CHECKOUT GIRL
|
|
I don't know.
|
|
|
|
KEVIN
|
|
I'll give 'em a whirl.
|
|
|
|
He goes back to the magazine. The Girl rings up a jar of
|
|
jelly, a bottle of Tide liquid, a four-pack of toilet
|
|
paper.
|
|
|
|
Kevin turns away a little as she rings up the TP.
|
|
|
|
KEVIN
|
|
71.
|
|
|
|
|
|
I wish I could use the stove. I'd
|
|
make some of these Macafurters.
|
|
|
|
He shows her the magazine.
|
|
|
|
KEVIN
|
|
They look good, don't they?
|
|
|
|
He smiles. The Girl nods. She can't figure him out. She
|
|
rings up a large package of plastic Army men.
|
|
|
|
KEVIN
|
|
For the kids.
|
|
|
|
The Girl picks up the final item — a quart carton of orange
|
|
juice.
|
|
|
|
KEVIN
|
|
Hold on.
|
|
|
|
He hands her a coupon.
|
|
|
|
KEVIN
|
|
It was in the paper this morning.
|
|
|
|
She rings up the orange juice, less the coupon savings.
|
|
|
|
CHECKOUT GIRL
|
|
$19.83.
|
|
|
|
KEVIN
|
|
Okay.
|
|
|
|
Kevin reaches into his jacket and takes out Buzz's twenty.
|
|
|
|
|
|
165 EXT. ALLEY - DAY 165
|
|
|
|
Kevin walks down the alley with his groceries. THe bags are
|
|
soft from wear and pose a terrible threat to break open, a
|
|
dozen steps and the bottoms burst on both bags and the
|
|
groceries tumble to the ground. Kevin sighs and begins
|
|
picking up the groceries.
|
|
|
|
|
|
166 INT. MCCALLISTER HOUSE - BASEMENT - LATER - DAY 166
|
|
|
|
Kevin is doing laundry. The laundry cycle is over. He
|
|
removes Kate's dress. He examines it. The stain is GONE.
|
|
Kevin smiles to himself.
|
|
72.
|
|
|
|
|
|
He places the dress on top of a laundry basket already
|
|
loaded with clothes. He lifts the basket and heads up the
|
|
stairs.
|
|
|
|
|
|
167 EXT. HOUSE - VAN - DAY 167
|
|
|
|
The Ford van is parked deep in the driveway of the house
|
|
next to the McCallister's.
|
|
|
|
|
|
168 INT. VAN - DAY 168
|
|
|
|
Harry and Marv are studying the back of the McCallister
|
|
house.
|
|
|
|
HARRY
|
|
I can't figure it. Right now, it
|
|
don't seen like anybody's home. But
|
|
last night... The place is
|
|
jumpin'... Somethin' ain't right...
|
|
|
|
CLOSE-UP HARRYY AND MARV
|
|
|
|
Looking out of the van. Harry opens the door.
|
|
|
|
MARV
|
|
What're you doing?
|
|
|
|
HARRY
|
|
I'm not convinced.
|
|
|
|
|
|
169 EXT. BACKYARDS - DAY 169
|
|
|
|
Harry crosses the neighbors yard to the McCallister's yard.
|
|
|
|
|
|
170 INT. KITCHEN - DAY 170
|
|
|
|
Kevin's doing dishes. He glances out the window. He
|
|
freezes.
|
|
|
|
HIS POV
|
|
|
|
Harry sneaks across the yards.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
A flash of fear. He's too prepared to let it cripple him.
|
|
He pulls the kitchen curtains closed and jumps down from
|
|
the chair he's standing on.
|
|
73.
|
|
|
|
|
|
171 INT. FAMILY ROOM - DAY 171
|
|
|
|
Kevin races into the family room and slams on the VCR. He
|
|
grabs the remote and dashes into the kitchen.
|
|
|
|
|
|
172 EXT. HOUSE - BACK PORCH - DAY 172
|
|
|
|
Harry walks up the steps and tries to peek in the drapes.
|
|
He steps back and pushes the doggie door with his foot.
|
|
|
|
|
|
173 INT. KITCHEN - DAY 173
|
|
|
|
Kevin nervously watches the door.
|
|
|
|
HIS POV
|
|
|
|
The doggie door flaps as Harry kicks it. The door knob
|
|
rattles.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He hits the remote. The movie starts.
|
|
|
|
MAN'S VOICE
|
|
Awright, Johnny. But what about my
|
|
money?
|
|
|
|
MOBSTER'S VOICE
|
|
What money?
|
|
|
|
|
|
174 EXT. HOUSE - BACK PORCH - DAY 174
|
|
|
|
Harry's completely mystified as to who could be in the
|
|
house.
|
|
|
|
MOBSTER'S VOICE
|
|
He's upstairs taking a bath. He'll
|
|
call you when he gets out.
|
|
|
|
Harry steps away from the door, jumps off the porch and
|
|
runs back to the van.
|
|
|
|
|
|
175 INT. VAN - DAY 175
|
|
|
|
Harry jumps into the van and slams the door.
|
|
|
|
MARV
|
|
What happened?
|
|
74.
|
|
|
|
|
|
HARRY
|
|
I'm goin' nuts! Now there's two
|
|
guys in the house and another guy
|
|
upstairs takin' a bath.
|
|
|
|
|
|
176 INT. 747 - NIGHT - KATE 176
|
|
|
|
She's sleeping on the plane.
|
|
|
|
|
|
177 INT. PARIS APARTMENT - LIVING ROOM - NIGHT 177
|
|
|
|
Peter's sitting alone in the living room, looking out at
|
|
the lights, thinking.
|
|
|
|
LINNIE
|
|
She comes into the room. She's in
|
|
her pajamas. She can't sleep.
|
|
|
|
LINNIE
|
|
Dad?
|
|
|
|
CLOSE-UP PETER
|
|
|
|
He turns to her.
|
|
|
|
PETER
|
|
What're you doing up, sweetheart?
|
|
|
|
CLOSE-UP LINNIE
|
|
|
|
She's troubled.
|
|
|
|
LINNIE
|
|
Where's Mom?
|
|
|
|
WIDER
|
|
|
|
Peter waves her over to him.
|
|
|
|
PETER
|
|
She stayed at the airport, she's
|
|
just got on a flight for Detroit.
|
|
|
|
Linnie sits down next to Peter.
|
|
|
|
LINNIE
|
|
She won't be here for Christmas.
|
|
Kevin won't be here for Christmas.
|
|
It won't even be like Christmas.
|
|
75.
|
|
|
|
|
|
PETER
|
|
We're just gonna delay it a little
|
|
bit.
|
|
|
|
LINNIE
|
|
I think it's a bad idea.
|
|
|
|
PETER
|
|
We don't have much choice,
|
|
sweetheart.
|
|
|
|
LINNIE
|
|
Families shouldn't be apart on
|
|
Christmas. No natter how mean they
|
|
are to each other the rest of the
|
|
year. Us here. Them there. It's
|
|
stupid. Daddy. Christmas isn't
|
|
about Paris.
|
|
|
|
CLOSE-UP PETER
|
|
|
|
There's a lot of truth in what Linnie is saying. He looks
|
|
away and nods as he comes to a realization.
|
|
|
|
|
|
178 EXT. DRIVEWAY - VAN - DAY 178
|
|
|
|
The van's still parked in the drive.
|
|
|
|
|
|
179 INT. VAN. - DAY 179
|
|
|
|
Harry and Marv are sleeping, snoring bark strippers.
|
|
|
|
|
|
180 EXT. MCCALLISTER HOUSE - BACK PORCH - DAY 180
|
|
|
|
Kevin comes outside. He slams the door.
|
|
|
|
|
|
181 INT. VAN - DAY 181
|
|
|
|
CLOSE-UP HARRY
|
|
|
|
One eye opens. He sits up, realizing he's fallen asleep
|
|
during his shift. He looks out the window.
|
|
|
|
|
|
182 EXT. MCCALLISTER HOUSE - MARV'S POV - BACK PORCH - DAY 182
|
|
|
|
Kevin walks down off the porch with a saw and disappears
|
|
into the back yard.
|
|
76.
|
|
|
|
|
|
183 INT. VAN - DAY 183
|
|
|
|
Harry smacks Marv. He wakes with a start.
|
|
|
|
MARV
|
|
What?!
|
|
|
|
HARRY
|
|
I got a bad feeling we're getting
|
|
scammed by a kindygartener.
|
|
|
|
MARV
|
|
Huh?
|
|
|
|
|
|
184 EXT. HOUSE - BACK YARD - DAY 184
|
|
|
|
Kevin saws the top off a six-foot fir tree behind the
|
|
garage.
|
|
|
|
|
|
185 INT. LIVING ROOM - LATER - DAY 185
|
|
|
|
Kevin has put the little tree into the tree stand. He's
|
|
found lights and ornaments and is decorating the tree.
|
|
|
|
|
|
186 EXT. HOUSE - BACK YARD - DAY 186
|
|
|
|
Marv is on the back porch, trying to look in the doggie
|
|
door.
|
|
|
|
Harry is on the other comer. He peeks in a window.
|
|
|
|
|
|
187 INT. LIVING ROOM - CLOSEUP - KEVIN - DAY 187
|
|
|
|
THROUGH the tree. He hangs a round, red glass ornament,
|
|
blocking his face. A beat and he gently pushes the ornament
|
|
aside and looks ahead fearfully.
|
|
|
|
KEVIN'S POV - DAY
|
|
|
|
PAST the ornament, THROUGH the tree TO the window and
|
|
Harry's face peering in. The ornament slowly returns to its
|
|
original position. We see Kevin reflected in its surface.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
Kevin yells at the top of his voice.
|
|
|
|
KEVIN
|
|
77.
|
|
|
|
|
|
Dad! Can you come here and help
|
|
me?!
|
|
|
|
|
|
188 EXT. HOUSE - BACK YARD - DAY 188
|
|
|
|
Marv has joined Harry. Harry smiles.
|
|
|
|
HARRY
|
|
The kid we saw the. other day. He
|
|
lives here.
|
|
|
|
MARV
|
|
If the kid's there, the parents
|
|
gotta be.
|
|
|
|
HARRY
|
|
(shakes his head)
|
|
No. He's home alone.
|
|
|
|
Marv grins.
|
|
|
|
|
|
189 INT. HOUSE - BUZZ'S ROOM - DAY 189
|
|
|
|
Kevin runs in, grabs Buzz's BB grin off the rack above his
|
|
bed, whips open his nightstand drawer and grabs a box of
|
|
BBs. He dashes out.
|
|
|
|
|
|
190 EXT. HOUSE - CLOSEST WINDOW TO BACKYARD - DAY 190
|
|
|
|
Kevin appears in the window with a BB gun. Kevin opens it
|
|
and looks out.
|
|
|
|
KEVIN'S POV - DAY
|
|
|
|
Next door. Harry and Marv walk toward their van. They are
|
|
talking. Kevin listens. Marv is incredulous.
|
|
|
|
MARV
|
|
You can't be serious... You wanna
|
|
come back tonight?
|
|
|
|
HARRY
|
|
MmmHmmm.
|
|
|
|
MARV
|
|
Even with the kid here?
|
|
|
|
HARRY
|
|
MmmHmmm.
|
|
78.
|
|
|
|
|
|
MARV
|
|
I don't think it's a very good
|
|
idea...
|
|
|
|
HARRY
|
|
(intense, angry)
|
|
Look... That house is the only
|
|
reason we started workin' this
|
|
block in the first place. Ever
|
|
since I laid eyes on that house...
|
|
I wanted it. That house is the
|
|
difference between me havin' a good
|
|
or a bad Christmas. And Marv... I
|
|
ain't had a good Christmas since
|
|
1962.
|
|
|
|
MARV
|
|
That long?
|
|
|
|
HARRY
|
|
That long
|
|
|
|
MARV
|
|
Gee, Harry. I don't wanna spoil
|
|
Christmas for ya'.
|
|
|
|
HARRY
|
|
Good. Now let's take this one step
|
|
at a time... He'll unload the van,
|
|
take a shower, get a bite to eat
|
|
and come back tonight... when it's
|
|
dark... around nine o'clock.
|
|
|
|
MARV
|
|
(smiles)
|
|
Yeah. Kids are ascared of the dark.
|
|
|
|
Kevin listens intently. Harry and Marv get inside the van.
|
|
|
|
The van backs out of the driveway.
|
|
|
|
BACK TO SCENE - DAY
|
|
|
|
Kevin's face is filled with concern, turning to worry and
|
|
fear.
|
|
|
|
He whispers to himself in a voice filled with fear.
|
|
|
|
KEVIN
|
|
Horn. Hhere are you?
|
|
|
|
|
|
191 INT. DETROIT METROPOLITAN AIRPORT - DAY 191
|
|
79.
|
|
|
|
|
|
A heavy snow falls outside. A desperate, tired and worn
|
|
Kate pleads with the TICKET AGENT.
|
|
|
|
KATE
|
|
Everything's full?
|
|
|
|
TICKET AGENT
|
|
(nods)
|
|
It's Christmas Eve.
|
|
|
|
KATE
|
|
What about another airline?
|
|
|
|
TICKET AGENT
|
|
(taps computer)
|
|
Nothing available. I suggest you
|
|
get a hotel room in the city.
|
|
Tomorrow afternoon. He can get you
|
|
a flight to Chicago...
|
|
|
|
KATE
|
|
I can't wait that long.
|
|
|
|
TICKET AGENT
|
|
I'm terribly sorry, M'am. There's
|
|
nothing else I can do. It's
|
|
hopeless.
|
|
|
|
KATE
|
|
(freaks, snaps)
|
|
Hopeless?!?... Hopeless?!?... Lady,
|
|
I've been awake for almost 60
|
|
hours... I've travelled from
|
|
Chicago to Paris to New Jersey just
|
|
to get home to my eight year old
|
|
son... And now that I'm this
|
|
close... you're telling me it's
|
|
hopeless?!?... Uh-uh. No way. It's
|
|
Christmas. The season of goddamn
|
|
perpetual hope. And I don't care if
|
|
I have to to hijack a pilot at
|
|
gunpoint, if I have to fly through
|
|
a 300 mile wall of solid snow, if
|
|
it costs me everything I own, or if
|
|
I have to sell my soul to the devil
|
|
himself... I'm going to get home to
|
|
MY SON!!!
|
|
|
|
The ticket agent just stares at Kate, as does everyone in
|
|
the terminal. Suddenly, a hand APPEARS on Kate's shoulder.
|
|
|
|
GUS
|
|
Maybe I can help.
|
|
80.
|
|
|
|
|
|
Kate turns. A curly haired man in his late thirties, GUS
|
|
POLINSKY, stands, beside her. Gus is dressed in his
|
|
travelling clothes. A sky blue banlon shirt, sansabelt
|
|
slacks, plastic loafers and a red satin jacket with the
|
|
words "GUS POLINSKI AND THE KENOSHA KICKERS" emblazened
|
|
across the back. He is holding an accordion case. Gus
|
|
extends his hand.
|
|
|
|
GUS
|
|
Gus Polinski. Polka king of the
|
|
midwest. That's my band over
|
|
there... The Kenosha Kickers...
|
|
|
|
Gus points to a row of men, seated a few feet away, dressed
|
|
in pastel, banlon shirts and polyester slacks, wearing red
|
|
satin jackets and holding their packed musical instruments.
|
|
|
|
Gus continues to speak, with Kate.
|
|
|
|
GUS
|
|
You a polka fan?
|
|
|
|
KATE
|
|
A little ...
|
|
|
|
GUS
|
|
Ever heard of the "I Don't Want Her
|
|
You Can Take Her She Can't Stuff
|
|
the Kielbasa Polka"?
|
|
|
|
KATE
|
|
Sounds familiar...
|
|
|
|
GUS
|
|
That's us. Sold six hundred and
|
|
fifty-eight copies. In Sheboygan
|
|
alone. That's a record for a polka
|
|
band.
|
|
|
|
KATE
|
|
Congratulations.
|
|
|
|
GUS
|
|
81.
|
|
|
|
|
|
Yeah. We were playing a 'Holly and
|
|
Hops' party at the Asbury Park
|
|
V.F.W. last night. We got a
|
|
Christmas gig lined up tomorrow at
|
|
the Milwaukee Jaycees... But they
|
|
cancelled our flight. So I sent
|
|
Stash, my clarinet player, to
|
|
"Avis"... He's gonna rent us a
|
|
truck. We're gonna brave this
|
|
treacherous weather and drive to
|
|
Wisconsin. Since Chi-town's on the
|
|
way...
|
|
(smiles)
|
|
I figured you might like to hop a
|
|
ride with us ...
|
|
|
|
Kate's eyes light. A POLKA version of "HAVE A HOLLY JOLLY
|
|
CHRISTMAS" FILLS THE SOUNDTRACK. WE CUT TO:
|
|
|
|
|
|
192 EXT. DETROIT EXPRESSWAY - DAY 192
|
|
|
|
Heavy snow continues to fall. A bright yellow Astro van
|
|
barrels along the icy, snow covered highway.
|
|
|
|
|
|
193 INT. ASTRO VAN - DAY 193
|
|
|
|
STASH, a curly haired fellow, drives.. CAMERA PANS TO the
|
|
back of the van. Gus and his band sit here, playing their
|
|
instruments, and singing along. Gus leads the vocals and
|
|
plays accordion. Kate sits amongst the polkateers. A forced
|
|
smile on her face.
|
|
|
|
|
|
194 EXT. DEPARTMENT STORE- DUSK 194
|
|
|
|
A small department store in town.
|
|
|
|
KEVIN (OS)
|
|
I'd rather stand if that's okay.
|
|
I'm a little old to sit on your
|
|
lap.
|
|
|
|
|
|
195 INT. DEPARTMENT STORE - DUSK 195
|
|
|
|
Kevin is standing at the knee of a store Santa.
|
|
|
|
SANTA
|
|
82.
|
|
|
|
|
|
Whatever. You want to tell Santa
|
|
what you want for Christmas? And
|
|
let me add that we close soon and
|
|
Santa has a little party to go to.
|
|
|
|
KEVIN
|
|
Sure. I understand. Okay. I know
|
|
you're not the real Santa Claus.
|
|
And to be honest I'm not real sure
|
|
the real Santa Claus is real but
|
|
just in case he is I'd like you to.
|
|
tell him something this year from
|
|
Kevin McCallister, 1135 Rivard
|
|
Blvd. Do you need the phone number?
|
|
|
|
Santa shakes his head, no.
|
|
|
|
KEVIN
|
|
Okay. This is extremely important.
|
|
Would you please tell him that
|
|
instead of presents this year I
|
|
just want my family back.
|
|
|
|
Santa doesn't understand.
|
|
|
|
KEVIN
|
|
No toys. Nothing but Peter, Kate,
|
|
Buzz, Megan, Linnie and Jeff and my
|
|
aunt and my cousins and if he has
|
|
time, my Uncle Frank. Okay?
|
|
|
|
SANTA
|
|
I'll see what I can do.
|
|
|
|
KEVIN
|
|
Thanks.
|
|
|
|
He starts to walk away.
|
|
|
|
SANTA
|
|
You want a candy came?
|
|
|
|
KEVIN
|
|
No, thanks. I don't want to spoil
|
|
my-appetite.
|
|
|
|
He pulls his hat down over his eyes and takes off.
|
|
|
|
CLOSE-UP SANTA
|
|
|
|
He's completely baffled.
|
|
83.
|
|
|
|
|
|
196 EXT. STREET - LATER - NIGHT 196
|
|
|
|
Kevin's walking home. It's dark. The street lights are on.
|
|
|
|
Kevin is walking slowly. He's looking at the houses.
|
|
|
|
HIS POV - MOVING - NIGHT
|
|
|
|
A house with lights around the door, lights burning in big
|
|
windows. People inside celebrating. Kids running around,
|
|
grandparents,aunts, uncles, cousins. It seems as if their
|
|
excitement and joy was made in the extreme to emphasize
|
|
Kevin's sorrow.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
Shuffling down the sidewalk, eyes on the house he's
|
|
passing.
|
|
|
|
He looks forward and stops suddenly.
|
|
|
|
HIS POV
|
|
|
|
A young MAN and WOMAN, she carrying a baby, he loaded with
|
|
gifts, walking from their car which is parked far down in a
|
|
crowded driveway to the sidewalk of the house Kevin's
|
|
watching.
|
|
|
|
|
|
199 EXT. HOUSE - NIGHT 199
|
|
|
|
The young family continues up the walk to the house. Kevin
|
|
stands at the foot of the walk, watching. CHURCH BELLS RING
|
|
in the distance.
|
|
|
|
CLOSE-UP: KEVIN
|
|
|
|
Kevin's eyes are brimming with tears. As strong as he wants
|
|
to be, it's too much for him. A tear falls. He wipes it
|
|
away, only causing more to fall.
|
|
|
|
|
|
200 INT. HOUSE - NIGHT 200
|
|
|
|
Kevin's framed in the door of the holiday house as the
|
|
young family passes off the baby and the gifts and takes
|
|
off their coats. Great warmth and cheer. Christmas music is
|
|
playing.
|
|
84.
|
|
|
|
|
|
Children are running wild, old men are laughing, grannies,
|
|
are yakicing. It's everything Kevin wants. He stands like a
|
|
sobbing statue at the end of the walk, lit by a coach
|
|
light, wiping tears from his cheeks with the backs of his
|
|
cold, bare hands.
|
|
|
|
The door closes on him.
|
|
|
|
|
|
201 EXT. CHURCH - NIGHT 201
|
|
|
|
A small, old frame church. We can hear the voices of a
|
|
CHOIR, rehearsing for the midnight mass. Kevin approaches
|
|
the church slowly, apprehensively. He-looks up at the
|
|
steeple, listens to the sweet voices inside mixing with the
|
|
RINGING BELLS.
|
|
|
|
Kevin gathers his courage and walks in.
|
|
|
|
|
|
202 INT. CHURCH - NIGHT 202
|
|
|
|
A couple of people sit in the first few rows — people
|
|
involved with the program. An elderly woman and her husband
|
|
sit several rows back. They're praying. Further back, we
|
|
see the silhouette of a man sitting alone. Kevin enters. He
|
|
peels off his hat and holds it tight to his belly.
|
|
|
|
HIS POV - MOVING - NIGHT
|
|
|
|
into the light, spaciousness and beauty of the old church.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin looks up into the ceiling as he slowly makes his way
|
|
down the aisle. He slips into a pew and sits. He unzips his
|
|
jacket a little bit and looks to his left.
|
|
|
|
The silhouetted man sits across the aisle from Kevin. The
|
|
man leans forward, out of the shadows and into the light.
|
|
It is MARLEY.
|
|
|
|
MARLEY
|
|
My great granddaughter's upthere
|
|
singing.
|
|
|
|
Kevin is startled that he has relatives. Didn't he kill his
|
|
family?
|
|
|
|
MARLEY
|
|
She's a very pretty little girl.
|
|
You might know her.
|
|
85.
|
|
|
|
|
|
KEVIN
|
|
I don't go to this church. I'm sure
|
|
she's very nice. And very pretty.
|
|
|
|
MARLEY
|
|
You live across the way from me.
|
|
|
|
Kevin nods.
|
|
|
|
HARLEY
|
|
You gonna sing tonight?
|
|
|
|
KEVIN
|
|
No, sir.
|
|
|
|
HARLEY
|
|
(looking up)
|
|
I was baptized In this church.
|
|
|
|
Kevin looks up.
|
|
|
|
HARLEY
|
|
I got married in this church. Hy
|
|
boys got married in this church. I
|
|
said goodbye to my wife in this
|
|
church.
|
|
|
|
Kevin looks down from the ceiling to Harley.
|
|
|
|
KEVIN
|
|
(after a long pause)
|
|
You got divorced in a church?
|
|
|
|
CHOIR - NIGHT
|
|
|
|
They end their number and look to the back of the church as
|
|
we hear the old man SNORT and CHUCKLE.One very pretty
|
|
twelve year old GIRL turns away, knowing that it's her
|
|
grandfather.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin smiles. Harley pats him on the knee and stops his
|
|
laughter. He takes his hankie out and blows his nose with a
|
|
loud honk!
|
|
|
|
HARLEY
|
|
I don't laugh too much anymore, but
|
|
you got me.
|
|
|
|
He puts his hankie back.
|
|
|
|
HARLEY
|
|
86.
|
|
|
|
|
|
What I meant was... was that the
|
|
services for my wife, when she
|
|
died, were here. In this church.
|
|
|
|
Kevin feels terrible.
|
|
|
|
HARLEY
|
|
It won't be too long before they
|
|
have my services here.
|
|
|
|
KEVIN
|
|
You shouldn't say that.
|
|
|
|
MARLEY
|
|
I'm an old mem. I've had a lot of
|
|
living.
|
|
(pause)
|
|
I'd like to be with my wife again.
|
|
|
|
KEVIN
|
|
Is that possible?
|
|
|
|
MARLEY
|
|
I believe it. Up in the kingdom,
|
|
not here.
|
|
(points)
|
|
Up there.
|
|
|
|
KEVIN
|
|
Oh.
|
|
|
|
MARLEY
|
|
This time for eternity.
|
|
(pause)
|
|
You been a good boy this year?
|
|
|
|
Kevin looks up at Marley. After a long beat he shakes his
|
|
head, no.
|
|
|
|
MARLEY
|
|
Fighting?
|
|
|
|
Kevin nods.
|
|
|
|
MARLEY
|
|
Back-talking? Disrespecting?
|
|
|
|
Kevin nods.
|
|
|
|
MARLEY
|
|
Telling fibs?
|
|
|
|
Kevin thinks.
|
|
87.
|
|
|
|
|
|
KEVIN
|
|
A few.
|
|
|
|
MARLEY
|
|
Maybe you oughta tell him.
|
|
|
|
KEVIN
|
|
Who?
|
|
|
|
Marley shifts his eyes up to the ceiling.
|
|
|
|
MARLEY
|
|
Him.
|
|
|
|
KEVIN
|
|
Should I bother him on Christmas?
|
|
|
|
HARLEY
|
|
He's open all year 'round. Twenty
|
|
four hours a day.
|
|
|
|
KEVIN
|
|
Okay.
|
|
|
|
HARLEY
|
|
He'll listen. You're a good soul.
|
|
|
|
KEVIN
|
|
I'm not sure if I am anymore.
|
|
|
|
HARLEY
|
|
You are. Bad souls can't bring
|
|
themselves to come in places like
|
|
this.
|
|
|
|
KEVIN
|
|
Is that true?
|
|
|
|
HARLEY
|
|
That's true. And you tell him about
|
|
the trouble you had with your
|
|
folks.
|
|
|
|
Kevin's startled that Harley knows.
|
|
|
|
KEVIN
|
|
You know about they?
|
|
|
|
HARLEY
|
|
88.
|
|
|
|
|
|
Just a guess. You get on your knee
|
|
and you ask Him to fix things for
|
|
you and your folks. You say please
|
|
and you say thank you for all the
|
|
other things he does for you. And
|
|
then you go on home where you
|
|
belong.
|
|
|
|
Kevin leans forward and kneels. He clasps his hands and
|
|
bows his head. He closes his eyes and silently prays.
|
|
Harley sits back and watches with a grin. Kevin finishes
|
|
and sits back in the pew. He looks at Harley.
|
|
|
|
KEVIN
|
|
How long does it usually take for
|
|
these things to work?
|
|
|
|
HARLEY
|
|
Give him 'till morning.
|
|
|
|
KEVIN
|
|
Okay.
|
|
|
|
Harley holds out his hand
|
|
|
|
MARLEY
|
|
Nice talking to you on this
|
|
Christmas Eve.
|
|
|
|
Kevin shakes his hand. It feels good to him to touch
|
|
another person. Kevin gets up and steps around Harley. He
|
|
stops, turns back and patshim on the shoulder.
|
|
|
|
KEVIN
|
|
Say hello to your wife for me when
|
|
you see her.
|
|
|
|
HARLEY
|
|
I sure will. And I hope you get a
|
|
big surprise when you get home.
|
|
|
|
Kevinsmiles.He turns and walks up the aisle.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He thinks about what the old man said. He's forgotten all
|
|
about the crooks. He stops cold, a look of panic comes over
|
|
him.
|
|
|
|
|
|
205 EXT. CHURCH - NIGHT 205
|
|
89.
|
|
|
|
|
|
Kevin blasts out of the church and tears off down the
|
|
street.
|
|
|
|
MONTAGE BEGINS
|
|
|
|
DARLENE LOVE'S "CHRISTMAS, BABY PLEASE COME HOME" FILLS THE
|
|
SOUNDTRACK playing over the following images of Kevin
|
|
preparing the house for the burglar's arrival:
|
|
|
|
Kevin's hands draw out a battle plan on a large sheet of
|
|
paper.
|
|
|
|
He places Micromachines on the floor, pours water on the
|
|
front and back stairs, sets a pillow and electric fan on
|
|
the dining room table, ties rope to the handle of a metal
|
|
paint can, pushes roofing nails through an asphalt shingle,
|
|
painting roofing tar on the basement stairs, removes the
|
|
front door knob, plugging in the soldering iron and jamming
|
|
it into the hole and attaching a rope from the third floor
|
|
window to his tree house.
|
|
|
|
MONTAGE ENDS.
|
|
|
|
CLOSEUP - CHRISTMAS TREE NIGHT
|
|
|
|
The lights go on.
|
|
|
|
|
|
208 EXT. HOUSE - NIGHT 208
|
|
|
|
The picture perfect Christinas Card house. Harm. Inviting.
|
|
|
|
Welcoming.
|
|
|
|
CLOSEUP - MICROWAVE - NIGHT
|
|
|
|
It goes off with a DING! Kevin opens it and takes out a
|
|
turkey dinner.
|
|
|
|
|
|
210 INT. KITCHEN - NIGHT 210
|
|
|
|
Kevin sits at the kitchen table. He's using a placemat,
|
|
linen napkin, crystal glass. As if his mother had set the
|
|
table for him. He bows his head over the microwave dinner
|
|
and says grace.
|
|
|
|
KEVIN
|
|
Bless this highly nutritious
|
|
microwaveable turkey dinner and the
|
|
people who sold it on sale. Amen.
|
|
90.
|
|
|
|
|
|
Kevin puts his napkin in his lap. He is about to take a
|
|
bite out of the dinner. There is a DISTANT CHURCH BELL
|
|
CHIME.
|
|
|
|
Kevin glances to the kitchen clock. It CLICKS to 9:00 P.M.
|
|
|
|
Kevin jumps up from the table and shoves the dinner back
|
|
into the microwave. He hurriedly cleans off the table. A
|
|
SECOND BELL CHIMES.
|
|
|
|
|
|
211 EXT. HOUSE - NIGHT 211
|
|
|
|
The van pulls into the driveway All the way up to the
|
|
garage and stops.
|
|
|
|
|
|
212 INT. KITCHEN - NIGHT 212
|
|
|
|
Kevin's cleaning up the kitchen. He hears the van. He grabs
|
|
his BB gun and runs to the lights.
|
|
|
|
KEVIN
|
|
This is it. Don't get scared now.
|
|
|
|
Kevin turns off the light.
|
|
|
|
|
|
213 EXT. HOUSE - NIGHT 213
|
|
|
|
Harry and Marv get out of the van.. A FIFTH BELL CHIMES.
|
|
Harry has the crowbar.
|
|
|
|
MARV
|
|
How do you want to go in?
|
|
|
|
HARRY
|
|
May as well knock and see if he'll
|
|
open up. Who knows?
|
|
|
|
MARV
|
|
Yeah. He's a kid. Kids are stupid.
|
|
I know I was.
|
|
|
|
HARRY
|
|
You still are.
|
|
|
|
MARV
|
|
Yeah, but I was a lot worse.
|
|
|
|
A SIXTH BELL CHIMES.
|
|
91.
|
|
|
|
|
|
215 INT. KITCHEN - NIGHT 215
|
|
|
|
Kevin is standing at the door, peeking out through the
|
|
curtains. He backs away. A beat and there's a sharp KNOCK.
|
|
|
|
HARRY (O.S.)
|
|
Merry Christmas, little fella. We
|
|
know you're in there and that
|
|
you're all alone.
|
|
|
|
MARV (O.S.)
|
|
Yeah, come on. Open up, kid. It's
|
|
Santa Claus and his elf.
|
|
|
|
A SEVENTH BELL CHIMES.
|
|
|
|
|
|
217 EXT. HOUSE - CLOSEUP - DOGGIE DOOR - NIGHT 217
|
|
|
|
The barrel of the BB gun slowly sneaks out of the doggie
|
|
door and points up.
|
|
|
|
HARRY (O.S.)
|
|
We ain't gonna hurt you.
|
|
|
|
MARV (O.S.)
|
|
We got some nice presents for ya.
|
|
|
|
An EIGHTH BELL CHIMES.
|
|
|
|
CLOSEUP - HARRY'S CROTCH - NIGHT
|
|
|
|
SEEN DOWN the BARREL of the BB gun.
|
|
|
|
HARRY (O.S.)
|
|
Be a good boy and open the door.
|
|
|
|
CLOSEUP - TRIGGER - NIGHT
|
|
|
|
Kevin's little finger squeezes the trigger.
|
|
|
|
|
|
220 EXT. PORCH - NIGHT 220
|
|
|
|
A sharp POP! and a TWING! Followed by the NINTH CHURCH BELL
|
|
chiming. Harry howls ...
|
|
|
|
HARRY
|
|
Yeeuuutz!
|
|
|
|
... and grabs his groin. Marv drops to his knees and whips
|
|
open the doggie door.
|
|
92.
|
|
|
|
|
|
221 INT. KITCHEN - DOGGIE DOOR - NIGHT 221
|
|
|
|
Marv's curious and angry face appears. A beat and his eyes
|
|
open wide in fear.
|
|
|
|
MARV'S POV - NIGHT
|
|
|
|
The muzzle of the BB GUN. POP!
|
|
|
|
|
|
223 EXT. PORCH - NIGHT 223
|
|
|
|
Marv jumps back, clutching his forehead.
|
|
|
|
MARV
|
|
Eeeeesssssssshhhh!
|
|
|
|
Harry is off the porch, pinching his groin. Marv joins him.
|
|
|
|
MARV
|
|
The little bastard's armed!
|
|
|
|
HARRY
|
|
I'll go around the front way. You
|
|
go in the basement.
|
|
|
|
Harry limps around the side of the house. Marv hangs back a
|
|
moment, rubbing his forehead.
|
|
|
|
|
|
224 EXT. FRONT PORCH - NIGHT 224
|
|
|
|
Harry hustles around the front of the house and jumps up on
|
|
the porch. It's a sheet of ice. .He hits it, falls to his
|
|
ass and slips into the bushes.
|
|
|
|
|
|
225 EXT. BASEMENT STAIRS - NIGHT 225
|
|
|
|
Marv starts down the stairs. Ice again. One step and Marv's
|
|
legs go out from under him.
|
|
|
|
|
|
226 INT. BASEMENT DOOR - NIGHT 226
|
|
|
|
THROUGH the window, we see Marv fly down the iced stairs.
|
|
He hits the basement door with a wham! The CROWBAR CLANGS!
|
|
He pulls himself up. A beat and he falls again.
|
|
|
|
|
|
227 EXT. FRONT PORCH - NIGHT 227
|
|
93.
|
|
|
|
|
|
Harry grabs a porch pillar and climbs back onto the porch.
|
|
|
|
He straddles the pillar and the door as he tries to reach
|
|
the knob.
|
|
|
|
|
|
228 EXT. BASEMENT STAIRWELL - NIGHT 228
|
|
|
|
Marv jams the crowbar in the door and cracks it open.
|
|
|
|
|
|
229 EXT. PORCH - NIGHT 229
|
|
|
|
Harry pushes off the pillar, slides toward the door,
|
|
doesn't quite make it, starts to slide back, steps forward
|
|
and falls on his face.
|
|
|
|
|
|
230 INT. BASEMENT - NIGHT 230
|
|
|
|
Marv steps into the basement. He feels for a light switch.
|
|
It doesn't go on. He feels his way through the dark to a
|
|
hanging bulb.
|
|
|
|
|
|
231 INT. HOUSE - SECOND FLOOR HALLWAY - LAUNDRY CHUTE - NIGHT 231
|
|
|
|
A steam iron with a string attached to the handle is
|
|
resting on the edge of the open chute. The string runs down
|
|
the chute.
|
|
|
|
|
|
233 INT. BASEMENT - MARV 233
|
|
|
|
He grabs the chain and yanks on it. The chain, socket,
|
|
bulb, and cord come loose in his hand. He looks at it as OS
|
|
we HEAR THE HORRIBLE CLATTER OF THE IRON FALLING DOWN THE
|
|
CHUTE. Marv looks up.
|
|
|
|
HIS POV
|
|
|
|
Into the chute. The iron FALLS INTO CAMERA.
|
|
|
|
BACK TO SCENE
|
|
|
|
Marv catches the iron square in the face and hits the deck.
|
|
|
|
|
|
235 EXT. HOUSE - FRONT PORCH - NIGHT 235
|
|
94.
|
|
|
|
|
|
Harry is back on the porch, clutching the pillar. He pushes
|
|
himself away from the pillar, using the crowbar. The
|
|
doorknob is within easy reach now.
|
|
|
|
CLOSEUP - DOORKNOB - NIGHT
|
|
|
|
It's glowing red with heat.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
A big cprin is on Harry's face. He reaches for the door
|
|
knob, grabs it and shrieks.
|
|
|
|
|
|
238 INT. FOYER - NIGHT 238
|
|
|
|
Kevin shakes his fist victoriously.
|
|
|
|
|
|
239 EXT. PORCH - NIGHT 239
|
|
|
|
He drops the crowbar and the knob. His extreme reaction
|
|
takes him off his feet and he lands square on his back and
|
|
slides down the steps, yowling in agony. Harry thrusts his
|
|
hand into a pile of dirty corn snow.
|
|
|
|
|
|
241 INT. BASEMENT - CLOSE-UP STEPS - NIGHT 241
|
|
|
|
One of Marv's shoes is stuck in the thick, drying roof tar.
|
|
|
|
CAMERA MOVES UP the stairs. One of Marv's socks is stuck in
|
|
the next stair. CAMERA continues to move. Marv's other shoe
|
|
is stuck in the next step. His other sock is stepping onto
|
|
the top step. CAMERA PANS UP. Marv is stepping out of the
|
|
sock, in his BARE FEET. He has a triangular series of
|
|
indentations peaking at his hairline caused by the
|
|
perforated underside of the iron. There is murder in Marv's
|
|
eyes as he steps onto the top landing.
|
|
|
|
CLOSE-UP LANDING
|
|
|
|
A shingle with protruding nailswaits for Marv's
|
|
approaching, NAKED FOOT.
|
|
|
|
CLOSE-UP MARV
|
|
|
|
He freezes for a moment, looks down and then howls with
|
|
pain.
|
|
|
|
BASEMENT STAINS
|
|
95.
|
|
|
|
|
|
Marv lifts his foot and the shingle. To steady himself he
|
|
grabs the stairrail. It comes loose in his hand and he
|
|
takes a backwards tumble down thestairs.
|
|
|
|
|
|
244 EXT. HOUSE - BACK PORCH - NIGHT 244
|
|
|
|
Harry limps up the porch steps, clutching his burned hand.
|
|
|
|
With some difficulty he manages to jimmie the door with his
|
|
crowbar, using only one hand. He sticks the crowbar under
|
|
his arm and carefully opens the door.
|
|
|
|
|
|
245 INT. KITCHEN - NIGHT 245
|
|
|
|
Harry enters slowly. As the door opens, the tension on the
|
|
wire ignites the torch. Harry's naked head is scorched. He
|
|
shrieks and jumps back out the door. It closes and the
|
|
torch goes off.
|
|
|
|
|
|
246 EXT. HOUSE - SNOWBANK - NIGHT 246
|
|
|
|
Harry drives his flaming head into the snowbank. The fire
|
|
is extinguished with a SIZZLE.
|
|
|
|
CLOSEUP - KEVIN'S BATTLE PLAN - NIGHT
|
|
|
|
Lit by flashlight. Kevin draws an "X" through a drawing of
|
|
the torched door.
|
|
|
|
CLOSEUP - HARRY - NIGHT
|
|
|
|
He rises INTO FRAME. The hair on the top of Harry's head is
|
|
burned away, his sideburns smoldering, blisters rising,
|
|
eyebrows singed, eyes wild with rage and teeth gritted.
|
|
|
|
|
|
249 EXT. HOUSE - BACK PORCH - NIGHT 249
|
|
|
|
Harry kicks open the door, snapping the torch wire. He
|
|
marches into the house.
|
|
|
|
HARRY
|
|
Where are you?... You little
|
|
bastard?!?
|
|
|
|
|
|
250 INT. BASEMENT - NIGHT 250
|
|
|
|
Marv stumbles to the door.
|
|
96.
|
|
|
|
|
|
251 INT. KITCHEN - NIGHT 251
|
|
|
|
Harry listens at the dining room door. It's closed.
|
|
|
|
HARRY
|
|
It's too late for you, kid! We're
|
|
in the house and we're cornin' for
|
|
ya.
|
|
|
|
KEVIN (O.S.)
|
|
Okay.
|
|
|
|
Harry grins.
|
|
|
|
|
|
253 INT. DINING ROOM - NIGHT 253
|
|
|
|
A room fan is resting on the table pointed at the dining
|
|
room door. A pillow's worth of feathers is heaped in front
|
|
of the fan.
|
|
|
|
CLOSE-UP FAN
|
|
|
|
A pencil is stuck in the fan blades. The MOTOR STRUGGLES
|
|
against the pencil. A string runs from the pencil to the
|
|
handle of the dining room door.
|
|
|
|
|
|
255 INT. FOYER - TOP OF STAIRS - NIGHT 255
|
|
|
|
Kevin is sitting at the top of the stairs. He calls to
|
|
Harry with complete confidence.
|
|
|
|
KEVIN
|
|
Cone and get ne.
|
|
|
|
|
|
256 INT. KITCHEN - NIGHT 256
|
|
|
|
Harry pulls open the dining door and rushes into the room.
|
|
|
|
The pencil is pulled out of the fan. The fan blades turn.
|
|
|
|
The feathers blow into the air.
|
|
|
|
Harry storms into the room and straight into the glued
|
|
Saran Wrap that spans the doorway. It sucks tight around
|
|
his face.
|
|
|
|
Harry roars with anger and peels off the wrap. Feathers
|
|
immediately stick to his face.
|
|
97.
|
|
|
|
|
|
HARRY
|
|
Shit!
|
|
|
|
|
|
257 INT. KITCHEN - NIGHT 257
|
|
|
|
Marv steps gingerly up the porch stairs and into the
|
|
kitchen in his bare feet.
|
|
|
|
MARV
|
|
What happened?!?
|
|
|
|
|
|
258 INT. FOYER - STAIRS - NIGHT 258
|
|
|
|
Kevin stands up. He's on full alert. They're both in the
|
|
house.
|
|
|
|
KEVIN
|
|
Do you guys give up!?
|
|
|
|
CLOSEUP - HARRY - NIGHT
|
|
|
|
He turns to reveal his face full of feathers, his hair
|
|
burned.
|
|
|
|
CLOSEUP - MARV - NIGHT
|
|
|
|
He's just as much a wreck. He curls his lip in an angry
|
|
snarl.
|
|
|
|
MARV
|
|
I wanna kill him!
|
|
|
|
|
|
261 INT. FOYER - NIGHT 261
|
|
|
|
Harry and Marv charge into the foyer.Marv's walking on his
|
|
heels to spare his punctured soles of his feet.
|
|
|
|
HARRY
|
|
Why the hell did youtake your shoes
|
|
off?
|
|
|
|
MARV
|
|
Why the hell did youset your head
|
|
on fire?
|
|
|
|
They hit the MicroMachines and hit the deck.
|
|
98.
|
|
|
|
|
|
Kevin, standing in the middle of the stairs, takes aim with
|
|
his BB GUN. Kevin PUMPS a SUCCESSION of BBs at the crooks
|
|
before running up the stairs.
|
|
|
|
KEVIN
|
|
Come and get me!
|
|
|
|
Marv and Harry scramble to their feet, rubbing their
|
|
stinging butts and backs. Marv dashes up the stairs. Harry
|
|
follows.
|
|
|
|
At the top of the stairs, Kevin holds a can of paint over
|
|
his head. He lets it fly. The paint can arcs out, the rope
|
|
tied to it pulls taut and the can swings rapidly into the
|
|
stairwell.
|
|
|
|
Marv looks up as he runs up the stairs. His eyes widen in
|
|
horror.
|
|
|
|
MARV
|
|
HEAD'S UP!
|
|
|
|
MARV'S POV - NIGHT
|
|
|
|
The paint can swings INTO CAMERA
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Marv ducks, revealing Harry's unsuspecting face. The paint
|
|
can strikes Harry. Square on the chin, knocking him off his
|
|
feet, off the stairs and into the foyer. Kevin hurls his
|
|
second can. Marv looks back down at Harry.
|
|
|
|
MARV
|
|
I'll get him for ya, Harry.
|
|
|
|
Marv turns and screams. Marv catches the second paint can.
|
|
|
|
He's knocked off his feet. Harry-is on his back in the
|
|
foyer.
|
|
|
|
He opens his eyes.
|
|
|
|
HARRY'S POV - NIGHT
|
|
|
|
Marv is sailing down on him.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
And it's a burglar sandwich.
|
|
99.
|
|
|
|
|
|
266 INT. HALLWAY - NIGHT 266
|
|
|
|
Kevin scoots down the hallway on his hands and knees,
|
|
toward the master bedroom.
|
|
|
|
|
|
267 INT. FOYER - NIGHT 267
|
|
|
|
Marv helps Harry to his feet.
|
|
|
|
MARV
|
|
He's only a kid, Harry. We can take
|
|
him.
|
|
|
|
HARRY.
|
|
Shut up.
|
|
|
|
MARV
|
|
You're missing some teeth.
|
|
|
|
Harry shoves Marv away and heads up the stairs.
|
|
|
|
|
|
268 INT. MASTER BEDROOM - NIGHT 268
|
|
|
|
Kevin is on the telephone.
|
|
|
|
KEVIN
|
|
Helpl My house is being robbed! I
|
|
live at 1132 Rivard. My name's
|
|
Murphy.
|
|
|
|
|
|
269 INT. FOYER - STAIRS - NIGHT 269
|
|
|
|
Harry and Marv trudge up the stairs. They are cautious,
|
|
keeping an alert eye on the railing above.
|
|
|
|
HARRY
|
|
You bomb me with another can, kid
|
|
and I'll snap off your cajones and
|
|
boil them in motor oil.
|
|
|
|
|
|
270 INT. HALLWAY - NIGHT 270
|
|
|
|
Kevin crawls out of the master bedroom.
|
|
|
|
|
|
271 INT. UPSTAIRS HALLWAY - NIGHT 271
|
|
|
|
Harry and Marv make the turn up the stairs and see Kevin.
|
|
100.
|
|
|
|
|
|
HARRY
|
|
There he is!
|
|
|
|
Kevin scampers down the hallway to the third floor stairs.
|
|
|
|
with the little strength they have left, Harry and Marv
|
|
take off down the hall, after Kevin.
|
|
|
|
CLOSEUP - DOORKNOB - NIGHT
|
|
|
|
A wire is tightly fastened around the knob. CAMERA PANS
|
|
ALONG the wire, it is connected to another doorknob, across
|
|
the hall
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Harry charges down the hall. Suddenly he's off his feet,
|
|
flipped forward with a TWANG 1 With the wire snapped, Marv
|
|
keeps moving. He jumps over the fallen Harry and lunges for
|
|
Kevin. Marv's hand grabs Kevin's ankle. Kevin holds onto
|
|
the third floor doorknob with both hands. He screams. with
|
|
his free leg he repeatedly kicks Marv in the head.
|
|
|
|
MARV
|
|
Harry! Get up! Grab him!
|
|
|
|
Harry doesn't move.
|
|
|
|
He is lying on the floor. His eyes open in horror.
|
|
|
|
HARRY'S POV - NIGHT
|
|
|
|
The tarantula runs INTO CAMERA.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Harry stands up, with the spider clinging to his face.
|
|
Harry is screaming. He peels off the spider and throws it.
|
|
Marv turns back to Harry.
|
|
|
|
MARV
|
|
Har...!
|
|
|
|
The spider lands on Marv's face. Marv lets go of Kevin's
|
|
ankle.
|
|
|
|
Kevin whips open the door and charges up the stairs. Marv
|
|
flicks the spider off his face.
|
|
|
|
In a panic, Marv grabs his crowbar, draws it back, draws a
|
|
bead on the spider... Harry is shivering with revulsion.
|
|
The spider climbs up on Harry's shoe.
|
|
101.
|
|
|
|
|
|
SEVERE UP-ANGLE - NIGHT
|
|
|
|
Marv has lost his senses for the moment. He brings down the
|
|
crowbar with all his force. Harry screams as the crowbar
|
|
slams down on his foot.
|
|
|
|
|
|
277 INT. BUZZ'S ROOM - NIGHT 277
|
|
|
|
The tarantula scoots back inside the room.
|
|
|
|
|
|
278 INT. HALLWAY - NIGHT 278
|
|
|
|
Marv drops the crowbar, realizing what he's done.
|
|
|
|
MARV
|
|
Harry! I'm...
|
|
|
|
Harry belts Marv in the face.
|
|
|
|
|
|
279 INT. ATTIC STAIRWELL - NIGHT 279
|
|
|
|
Kevin stands at the top of the stairs. He looks down into
|
|
the stairwell.
|
|
|
|
KEVIN'S POV - NIGHT
|
|
|
|
Steep drop. Harry, then Marv appear at the bottom of the
|
|
stairs.
|
|
|
|
HARRY
|
|
Now where you gonna go?
|
|
|
|
MARV
|
|
We was just gonna kidnap you. Now
|
|
we're gonna kidnap ya and feed ya
|
|
to the fishes.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin yells down to Harry and Marv.
|
|
|
|
KEVIN
|
|
Go kiss a dog on the lips!
|
|
|
|
Kevin dashes OFFSCREEN.
|
|
|
|
|
|
282 INT. STAIRWELL - NIGHT 282
|
|
102.
|
|
|
|
|
|
Harry and Harv hobble up the stairs
|
|
|
|
MARV
|
|
Can I shoot him?
|
|
|
|
HARRY
|
|
Right after I strangle him.
|
|
|
|
|
|
283 EXT. ATTICWINDOW - NIGHT 283
|
|
|
|
Kevin climbs into the window. He fastens a large metal hook
|
|
onto the rope. He secures his grip on the rope tied through
|
|
an eye on the handle. He looks down fearfully.
|
|
|
|
KEVIN'S POV - NIGHT
|
|
|
|
It is three stories down to the cold, dark, ground.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin gulps back his nerves and swings out of the window.
|
|
|
|
|
|
286 EXT. BACK YARD - NIGHT 286
|
|
|
|
Kevin slides down the rope, picking up speed as he heads
|
|
for his tree house.
|
|
|
|
KEVIN'S POV - NIGHT
|
|
|
|
MOVING DOWN the rope.
|
|
|
|
|
|
288 INT. TREE HOUSE - NIGHT 288
|
|
|
|
Kevin sails down the rope into the tree house. He puts up
|
|
his legs to absorb the impact.
|
|
|
|
|
|
289 EXT. TREE HOUSE - NIGHT 289
|
|
|
|
The back side. Kevin's legs burst through the weathered
|
|
wood.
|
|
|
|
|
|
290 EXT. TREE HOUSE - NIGHT 290
|
|
|
|
Kevin brushes himself off and shakes off the hurt.
|
|
|
|
|
|
291 INT. ATTIC BEDROOM - NIGHT 291
|
|
103.
|
|
|
|
|
|
Harry and Marv enter. They are quick to see the open
|
|
window.
|
|
|
|
MARV
|
|
Maybe he committed suicide.
|
|
|
|
Harry climbs up on the student desk beneath the window and
|
|
looks out.
|
|
|
|
|
|
292 EXT. ATTIC WINDOW - NIGHT 292
|
|
|
|
Harry scans the yard.
|
|
|
|
HIS POV - NIGHT
|
|
|
|
Kevin waves to him from the tree house.
|
|
|
|
KEVIN
|
|
Down here you big horse's ass! Come
|
|
and get me before I go call the
|
|
police!
|
|
|
|
|
|
294 INT. ATTIC BEDROOM - NIGHT 294
|
|
|
|
Marv calls up to Harry.
|
|
|
|
MARV
|
|
Come on!
|
|
|
|
He starts for the stairs.
|
|
|
|
HARRY
|
|
(looking back from the
|
|
window)
|
|
That's exactly what the little shit
|
|
wants us to do. Go back down
|
|
through his fun house and get tore
|
|
up more.
|
|
|
|
MARV
|
|
You gonna let him call the cops?!
|
|
|
|
Harry pulls out his handkerchief and wraps it around his
|
|
hand.
|
|
|
|
MARV
|
|
Not out the window, Harry.
|
|
|
|
HARRY
|
|
That's just what the kid's sayin'.
|
|
Come on.
|
|
104.
|
|
|
|
|
|
295 EXT. BACK YARD - NIGHT 295
|
|
|
|
Harry swings out the window on the rope and begins hand-
|
|
walking down it. Marv joins him.
|
|
|
|
|
|
296 INT. TREE HOUSE - KEVIN - NIGHT 296
|
|
|
|
Kevin grins and brings up a large pair of hedge trimmers.
|
|
|
|
CLOSEUP - HARRY - NIGHT
|
|
|
|
He stops cold, his eyes locked open.
|
|
|
|
HARRY
|
|
Oh, no ...
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin snips the rope. Harry and Marv crash into the side of
|
|
the house. They slide down the house and fall to the
|
|
ground.
|
|
|
|
Dazed. Shaken.
|
|
|
|
Kevin scampers down from the tree house and runs to the
|
|
van.
|
|
|
|
He opens the door to the van, puts it in neutral and runs
|
|
down the driveway. The van rolls down the driveway and hits
|
|
the curb.
|
|
|
|
Kevin runs across the street, to the Murphy house.
|
|
|
|
|
|
299 EXT. MURPHY HOUSE - NIGHT 299
|
|
|
|
Kevin arrives in the front yard. He stops, turns and looks
|
|
across the street, to his house.
|
|
|
|
KEVIN'S POV - NIGHT
|
|
|
|
Scratched and bruised,. Harry and Marv stagger out from
|
|
beneath the pile of broken icicles. Their eyes filled with
|
|
murder, they see Kevin across the street.
|
|
|
|
BACK TO SCENE - NIGHT
|
|
|
|
Kevin waves to the two crooks.
|
|
|
|
KEVIN
|
|
I'm calling the cops!
|
|
105.
|
|
|
|
|
|
Harry and Marv take off after Kevin. Kevin races across the
|
|
Murphys' lawn. Harry and Marv hobble across the street,
|
|
trying to catch up. Kevin rounds the front corner of the
|
|
house and runs into the backyard.
|
|
|
|
|
|
302 EXT. MURPHY HOUSE - BACK YARD - NIGHT 302
|
|
|
|
Kevin whips around into the back yard, runs down the cellar
|
|
steps and inside.
|
|
|
|
|
|
303 INT. MURPHY HOUSE - BASEMENT- NIGHT 303
|
|
|
|
Kevin enters. He looks around in the darkness, sees the
|
|
stairs leading upstairs and runs towards them. He sprints
|
|
up the stairs. He pulls the door open.
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He recoils in fear.
|
|
|
|
HIS POV
|
|
|
|
Harry and Marv are standing in the door.
|
|
|
|
HARRY
|
|
Evening, little nipper.
|
|
|
|
Kevin steps down off the top stair.
|
|
|
|
STAIRS - HARRY AND MARV
|
|
|
|
Marv reaches for Kevin. He's tapped on the shoulder. He
|
|
turns.
|
|
|
|
MARV
|
|
Huh?
|
|
|
|
MARV'S POV
|
|
|
|
A mem is swinging a wide metal snow shovel toweurd his
|
|
head.
|
|
|
|
Before Marv can react he is slammed in the face with the
|
|
snow shovel. Marv collapes. Harry turns.
|
|
|
|
HARRY'S POV
|
|
|
|
The snow shovel. Swinging into CAMERA. WHAM! The snow
|
|
shovel connects with Harry. He falls to the floor beside
|
|
Marv.
|
|
106.
|
|
|
|
|
|
CLOSE-UP KEVIN
|
|
|
|
He looks up.
|
|
|
|
HIS POV
|
|
|
|
Harley steps out of the shadows to reveal himself to Kevin.
|
|
|
|
WFTPTREY
|
|
A little trick I learned in South
|
|
Bend.
|
|
|
|
He winks.
|
|
|
|
|
|
308 EXT. MURPHY HOUSE - NIGHT - LATER 308
|
|
|
|
A pair of squad cars are pulled up in front of the Murphy
|
|
house. Officers are coming and going from the house.
|
|
|
|
|
|
310 INT. SQUAD CAR - NIGHT 310
|
|
|
|
Marv and Harry, handcuffed and looking half-dead, drop into
|
|
the back seat from either side. They sit exhausted,
|
|
confused, defeated, injured and humiliated.
|
|
|
|
|
|
311 EXT. HOUSE - SQUAD CAR - NIGHT 311
|
|
|
|
Harry looks out the window.
|
|
|
|
HARRY'S POV - NIGHT
|
|
|
|
The shirtless sports hero is in the window of the
|
|
McCallister house. Rocking back and forth. Kevin pops up
|
|
beside the sports hero. Seeing Harry, Kevin grins.
|
|
|
|
HARRY - NIGHT
|
|
|
|
curls his lip in anger;
|
|
|
|
|
|
314 EXT. STREET - NIGHT 314
|
|
|
|
The two squad cars drive off into the night.
|
|
|
|
|
|
315 INT. MCCALLISTER LIVING ROOM - LATER - NIGHT 315
|
|
|
|
Kevin places the gifts under his tree.
|
|
107.
|
|
|
|
|
|
317 INT. LIVING ROOK - NIGHT 317
|
|
|
|
Kevin sets a glass of milk and a plate of cookies and a
|
|
plate of carrots. He adjusts the family stockings that he's
|
|
taped to the mantel, and looks around proudly.
|
|
|
|
|
|
318 EXT. HOUSE - MORNING 318
|
|
|
|
A picture-perfect snowfall is in progress, having started
|
|
over the night.
|
|
|
|
|
|
319 INT. MASTER BEDROOM - DAY 319
|
|
|
|
Kevin is at the end of his sleep. He stirs, suddenly sits
|
|
up and listens carefully. The house is silent. He looks to
|
|
the window.
|
|
|
|
KEVIN'S POV - DAY
|
|
|
|
The glass is frosty and the rooftops are white.
|
|
|
|
Kevin smiles. He leaps out of bed and tears out of the
|
|
room.
|
|
|
|
KEVIN
|
|
Mom!
|
|
|
|
|
|
321 INT. FOYER - DAY 321
|
|
|
|
Kevin scrambles down the stairs, jumping the last few steps
|
|
and skidding on the wooden floor. He shoots into the living
|
|
room.
|
|
|
|
Kevin grinds to a halt, his face glowing with the biggest
|
|
smile of his life.
|
|
|
|
KEVIN AND HIS POV - DAY
|
|
|
|
No one's there. It's as he left it.
|
|
|
|
Kevin's smile falls. He's crushed. His work, his prayers,
|
|
his reformation, his courage, his independence. It's for
|
|
nothing.
|
|
|
|
KEVIN
|
|
Dammit!
|
|
|
|
He stomps to the coffee table and picks up a crystal
|
|
paperweight. He draws his arm back to heave it at the tree.
|
|
108.
|
|
|
|
|
|
He pauses, thinks better of it. He slowly re-turns the
|
|
paperweight to the table.
|
|
|
|
|
|
323 INT. FOYER - DAY 323
|
|
|
|
Kevin walks slowly out of the living room, into the foyer.
|
|
|
|
He stops at the bottom of the stairs. Something occurs to
|
|
him.
|
|
|
|
He crosses to the door and opens it.
|
|
|
|
|
|
324 EXT. HOUSE - DAY 324
|
|
|
|
Kevin in his pajamas. He sees nothing. He closes the door.
|
|
|
|
A beat. The sound of POLKA MUSIC is heard. The van rolls
|
|
in, FILLING the FRAME.
|
|
|
|
Kate steps out of the van, waving "Good-bye," thanking and
|
|
wishing a "Merry Christmas" to the musicians inside. She
|
|
gives a quick kiss to Gus. The van drives off. Kate looks
|
|
to the house.
|
|
|
|
|
|
325 INT. FOYER - DAY 325
|
|
|
|
Kate peeks in. She steps softly inside. She's concerned and
|
|
cautious. She quietly closes the door behind her. She
|
|
glances in the dining room. Then in the living room. She
|
|
looks back to the stairs. Thinks for a split second and
|
|
then turns quickly back to the living room.
|
|
|
|
|
|
326 INT. LIVING ROOM - DAY 326
|
|
|
|
Kate enters slowly. She's surprised and touched as she
|
|
sees...
|
|
|
|
HER POV - DAY
|
|
|
|
Kevin's tree, the gifts, then the stockings and finally the
|
|
cookies and the carrots.
|
|
|
|
KATE
|
|
|
|
Kate's eyes are filled with tears. She puts her hand to her
|
|
mouth to keep from crying.
|
|
109.
|
|
|
|
|
|
329 INT. MASTER BEDROOM - DAY 329
|
|
|
|
Kevin is sitting on the bed, holding the family portrait.
|
|
|
|
CLOSEUP - KEVIN'S TREE - DAY
|
|
|
|
Kate plucks a little antique silver Christmas bell ornament
|
|
off the tree. She shakes it.
|
|
|
|
CLOSEUP - KEVIN - DAY
|
|
|
|
No tears. Just defeat and sorrow. O.S. we hear the TINKLE
|
|
of the BELL. Kevin looks up, thinking he's hearing things.
|
|
|
|
Another TINKLE of the BELLS. Kevin puts the photograph down
|
|
and covers his ears to see if the sound is in his head.
|
|
It's not. He stands.
|
|
|
|
|
|
332 INT. UPSTAIRS HALLWAY - DAY 332
|
|
|
|
The BELL CONTINUES. Kevin pokes his head out of the bedroom
|
|
door, walks to the railing and looks over. He can't see
|
|
anything. But he can hear the BELL. He walks around the
|
|
railing and down to the landing.
|
|
|
|
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333 INT. HOUSE - FOYER - DAY 333
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Kevin appears at the top of the stairs. He looks down and
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doesn't see anything. The BELL RINGS AGAIN. He comes down
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the stairs. A loose STAIR CREAKS.
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CLOSEUP - KATE - DAY
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She knows now that he's home She grabs the bell to silence
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it.
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CLOSEUP - KEVIN - DAY
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He comes down the stairs, into the foyer and turns into the
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dining room.
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CLOSEUP - KATE - DAY
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She's standing in the entrance to the living room, smiling
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through her tears. She rings the bell.
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HER POV
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Kevin has his back to her. He straightens up and turns
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110.
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HIS POV
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Kate rings the bell.
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KATE
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Merry Christmas, sweetheart.
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CLOSEUP - KEVIN
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The sight of his mother Is so overwhelming he doesn't
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react.
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CLOSEUP - KATE
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She thinks his hesitation is anger.
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KATE
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I'm sorry.
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CLOSEUP - KEVIN
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He walks slowly to her, stopping in front of her.
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342 INT. FOYER - DAY 342
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Kate kneels before him. She kisses his forehead. He
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suddenly throws his arms around her and squeezes for all
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he's worth.
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She grabs him tight to her. She breaks the embrace and
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kisses both his cheeks.
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KEVIN
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Where's everybody else?
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KATE
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I'm sorry, honey. They're all ...
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343 INT. FOYER - FRONT DOOR - DAY 343
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It swings open and the haggard, bickering remainder of the
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family stumbles in. Buzz looks back to Megan.
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BUZZ
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I didn't fall asleep in the cab and
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drool all over you, did I?
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MEGAN
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I don't drool.
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111.
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LINNIE
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Will you guys please shut up?
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PETER
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Come on, you jerks, it's Christmas!
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They notice Kate and Kevin.
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PETER
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Kev!
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Kevin runs to his dad. Kate is dumbfounded to see the
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entire family home. Peter gives Kevin a hug.
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PETER
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You're okay!
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Buzz walks up to Kevin and grins.
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BUZZ
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It's pretty cool you didn't burn
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the place down.
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Buzz holds out his hand and smiles warmly. Kevin slaps it.
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Kate gives an incredulous look to Peter.
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KATE
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How did you guys?... I mean...?
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PETER
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He decided to get on the morning
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flight back. Remember? The one you
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didn't want to wait for?
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Kate nods. If she wasn't so happy, she'd would be
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frustrated.
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She kisses her husband and looks at everyone.
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KATE
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Who wants breakfast?
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PETER
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Who wants to get the presents out
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of the car? Jeff?
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JEFF
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I haven't even said 'hello' to my
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brother.
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(to Kevin)
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Hi. You didn't miss anything. The
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T.V. shows are all in French.
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112.
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LINNIE
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(TO KEVIN)
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I'll be the only decent person in
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the family and say that I really,
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really missed you and was worried
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about you. But you can't use that
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against me. Okay?
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Kevin nods. Megan turns to Linnie.
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MEGAN
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So you're saying I didn't miss him?
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I cried several times and often it
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was for real.
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PETER
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Go get the presents.
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KATE
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Somebody has to run out and find a
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store open. We don't even have
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milk.
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KEVIN
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I vent shopping yesterday.
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Everybody looks at him.
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KEVIN
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We have milk. And eggs. And fabric
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softener.
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PETER
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What else did you do while we were
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gone?
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CLOSEUP - KEVIN - DAY
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He thinks for a moment.
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KEVIN
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Just hung around.
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Everybody pauses. Kevin smiles and turns to CLOSE the front
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door. He looks across the street for a moment.
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KEVIN'S POV
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Marley stands at the curb of his house, being greeted by a
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family of five, emerging from astation wagon Marley
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embraces his son. As Marley hugs his Granddaughter, he
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opens his eyes and sees Kevin, watching him from the
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doorway of the McCallister house.
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113.
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Kevin and Marley exchange a warm and knowing smile.
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Kevin slowly closes the door to his home.
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FADE TO BLACK.
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THE END.
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TITLES ROLLOUT AND...
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CLOSE-UP TV
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The gangster movie's showing.
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MOBSTER
|
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Too bad Acey ain't in charge no
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more.
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MAN
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What do you mean?
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MOBSTER
|
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He's upstairs taking a bath. He'll
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call you when he gets out.
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MOBSTER
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I'll tell you what i'm gonna give
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you, Snakes. I'm gonna give you...
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349 INT. LOCK-UP - HARRY AND MARV - DAY 349
|
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|
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They're in the day room watching TV with the rest of the
|
|
offenders. They're dressed in blues. They look at each
|
|
other.
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END
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