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1.
1 EXT. HOUSE - EVENING 1
A big, old, three-story brick house in a small Chicago
suburb.
Three days before Christmas. There are lights and Christmas
decorations on the house and the surrounding houses.
2 INT. HOUSE - FOYER - NIGHT 2
A uniformed POLICE OFFICER is standing here. Middle-aged.
Paunchy. He's standing alone trying to catch the attention
of passing adults and children who cross the foyer, go up
and down the stairs and in and out of the house carrying
clothing, luggage, toiletries and wrapped Christmas gifts.
POLICE OFFICER
Excuse me... May I ... ? Is your
mother home?
3 INT. MASTER BEDROOM - NIGHT 3
KATE McCALLISTER is talking on the phone and packing a
suitcase. She's handsome and energetic, in her early
forties.
Still dressed from work.
KATE
I don't want any calls. I'm not
going to France so I can spend the
holidays on the phone.
KEVIN McCALLISTER enters. He's seven.
KEVIN
Mom? Uncle Frank won't let me watch
the movie but the big kids can. Why
can't I?
KATE
Kevin. I'm on the phone.
KEVIN
(insistent)
It's not even an "R". He's just
being a jerk.
2.
KATE
(to the phone)
Excuse me.
(to Kevin)
If Uncle Frank says, no. I say no.
Kevin flops down on the bed.
KATE
Get off there.
(to the phone)
I'm sorry. Say that again.
(to Kevin)
Get out of herel
KEVIN
Hang up the phone and make me, why
don't you?
Her husband, PETER, comes out of the bathroom with his
electric razor. He's 40, good-looking, easygoing.
PETER
Kate? Where's the voltage adaptor
thing?
KATE
I didn't have time to pick one up.
PETER
How am I going to shave?
KEVIN
Dad. Nobody'll let me do anything.
PETER
I'll let you do something. Pick up
your MicroMachines. Aunt Leslie
stepped on one and almost fell
down.
KATE
(covering the phone)
And he was in the garage again.
Playing with the glue gun.
PETER
What have I told you about that?
KEVIN
Did I b u m down the joint? I don't
think so. I was making ornaments
out of fish hooks.
3.
PETER
My good fish hooks?!?
KEVIN
I can't make ornaments out of the
old ones with the dried worm guts
stuck on them.
A woman, LESLIE McCALLISTER, comes into the room. She's in
her late thirties she's a bit chunky, extreme in her dress
and coiffure. She's Peter and Kate's sister-in-law.
LESLIE
There's a policeman downstairs.
PETER
What's he want?
KEVIN
Aunt Leslie? How come Uncle Frank
won't..?
LESLIE
In a minute, Kevin.
(to Peter)
I have no idea.
KEVIN
I'm sick of everybody saying...
(mocks her)
... "in a minute."
PETER
Kevin! Out!
(to Leslie)
Do you have a voltage adaptor?
LESLIE
That's just what I was going to ask
you.
4 INT. FOYER - NIGHT 4
The Police Officer is still waiting. TRACEY McCALLISTER
crosses through the dining room into the foyer. She's 14.
Very pretty. But dressed a little cheap.
POLICE OFFICER
Pardon me? Are your parents home?
TRACEY
4.
Yeah. But they don't live here.
She heads up the stairs as HEATHER McCALLISTER comes down
the stairs. She's nineteen and a cousin. She's wearing a
Northwestern University sweatshirt.
HEATHER
(to Tracey and Megan)
Did you call for the pizzas?
TRACEY
Buzz did. My dad said an American
hair dryer won't work in France. Is
that true?
HEATHER
You need a voltage adaptor.
TRACEY
What's that?
HEATHER
Ask your mom.
Tracey heads upstairs. The cop catches Heather's attention.
POLICE OFFICER
Excuse me. Are your parents here?
HEATHER
My parents live in Paris. Sorry.
She exits into the dining room, as SONDRA McCALLISTER,
enters the foyer. She's 11.
SONDRA
(to Heather)
Bon jour.
HEATHER
Wrong. That's good day.
POLICE OFFICER
Hi. Are your parents home?
SONDRA
Yeah.
POLICE OFFICER
Do they live here?
SONDRA
No.
5.
5 EXT. HOUSE - NIGHT 5
A LITTLE NERO'S PIZZA delivery car — a Red Ford Geo — with
a cartoon rendering of a Roman holding a pizza and the
slogan NO FIDDLIN' AROUND PIZZA IN THIRTY MINUTES OR LESS
painted on the side and on the lighted roof sign whips into
the driveway and skids to a stop.
6 INT. HOUSE - UPSTAIRS HALLWAY - NIGHT 6
Kevin and JEFF McCALLISTER come out of their bedroom.
Jeff's Kevin's nine year-old brother. He's lugging a large
canvas duffel bag. He's stocky and build, aggressive and
confident.
KEVIN
I don't know how to pack a
suitcase. I've never done it once
in my whole life.
JEFF
Tough.
KEVIN
That's what Megan said.
MEGAN McCALLISTER comes out of her room into the hall.
She's 15, aloof, regal, vain, self-absorbed.
MEGAN
What did I say?
JEFF
You told Kevin, "tough".
MEGAN
The dope was whining about a
suitcase. What am I supposed to do?
Shake his hand and say,
"Congratulations, you're an idiot"?
KEVIN
I'm not an idiot!
MEGAN
Oh really? You're completely
helpless. Everybody has to do
everything for you.
JEFF
She's right, Kev.
6.
Megan heads down the hall to the stairs and bounces down.
KEVIN
Excuse em, puke breath, I never
packed a suitcase.
LINNIE McCALLISTER, walks out of her room. She's twelve.
Perfectly beautiful.
LINNIE
I hope you didn't just pack crap,
Jeff.
JEFF
Shut-up, Linnie.
KEVIN
(to Linnie)
Do you know what I should pack?
JEFF
Buzz told you, cheek-face, toilet
paper and water.
Jeff continues to the stairs. Kevin hangs back with Linnie.
LINNIE
What're you worried about? Mom's
gonna pack your stuff anyway.
You're what the French call les
Incompetant.
Linnie turns on her heels and goes into room.
LINNIE
P.S. You have to sleep on the hide-
a-bed with Fuller and he still wets
his bed.
KEVIN
What happened to my room?
LINNIE
Heather, Tracey, and Sondra took
it.
KEVIN
This house is so full of people, it
makes me sick! When I grow upand
get married, I'm living alone!
He stomps away. Linnie laughs.
7.
7 INT. HALLWAY-STAIRS / FOYER 7
Jeff slings the duffel down the stairs.
JEFF
BOMBS AWAY!
CLOSE-UP POLICE OFFICER
He looks down at his feet and the bag that's just landed.
He looks up.
8 INT. BUZZ'S BEDROOM - MIGHT 8
BUZZ McCALLISTER and ROD McCALLISTER are in Buzz's room.
Buzz is packing his suitcase. He's stocky and muscular, a
jock with a three-inch, waxed flattop. Rod is thin and
lanky, dull and bookish. Rod is looking at Buzz's
tarantula.
ROD
Who's gonna feed your spider while
you're gone?
BUZZ
He just ate a shitload of mice
guts. He's good for a couple weeks.
(pause)
Is it true that French babes don't
shave their pits?
ROD
Some don't.
BUZZ
And they got nude beaches?
ROD
Not in the winter.
Kevin opens the door and walks in.
KEVIN
Buzz?
Buzz turns angrily to him
BUZZ
Don't you know how to knock, dick
rash?
KEVIN
8.
Can I sleep in your room? I don't
wanna sleep in the family room.
BUZZ
I wouldn't let you sleep in my room
if you were growing on my ass.
Buzz notices something out the window. He moves to the
window and points it out to Rod.
BUZZ
Check it out. Old man Marley.
CLOSE-UP KEVIN
The mention of Marley's name gives Kevin pause.
ROOM WINDOW
Buzz and Rod peer through the window.
BUZZ'S POV - MARLEY - NIGHT
A grizzled old fellow with a mangy Howard Hughes white hair
and beard, shuffles out to his mailbox in a bathrobe and
boots.
He gets his mail, hurriedly running back into the house.
BACK TO SCENE - NIGHT
ROD
Who's he?
BUZZ
Ever heard of the South Bend Shovel
Slayer?
ROD
No ...
BUZZ
That's him. Back in '58, murdered
his whole family and half the
people on his block with a snow
shovel. Been hiding out in our
neighborhood ever since.
ROD
If he's the slayer... How come the
cops don't arrest him?
9.
BUZZ
They got no proof. But everybody
around here knows he did it. That's
why he only comes out once a day.
To get his mail. His groceries and
everything else gets delivered. He
lives by himself. Never says a word
to anybody.
ROD
Wow...
BUZZ
I keep watchin' that show...
"America's Most Wanted." I know
he's gonna be on it someday. Then
I'm gonna call that 900 number.
Turn his ass into the authorities.
Make a trillion dollars.
He turns to Kevin and stalks him to the door
BUZZ
(mean)
And if you don't get outta my
room... I'm gonna tie you to his
front porch and ring the doorbell
until he comes out.
Kevin backs out of the room, scared. Buzz slams the door in
his face. He turns to Rod with a grin.
BUZZ
The microveenie has the balls of a
butterfly.
9 INT. FOYER - NIGHT 9
The PIZZA BOY nervously offers his stack of pizza boxes to
the Police Officer.
PIZZA BOY
(to the Officer)
$122.50. Sir.
POLICE OFFICER
I don't live here.
PIZZA BOY
Just here for the holidays?
10.
10 INT. HALLWAY - NIGHT 10
FRANK McCALLISTER comes out of the bathroom with a Michel
in Guide under his arm. He's Peter's brother. A bit
younger, bulky and balding in department store casual
clothes. Kevin comes out of Buzz's room. Frank gives him an
affectionate, if a bit too hard, pat on the head with his
Michelin Guide.
FRANK
Parlez vous Francais yet, squirt?
Kevin gives him a chilly look.
KEVIN
My name's Kevin.
FRANK
Yeah? You know what they're gonna
call you in France don't you?
KEVIN
What?
Frank reaches around behind him, grabs the waist of his
pants and gives him a sharp pull.
FRANK
YANK!
He snorts and continues down the hall. Kevin glowers at
him.
11 INT. FOYER - NIGHT 11
CLOSE-UP POLICE OFFICER AND PIZZA BOY
They're staring down.
THEIR POV
FULLER and BROOKE McCALLISTER are staring back up at them.
Fuller is five and wearing glasses. Brooke is eight and
she's wearing glasses.
The Pizza Boy leans over to Brooke and Fuller.
PIZZA BOY
You dinks are my witnesses. I was
here in 30 minutes or less.
11.
Frank comes down the stairs.
FRANK
Pizza's here!
He takes the pizzas from the Boy.
PIZZA BOY
$122.50.
FRANK
My brother'll get it. This is his
house.
He exits with the pizzas. A stream of kids run down the
stairs and cross into the dining room to the kitchen. Aunt
Leslie follows.
POLICE OFFICER
Are you Mrs. McCallister?
AUNT LESLIE
Yes. But I'm not the Mrs.
McCallister that lives here.
She exits into the dining room.
AUNT LESLIE
(calls)
Use paper plates, Frank! And don't
give Fuller any Coke!
Peter comes down. The cop points.
POLICE OFFICER
Are you the Hr. McCallister who
lives here?
PETER
Yes.
PIZZA BOY
Good. 'Cause somebody owes me
$122.50.
POLICE OFFICER
I need a word with you, sir.
PETER
My wife's coming right down. She'll
take care of both of you. Excuse
me.
12.
Peter exits. The cop and the Boy exchange confused looks.
12 INT. KITCHEN - NIGHT 12
It's a pizza orgy. The boxes are spread across the counters
and table. Everybody's talking at once, grabbing pizza,
opening and closing the refrigerator, drawers, cupboards.
AUNT LESLIE
Take napkins and get your own
drinks.
FULLER
What time do we have to go to bed?
UNCLE FRANK
Early. We're leaving the house at
eight A.M. On the button.
Kate comes down the back stairs into the kitchen.
KATE
Everybody have milk? I have to get
rid of it.
BROOKE
Mom... Does Santa have to go
through customs?
PETER
(to Kate)
Honey? The pizza kid needs $122.50.
KATE
For pizza?
Kate crosses to the counter, opens her purse, taking out an
envelope of travel money.
UNCLE FRANK
Ten pizzas times twelve bucks
AUNT LESLIE
Frank? You have money, don't you?
UNCLE FRANK
Traveller's checks.
KATE
We have it.
Kevin sifts through the pizza boxes.
13.
KEVIN
(looking up)
Did anybody order me plain cheese?
Buzz, his mouth packed with pizza, looks at Kevin.
BUZZ
Yeah. But if you want any,
somebody's gonna have to barf
theirs up because it's gone.
Kevin glares at Buzz, who smiles sadistically and begins to
feign a barf. Kevin charges Buzz, knocking the loaded plate
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.
333 INT. HOUSE - FOYER - DAY 333
Kevin appears at the top of the stairs. He looks down and
doesn't see anything. The BELL RINGS AGAIN. He comes down
the stairs. A loose STAIR CREAKS.
CLOSEUP - KATE - DAY
She knows now that he's home She grabs the bell to silence
it.
CLOSEUP - KEVIN - DAY
He comes down the stairs, into the foyer and turns into the
dining room.
CLOSEUP - KATE - DAY
She's standing in the entrance to the living room, smiling
through her tears. She rings the bell.
HER POV
Kevin has his back to her. He straightens up and turns
110.
HIS POV
Kate rings the bell.
KATE
Merry Christmas, sweetheart.
CLOSEUP - KEVIN
The sight of his mother Is so overwhelming he doesn't
react.
CLOSEUP - KATE
She thinks his hesitation is anger.
KATE
I'm sorry.
CLOSEUP - KEVIN
He walks slowly to her, stopping in front of her.
342 INT. FOYER - DAY 342
Kate kneels before him. She kisses his forehead. He
suddenly throws his arms around her and squeezes for all
he's worth.
She grabs him tight to her. She breaks the embrace and
kisses both his cheeks.
KEVIN
Where's everybody else?
KATE
I'm sorry, honey. They're all ...
343 INT. FOYER - FRONT DOOR - DAY 343
It swings open and the haggard, bickering remainder of the
family stumbles in. Buzz looks back to Megan.
BUZZ
I didn't fall asleep in the cab and
drool all over you, did I?
MEGAN
I don't drool.
111.
LINNIE
Will you guys please shut up?
PETER
Come on, you jerks, it's Christmas!
They notice Kate and Kevin.
PETER
Kev!
Kevin runs to his dad. Kate is dumbfounded to see the
entire family home. Peter gives Kevin a hug.
PETER
You're okay!
Buzz walks up to Kevin and grins.
BUZZ
It's pretty cool you didn't burn
the place down.
Buzz holds out his hand and smiles warmly. Kevin slaps it.
Kate gives an incredulous look to Peter.
KATE
How did you guys?... I mean...?
PETER
He decided to get on the morning
flight back. Remember? The one you
didn't want to wait for?
Kate nods. If she wasn't so happy, she'd would be
frustrated.
She kisses her husband and looks at everyone.
KATE
Who wants breakfast?
PETER
Who wants to get the presents out
of the car? Jeff?
JEFF
I haven't even said 'hello' to my
brother.
(to Kevin)
Hi. You didn't miss anything. The
T.V. shows are all in French.
112.
LINNIE
(TO KEVIN)
I'll be the only decent person in
the family and say that I really,
really missed you and was worried
about you. But you can't use that
against me. Okay?
Kevin nods. Megan turns to Linnie.
MEGAN
So you're saying I didn't miss him?
I cried several times and often it
was for real.
PETER
Go get the presents.
KATE
Somebody has to run out and find a
store open. We don't even have
milk.
KEVIN
I vent shopping yesterday.
Everybody looks at him.
KEVIN
We have milk. And eggs. And fabric
softener.
PETER
What else did you do while we were
gone?
CLOSEUP - KEVIN - DAY
He thinks for a moment.
KEVIN
Just hung around.
Everybody pauses. Kevin smiles and turns to CLOSE the front
door. He looks across the street for a moment.
KEVIN'S POV
Marley stands at the curb of his house, being greeted by a
family of five, emerging from astation wagon Marley
embraces his son. As Marley hugs his Granddaughter, he
opens his eyes and sees Kevin, watching him from the
doorway of the McCallister house.
113.
Kevin and Marley exchange a warm and knowing smile.
Kevin slowly closes the door to his home.
FADE TO BLACK.
THE END.
TITLES ROLLOUT AND...
CLOSE-UP TV
The gangster movie's showing.
MOBSTER
Too bad Acey ain't in charge no
more.
MAN
What do you mean?
MOBSTER
He's upstairs taking a bath. He'll
call you when he gets out.
MOBSTER
I'll tell you what i'm gonna give
you, Snakes. I'm gonna give you...
349 INT. LOCK-UP - HARRY AND MARV - DAY 349
They're in the day room watching TV with the rest of the
offenders. They're dressed in blues. They look at each
other.
END