diff --git "a/scripts/Home Alone.txt" "b/scripts/Home Alone.txt" new file mode 100644--- /dev/null +++ "b/scripts/Home Alone.txt" @@ -0,0 +1,6153 @@ + 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 + \ No newline at end of file