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