"HOME ALONE" (1990)

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. *

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.

I~ 4 OMITTED 4 *

KATE McCALLISTER is talking on the phone and packing a suitcase. She's handsome and energetic, in her early forties. Still dressed from work. *

KEVIN McCALLISTER enters. He's seven. *

Kevin flops down on the bed.

Her husband, PETER, comes out of the bathroom with his electric razor. He's 40, good-looking, easygoing.

KATE

1~· I didn't have time to pick one up. '·

PETER I I'll let you do something. Pick up !

your MicroMachines. Aunt Leslie

stepped on one and almost fell down.

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.

PETER * What's he want?

(to Peter) I have no idea.

(mocks her)

• • •"in a minute."

(to Leslie)

Do you have a voltage adaptor?

you. *

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.

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. *

Did you call for the pizzas?

Tracey heads upstairs. The cop catches Heather's attention.

She exits into the dining room, as SONDRA McCALLISTER, enters the foyer. She's 11. *

thru OMJ:'rTED thru *

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 'l'HIRTYMINUTESOR LESS painted on

the side and on the lighted roof sign whips into the driveway

and skids to a stop. . ·

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.

I don't know how to pack a suitcase.

I've never done it once in my whole

life.

MEGAN McCALLISTER comes out of her room into the hall. She's

I~ 15, aloof, regal, vain, self-absorbed. \ *

What am I supposed to do? Shake his

hand and say, "Congratulations, you're

an idiot"?

helpless. Everybody has to do

everything for you.

Megan heads down the hall to the stairs and bounces down. *

a suitcase.

LINNIE McCAtLISTER, walks out of her room. She's twelve.

Perfectly beautiful.

Jeff.

Do you know what I should pack?

paper and water.

Jeff continues to the stairs. Kevin hangs back with Linnie.

what the French call les Incompetant.

Linnie turns on her heels and goes into room.

hide-a-bed with Fuller and he still

wets his bed.

LINNIE I I * Heather, Tracey, and Sondra took it. *

makes me sick! When I grow up and

get married, I'm living alone! *

Be stomps away. Linnie laughs.

13B IN'l'. HALLWAY-STAIRS/ FOYER 13B *

Jeff slings the duffel down the stairs.· *

r CLOSE-UP POLICE OFFICER *

He looks down at his feet and the bag that's just landed. He * looks up. *

, . •

BUZZ MCCALLISTER and ROD MCCALLISTERare 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. *

r Kevin opens the door and walks in.

Buzz turns angrily to him.

Can I sleep in your room? I don't

wanna sleep in the family room.

Buzz notices something out the window. He moves to the window * and points it out to Rod.

The mention of Marley's name gives Kevin pause.

a • •

r' ROOM WINDOW

Buzz and Ro~ peer through the window.

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.

1( on his block with a snow shovel. Been

- hiding out in our neighborhood ever since.

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. *

The PIZZA BOYnervously offers his stack of pizza boxes to the Police Officer.

PIZZA BOY

$122.50. Sir.

· POLICE OFFICER I don't live here.

FRANK McCALLISTER comes out of the bathroom with a Michelin * 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.

Kevin gives him a chilly look.

call you in France don't you?

lCEVIN

What?

r

Frank reaches around behind him, grabs the waist of his pants

and gives him a sharp pull.

( *

YANK! *

He snorts and continues down the hall. Kevin glowers at him.

CLOSE-UPPOLICE 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.

Frank comes down the stairs. *

He takes the pizzas from the Boy.

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.

She exits into the dining room.

Peter comes down. The cop points.

Peter exits. The cop and the Boy exchange confused looks.

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.

Kate comes down the back stairs into the kitchen. *

Kate crosses to the counter, opens her purse, taking out an envelope of travel money. *

Kevin sifts through the pizza boxes.

Buzz, his mouth packed with pizza, looks at Kevin.

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. *

BACK TO SCENE *

Kate grabs Kevin. Peter lunges from his seat, knocking the * table, spilling a glass of milk. *

PETER * THE PASSPORTS! *

Frank shoves his. chair.back to avoid the river of milk heading * his way. •

He pins Fuller between the wall and the back of his chair.

FRANK!

Kate pulls Kevin off Buzz. Peter rescues the passports and

tickets. *

She gives him a violent shake.

KEVIN * _, Shut up. *

KATE * Say good night, Kevin. *

Kate yanks him.out of the kitchen. Peter holds the drenched * passports and tickets over the sink. •

The cop and the Pizza Boy are still waiting. They look to the dining room as Kate drags a struggling Kevin through.

She hands the Pizza Boy his money.

Kate gives the last of the cash to the Pizza Boy. *

He exits. Kate continues explaining to the cop.

for the holidays. My brother-in-law

I~ *

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. * I POLICE OFFICER I

Fine.

She marches Kevin up the stairs.

Moving away from the Police Officer, who smiles and winks. The cop's upper right incisor is gold.

Kate and Kevin round the landing and come up into the hallway.

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.

Solemn, distant CHURCH BELLS TOLL. Kevin's tough, little face droops. "Third Floor" is parent for "Bell." Kate knows she has the upper hand.

Kevin realizes the softer approach won't work.

·'

He steps onto the first stair.

KEVJ:N· 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!

Kevin bas 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.

She closes the door.

Kevin's furious that Kate closed the door on him. That he lost.

KEY.IN , I hope I never see any of you jerks again!. ·

Hearing himself, he realizes how wicked and horrible it sounds. He feels immediate remorse. ·

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.

-~

CLOSE-UP KATE ·

A curious look •. Why did he leave? She shru~s it off and continues down. · ··· • ~! :-- +.

thru OMITTED . thru 25 I '• 25

l ; ~ ·.

He slowly walks up the stairs. He's worried and frightened. Has he gone to~ far~ · , ..... ·. '·' .. ,- ,' .

' , ... 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 • .._,.· ._•· ··· ·,. · · . ' • ' .••,:·\':::·,;'';'•'·.\.'•>l::.\·:,..:,,.,,-• , ,, • ;· ,I ,-,; , .. -·· . ' .

.. • _1 • ',, .:, ~

,. --•-"-.': \ •\~..:••:.-J.•·;',t.~\>.••••••. I ••_'•,-..>:-._I,'•:,, 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 is

repairing th~ wire. · '·. ' . •·. - ~ *

• , .. ' ,.- ' • I • • •· • :_,'.-~ • • .; •'

• o • • •j ' '• o ' •' '. I_,,;';'••,:; ' • . - • Peter and Kate are still sleeping.· We hear the DOORBELL and

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.

...,, .

Parents and kids clamor down the stairs. *

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. *

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. I * I KATE Peter, you have the tickets.

Peter counts.

Heather wearily goes through her head count including the * neighbor Boy who is turned away, looking into the van.

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.

French. I * I

The parents come out. Peter locks the door. Leslie and Kate

hurry to the first van. Frank hangs back with Peter. *

tJNCLE FRANK You be positive. I'll be realistic.

They move toward the vans.

("" thru OMITTED thru * ' 36 36

The electric company LINEMAN approaches them. *

The Lineman shrugs. Kate and Leslie hurry to the first van. Peter and Uncle Frank get inside the other van.

Kate turns to Heather, her head against the window and eyes closed.

The two vans zip out of the drive and speed off down the street.

The two frenzied families run down the corridor.

The Air France flight has boarded. A COON'l'ERPERSONexits the ramp, and secures the door. The Mccallister horde thunders * into tbe departure area •

Did the plane leave?

The Counter· Person glances around the board to the windows and sees the plane is still in place.

She hurriedly takes all of the tickets, counting them quickly.

whatever's free.

The family storm into the tunnel as a·group.

r 42A

Kate and Peter move to their section. The kids hurry through the curtain, to the back of the plane.

It's closed. A long beat. The door opens. Kevin pokes his head out.

An Air France 747 takes off. In a thundering ROAR.

o.s. a TOILET FLUSHES. Kevin exits the bathroom, heads down the hall, to stairs. He's yawning, scratching his rump.

(" 47 INT. FOYER..;,.MORNING 47

Kevin comes down the stairs. Still unaware that he's alone.

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.

Sink. Stove. Counter. No people.

Something is starting to bother Kevin. He slowly sits up. He turns, looking around behind him.

The dining room table and chairs. But no people.

Kevin turns back. He slides off the chair and walks to the TV. He turns it OFF and listens.

I l

Kate and Peter are having breakfast. Frank and Leslie are

across the aisel from them.

Class while the kids fly coach?

coach. We flew station wagon. And

it wasn't to France. They're fine.

~ to be to come home from a vacation * \

to a house where the beds haven't been

made?

l ·s2 IN'l'. MASTElfBEDROOM- MORNING 52

The bed is unmade. Kevin enters the room.

Dad?

He walks toward the master bath. Kevin peeks into the * shower, looks into the linen closet.

thru OMITTED thru

55 IN'l'. BUZZ'S ROOM- MORNING - CLOSEUP-TARANTULA AQUARIUM 55

THROUGH the glass, PAST the tarantula, we see Kevin step into the room. Kevin scans the room.

HIS POV,

Buzz's messy room is dominated by sports and muscle heroes. * There is a row of sports figurines on one shelf.

SSA INT.BASEMENT - MORNING SSAA SSA

He opens the door and looks into the basement.

KEVIN I Is this a joke? Megan? Rod? Uncle J 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 huie, old boiler with wrapped pipes that look * like tentacles reaching into the floor and the house above, * a pair of naked store manne911ins, a work bench loaded with old * tools, jars of nails and paint cans and finally, a collection * of a dozen, old, tattered, marionettes hangini from the rafters * by their strings. It's an altogether unsettling place for a * lonely, young boy. *

CU>SEOP KEVIN *

He gulps at the mass of potentially scary material. *

r-- 558 INT. HOUSE ... BASEMENT STAIRS - MORNING 558 *

Kevin charges up the stairs as fast as he can go and slams the * door. *

thru OMITTED thru *

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.

He goes back inside.

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.

'l'he Air France 747 drifts AWAYFROM CAMERA.

62A OMITTED 62A *

A dirty, salt-stained Ford van drives slowly down the street.

r- Painted on the side of the van is -- "OH-KAY HEATING AND

PLUMBING."

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 MORCHENS, 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~

MARV

Paris. Whatever happened to just sittin' around the fireplace with your family ••• ? Roastin' chestnuts ••• ? Singin' Christmas Carols?

Kevin yells at the top of his voice.

Barry and Marv's van pulls deep into the neighbor driveway. CAMERA SWINGS BACK to reveal the Mccallister house a few doors

r down.

r

Kevin's in the kitchen, standing before the open refrigerator.

A cellar door bursts open. Harry and Marv enter.

thru OMITTED thru

A half gallon container sits on the counter. Dripping. A sticky, ice-cream-covered serving spoon rests on the counter beside the container. / I

the video tape. Be's eating a hu~e bowl of ice cream. Between

bites, he dips Cheetos into the ice cream. He's drinking a

Pepsi. *

mask with a rubber trunk. Buzz steps INTO FRAME. He's in shorts

with no shirt.

boy Mccallister. *

BUZZ * (stepping around behind * Kevin)

Hold on, Dad. Elephants don't wear •••

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.

The CAMERA swings down and goes off. It goes back on with Kevin * yelling and screaming to Peter. *

HOW WOULD YOU LIKE TO HAVESOMEBODY

PULL YOURPANTS DOWN IN FRONT OF

FEMALE RELATIVES WJ:TH BIG MOUTHS?

HUH?!

Kate rushes into FRAME and speaks to the CAMERA. *

(to Kevin)

Get in the other room!

I XEVIN I

Buzz pants'd me!

'KATE

I don't care what Buzz did, nobody

in this family hits anybody!

trouble? I should never have come here

with your stupid children.

vacation by yourself?

·("' Fine.

:KATE * We oughta just leave you and teach * you a lesson.

(to CAMERA)

BUZZ! SHUT THATTHINGOFF!

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 g;-in sneaks across his lips.

He bounces IN and OUT OF FRAME.

Kevin's jumping on the bed as he eats microwave popcorn •

A stack of Playboys.

Kevin has gone through Buzz's room and discovered his secret

suitcase. He's looking through a Playboy. It's not so great.

l<EVIN No clothes on anybody. Sickening.

He flips it aside, reaches into the trunk and comes up with a package of firecrackers.

Cool.

( He reaches.into it again and comes up with a handful of candy.

He pulls out a 4x6 school photo of a girl. *

78 IN'l'. HALLWAY- DAY 78

Kevin comes out of Buzz's room with a stack of sports

figurines. He crosses to the laundry chute and opens the door. *

He dumps the sports figurines down the chute. He listens as

they clang and bang down to the basement.

He heads down the stairs.

thru OMITTED thru *

BlA INT. KITCHEN - DAY- CLOSEUP- ICE CREAM CARTON 81A

A half gallon container sits on the counter. Dripping. A sticky, ice-cream-covered spoon protrudes from the container.

A movie is playing. We hear the dialogue.

(

~ SECOND MAN'S (V.O.) \

Awright, Johnny. But what about my money?

An action film is now playing. A door opens and a burly, scarfaced mobster looks out.

A thin, ashen-faced young man cowers at the sight of the mobster.

- 84 INT. FAMILY ROOM - DAY 84

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. *

The young man rears back in horror. He knows that Acey is dead. The mobster leans in. CLOSEand ugly.

The mobster lifts a MACHINE GUN INTO FRAME and OPENSFIRE.

Kevin's eyes are open wide. Filled with horror. The GUNFIRE ENDS.

Kevin grabs the remote control and STOPS the movie to avoid seeing the bloody carcass.

86 CLOSEUP - KATE - FIRST CLASS SECTION- NIGH'l'

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 are 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. ·

Kate rummages through the purse, comes up with passports and money.

(

Peter nods in the affirmative. Her thoughts are coalescing, taking a disturbing form.

Peter starts to worry that they've forgotten something important.

Kate nods slowly.

Peter thinks. That's the one.

She thinks. Peter thinks.

She stares into his eyes. It suddenly occurs to Kate what's troubling her. She grabs Peter's arm. She screams.

Ber cry coincides with a funny moment in the airplane movie

and is covered by the passengers' laughter.

88 IN'l'. HOOSE - FOYER- STAIRS - DUSK 88

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.

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 man Marley's house. Marley is scraping his front walk with * a snow shovel. Kevin Freaks. *

· 9 0 EXT. HOUSE - DUSK- WIDE 90

The street lights go on. Kevin jumps up and runs into the house. He slams the door.

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 o~ay. *

Kate isn't interested in Leslie's consolations. Frank leans

across. *

UNCLE FRANX * (to Peter)

If it makes you feel any better, I * forgot my reading glasses. *

The street lamps are fading "On". Harry and Marv's van is parked at the far end of the street.

(

Harry and Marv sit inside, surveying the street. Harry glances from his wristwatch to the various houses.

Outside, the white Christmas house lights of address #1128 turn on. Harry points to another house, while glancing to his watch.

outside, the Mccallister house lights FLASH ON. Harry smiles.

silver tuna.

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 I

marketable security. Who knows. It's I * a gem.

'MARVIN

We'll probably need a night and day

in there to clean it out.

The house is dark.

~- 93

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.

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.

• 9 3A INT. FOYER- NIGHT 93A

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.

Kevin dashes inside. Face to face with the Grandfather Clock./ The clock-suddenly comes to life. Its face and body di torts · for a moment, scaring the hell out of Kevin. Kevin screams and dashes out of the room.·

Kevin stops. Catches his breath. Gets a sudden chill.

(' 93D INT. BASEMENT - NIGHT 93D

A LOW ANGLE WIDE 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: KEVJ:N.

Pondering.

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.

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 slowly opens his eyes. The mannequins are calm. Quiet. The head at his feet is faceless. Kevin turns. Be looks at the enormous FURNACE ahead of him.

Kevin slowly walks to the furnace. Be 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.

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.

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 BACKto the furnace. It is calm. Still. Purring gently.

· 93E 93E thru OMITTED thru *

Kevin wakes up with a scream. *

The 747 touches down. *

Harry and Marv's Ford van pulls in the driveway.

Harry shuts off the lights and turns off the engine. They exit * the van. *

Kevin's sitting in the chair, ~reathing heavy, shaking off the * dream. He looks at the TV. He scr8lllbles to his feet and turns * on the light. he turns on another. *

("""' 93P EXT. HOUSE.·- BACKYARD- NIGHT 93P * '·

Harry and Marv walk down the cellar stairs *

Harry and Marv peek in the dirty windows of the cellar door. *

Harry positions his crowbar at the jamb. Behind them we see * light. *

Kevin's turned on the kitchen lights. He carefully opens the * basement stairs and ••• *

CLOSE--OP SWITCH *

He turns on the basement lights. *

Through the glass, looks of shock.·

Kevin turns on the kitchen TV and the radio. *

Harry and Marv hear the rrv. They turn to see the light. '

They race across the back yard, back to their van.

thrU OMIT'l'ED thru *

ROB MCCALLISTER,his wife, GEORGETTE,their eight year old son, KEITH, and eleven year old son, STEFFAN. Rob looks down at his kids.

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 puts his arm around Georgette and grins.

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 Rate.

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.

In the foreground. 'l'he running throng approaches, like a festive, holiday marathon. Kate arrives and grabs the phone. She turns and shouts orders to the others.

139 OMITTED 139 *

CLOSEUP KEVIN *

Kevin sitting on the top stair. He's terrified and breathing * heavily.

- 14 0 INT. AIRPORT - PHONEAREADAY .- KATEANDPETER 140

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 hurriedly dials another number.

A switchboard OPERATOR answers a call.

The following scene INTERCUTS BETWEEN the switchboard Operator and Rate, between DAY/NJ:GB'l'.

Peter reacts instinctively to the strength of the word.

She looks to Peter.

Kate curses silently, and silently turns to Peter.

Peter nods, gives a comforting smile and hurries off to the ticket counter. A voice interrupts Kate on the phone.

A grumpy, prune faced officer in a rumpled uniform sits behind a desk. His PHONERINGS and he answers.

( OFFICER BALZAK

Has the child been involved in a household accident?

( KATE

But they just transferred me to you •••

Kate stops herself from smashing the receiver into the wall. The kids, Leslie and Frank surround her. Kate gives a hopeful look.

The kids shake their heads. Kate turns to Frank and Leslie. They shake their heads.

thru OMITTED thru

~ .'~ ' I \ Kevin stands up. The sadness is gone. He's finding his

courage.

Peter is there. Kate walks into the scene. Peter turns to

Kate. He is solemn. I PETER { Tonight's flights are all booked.

(

( Kate gives a frustrated sigh. Peter tries to comfort her.

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.

r" Kate nods. It's her_. only hope.

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.

Mr. Marley steps out 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.

149 OMITTED 149 *

Kevin runs into the Foyer screaming. Be slams the door and * runs up the stairs screaming. *

(' 149B INT. KITCHEN - NIGHT 149B *

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. *

Kevin jumps into his bed and scrambles under the covers. *

A Police Officer steps up on the porch and rings the bell.

CLOSEUP KEVIN *

He peaks out from under the covers. Be's shocked. *

'149F EXT. FRONT PORCH- NIGHT 149F *

The Officer bangs on the door.

~ '. * ,\

CLOSEUP KEVIN *

His eyes are wide with terror. Be pulls the covers over his * head. *

The Police Officer steps back and looks up at the house. It * looks okay to him. He returns to his car. *

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. ·

(' 151 OMITTED 151 ,

( 152 EXT. MCCALLISTER HOOSE- NEXT MORNING 152

A dark, grey day. *

thru OMITTED thru *

He's taken a shower. His hair is wet and he has a towel * wrapped around his waist. He's being very adult and very * conscientious about his brushing. *

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! *

We hear Kevin scream inside. * I

158 J158 thru OMITTED · thru

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. CRASBl

(

The tin box hits the floor and splits open, spilling coins and crumpled bills.

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.

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.

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.

'l6JA 163A thru OMITTED thru ~ 163B 163B I 164 HIS POV~ DAY· 164

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 I thought the Murphy's went to I Florida •••

Kevin shrugs and EXlTS FRAME, hurrying by Marley's house.

165 OMITTED 165 *

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

166 IN'l'. ROB MCCALLISTER'SAPARTMENT - NIGHT 166

Peter stands in the foreground on the telephone. Megan and

Buzz are talking. *

MEGAN * You aren't even worried. Are you?

BUZZ

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. *

Marv and Harry are sacking the house. Marv is dumping drawers. The PHONE RINGS. He freezes. An ANSWERING MACHINE CLICKS ON.

As Peter recites the number, Marv recognizes something in Peter's message.

,. , .. , MARV (smiles) You're right. They're gone.

CLOSE-OP PHARMACY CLERIC

LEANING INTO CAMERA. A WOMAN in her mid-fifties. A little too

much make-up, a little too much hairspray~ She's grinning.

Kevin's at the pharmacy counter. He sets a toothbrush on the * counter.

American Dental Association? .

DOOR- CIDSE-tJP FEE'l'

( The door opens and a pair of worn galoshes shuffle in.

so.

PHARMACY COONTER *

The clerk is wearing half-glasses trying to read the printing * on the toothbrush package. *

CLERK * It doesn't say, hon. *

STORE - CLOSE-UPGALOSHES *

Shuffling down an aisle. *

CLOSE-UP CLERX *

She sets down the 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.

BIS POV - CLOSE-OPBAND * I CAMERA follows the hand up to a tattered overcoat sleeve to •• .! *

CLOSE-OP MARLEY *

He's looking down at Kevin. A HORROR STING. *

CLOSE-UP KEVIN *

TERROR! He backs away from the counter. *

HER POV *

Marley's at the counter, looking back at Kevin as he moves away *

,·

CLERK * Bon? you pay for that here. *

CLOSE-UP KEVIN *

He doesn't hear her, pars her no mind, doesn't think that he * has the toothbrush in his hand. He's only interested in getting * out.

HIS POV *

MOVING AWAY. The Clerk is calling to him. Marley's watching * him. *

CLERK * Son? Come back! Hey! *

CLERK * Stop that boy! *

He's overwhelmed by panic. Be turns and bursts out of the * store.· *

thru' OMITTED thru

Kevin speeds out of the'drugstore, across the street, past Santa's Village. 'l'he Stockboy 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. 'l'he 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 *

STOCXBOY * Shoplifter!

People within earshot turn at the stockboy's cr:y. All eyes * are upon Kevin. Accusing. Angr:y. 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.

170A KEVIN'S MOVING POV 170A

Ice ska~ers leaping out of his path.

The cop attempts to make his way across the ice rink. • Stumbling.- Be 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. Be glances back. ~-. · · ... ' KEVIN'S POV/'.__.· · ::· ; . ,° · • .. -·~,.;·:·.~·,:: .: / ·:.!.:-...' The cop is being helped to his feet by two skaters. ' . :, .

Kevin turns ~d continues running, DISAPPEARING into the suburbs.

thru OMITTED thru

• ' I ' Marley is paying for a purchase.

.. . INSERT - A BAANDAID BOX

·. :: - ~ ~- Kevin shuffles down the street, tired,' cold and frightened. Be looks at the toothbrush in his hand.

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~

~ Be ·exits toward the back of the house.

, , ....·, As he passes through.the kitchen, Marv stuffs a dish towel in the sink drain. H~. turns on the water. He grins sadistically. ';.:·::/:rt~:,:'. .,~:::~...... .... .'

179 E~. HOOSE·-, DAY ··o;· ~-, .179

l :-. ,. •• -~. ' ~ -- • I· _, • ,,, ,;_ . .. .. Harry, s i~ .,th~;,van~-.:·· Th~.MOTOR,s RUNNING.Marv comes out, looks to the street-and quickly deposits his loot in the van. ' '• ' . • ,•'. ':·,,•.;,;--.' •.,. ' : ,'.' '• I , • ... • •• !,, • ! ' : , •. ' ~ t ·:• ~ ,._ •

A huge haul from the house sits in the back of the van. The · door slides shut.- A grinning Harv gets inside. Harry glare_s·· at him·· · . ,,, ·· ... . ' :•· ·_:,:-, '.T''>::_:··.,,.·~·<.:·-.:.'•_'.. ·, ,. · ·.·f .?· · · ..· ··· HARRY . ···.··::···,Youdid it again. Didn.'t ya'? You · · .,· • . --'{ '.,: left the water runnin' •. ,_;'..~----~-.,~·:\/~--~~.:.··_...7?~J~-~---~·~·:-/·:.:,:.~~~·;';' ;,,.. .' . -. .- . . . . Marv continues. to ''smile. deviou~ly, saying nothing •

_.:~-.-:/ ·-i~,:/~:~/ti:,.f\..I ~old yfou tito stop_ that •. There's no;,f:.:_ ..., ·,.. · ,.. ,.,,,,.,..,.·•··.reason or •. ·.. ·•,.. ·-'··..

- -._,:?_:;'.>:-:t.:ritt~ef'.';.)\:~t?l~~~rf;./f·-MARV.:: , . .,::-. _ .. !.,.:·...'.{;;_(\'.;_-Harry~\'~ ·,. It's our calling· card •. All ·, , . --·;:·::·,_:·::ti·~the great, ones 1eave their mark.·

Ha~ stares· incredulously at Harv for a moment, then puts the

, ·. /,• Sick bastard.· -· ··--: ·...·tt\r-:;_,:,•...-..-:·:

181 · EXT. HOOSE·.:.:oRIVEWii.'\:·~i~ ... 181

·. ... ' . ' :, :t·~,~:--' - ... The van backs' _0ut.'Fs-,~~v~~,.continues to walk down the street.

182 EXT, B~S~::Lk/ '.i?~}'ii''''•·.··•

Th~ v~ ;c~;:~~'-do~.:~e- 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 'l'IRE 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. ; '.·.· :'. - · · · · - ·

54 •

\

The van slides to a stop on Harry's face.

Kevin's frightened little face. Nose nearly touching glass.

Harry feigns a look of false concern. Be doesn't recognize Kevin. He rolls down his window.

Marv leans around Harry and adds his less skillful two cents. *

Kevin takes a step back away from the van.

Harry smiles and winks, revealing his geld tooth. *

, 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. Be starts to run across the street. The van stops.

Harry looks back out the window.

· HARRY

( I seen a hundred kids this week.

fF" , 186 CLOSEUP - KEVIN - DAY 186

Kevin reaches the parkway, when he realizes that the van has stopped. Be slows and peeks over his shoulder.

The van, waiting in the middle of the street.

Barry watches the mirror.

190 EX'l'. STREET - DAY 190

Kevin is walking down the street. The van is tailing him. Kevin hurriedly begins to sprint. Be turns and disappears around the corner. The van follows.

As Barry and Marv turn the corner, a blank, puzzled look covers Harry's face.

thru OMITTED thru

Harry and Marv squint. Baffled.

fi?" 193A EXT. STREET - CHURCH- DUSK 193A *

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 Men and various animals are here. There is also a very realistic LITTLE DRUMMER BOY standing over the manger. Head lowered.

Staring out the window, at the nativity scene, then looking away.

CAMERA COLLIES 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 DISAPPEARaround the corner.

Harry is still baffled.

Harry grins. Marv laughs. Harry hits the gas.

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. ·

F'. 194

Kevin runs as fast as he can. All up and down the block. The CHURCH BELI.S 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. *

thru OMITTED thru *

Kevin runs in and turns on the foyer light, locks the front door, secures the chain and the deadbolt. He collects himself.

He runs up the stairs.

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.

207A MONTAGE 207A

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/ 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.

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 tbe front door. It's written in child's

( hand, it reads: "BACX 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.

Kevin is listening to the Brenda Lee song. 'l'HE DOORBELLRINGS. Kevin jumps up, turns OFF the CD PLAYER and sneaks into the kitchen. ·

The Pizza Boy tries to look in the window. The kitchen door curtains are closed. He knocks. A voice comes from inside.

PIZZA BOY Little Nero's Pizza, sir! I have your pizza.

~ The mobster MOVIEfast-forwards, stops, and the mobster says

• • •

MOBS'l'ER (V. 0. ) Leave it on the doorstep and get the hell outta here.

The picture freezes. MtJ'1'E comes on and it steps to the next cut.

The Pizza Boy is startled by the angry tone of the man's voice.

Kevin holds the remote towards the combination TV- VCR. The speakers are hooked up to the television. Kevin un-pauses the video picture.

( Kevin hits pause, mute and stop. ·~

229 CLOSEUP - TELEVISION- NIGH'l' 229

The picture unfreezes.

The Pizza Boy looks'at the ticket.

Kevin counts out twelve dollars of Buzz's money. It's difficult for him. He lifts the doggie door and flips the money out.

~- ·. 232 EXT. PORCH - NIGH'l' 232

The Pizza Boy.reaches down for the money and is disappointed to see ~at it's only twelve dollars.

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.

The Pizza Boy stares fearfully at the shadow of the Nutcracker, which resembles a gangster holding a gun. * MOBSTER (V. 0. ) Onel Two! ••• Ten!

Kevin drops a row of LIT FIRECRACKERS into the metal kitchen garbage can. They EXPLODE, creating a LOUD GUNFIRE SOUND.

Hearing the "gunfire', the Pizza Boy picks himself up and scraml:)les to his car.

They SPIN and the car zips OUT OF FRAME.

I~

Kevin cautiously opens the door and retrieves his pizza. He comes back in, grinning.

I I

Kate has snared a MIDDLE-AGED WOMAN and is trying to talk her * out of her seat assigbment. *

KATE * I have the five hundred dollars, * pocket translater, the first class * -- that's an upgrade from your coach * seat. *

WOMAN * Is that a real Rolex? *

She displays a modest sapphire ring.

A MIDDLE-AGED MAN joins them.

seats back to Chicago next week plus

a ring, a watch, a pocket translator,

five hundred dollars and •••

What do we do about our Christmas

plans?

Kate holds out her wrist.

MAN I * I don't like it either. I

(shakes his bead)

Tha~ anyway.

(to the wife)

Let's go.

My little boy's home all by himself.

I'm desperate. I beg you. From A

mother to a mother. Please. *

He takes her arm and leads her away.

He sneaks a look back at Kate. *

CLOSE-UP KATE *

She's crushed. Boarding PASSENGERS jostle her as they head for * the ramp. *

Harry and Marv's van slowly PULLS UP to the front of the Mccallister house.

- 239 INT. VAN - NIGHT 239

Harry and Marv look out. They exchange puzzled glances and

I ~

look again to the house.

The lights are all on. Two chairs are turned toward the window. ·We 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.

Marv is completely baffled. He shifts his eyes slightly to the dining room window.

A shirtless sports hero bobs past the dining room window.

Harry looks around Marv. They're·both confused.

They shrug and continue to watch.

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 WIDENSto 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".

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 MOVESDOWN FROMthe 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.

A confused and worried Harry and Marv continue to watch the activity. Marv turns to Harry.

247 EX'l'. HOUSE- NIGHT 247

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. ·

~ 248 INT. MASTER BEDROOM - LATER - NIGHT 248

Kevin finishes flossing his teeth, shuts off the bathroom light, turns ON the TV, crosses to the bed and gets in. JOHNNY CARSON.

A cold sun is a moment away from rising.

Peter is in bed. He's not sleeping. He's staring out the window.

- 252 CLOSEUP- MEGAN - NIGHT 252

She's in bed with Linnie. She's not sleeping. CAMERA SLIDES OVER TO Linnie. She's not sleeping, either.

Be's in bed with Fuller. Jeff can't sleep either.

I He's snoring like a bear.

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 ~utt * again. I promise. *

~'

He searches for and finds hi~ strength. He addresses the * photo. *

~ KEVIN * I

Geed 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. *

255 OMITTED 255 *

Kate is sleeping on the seats. She's curled up with her purse for a pillow. A P.A. ANNOUNCEMENT wakes her.

American Airlines flight 561 to Boston

connecting to Detroit. Standby * passenger McCal-lister please come to * the ticket counter.

Kate sits up. She grabs her purse and her overnight bag. She takes off.

thru OMITTED thru

I 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.

Kevin comes down the aisle. He selects a loaf of bread. A *

I'll bet you'll be getting lots of

swell things from Santa tomorrow

morning, huh? *

KEVIN. * 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.

Ir KEVIN

Thank you and have a most Merry, * Merry, Merry Christmas. *

He turns his cart around and heads up the aisle.

A college age CHECKOUT GIRL begins ringing up Kevin's purchases. He smiles at her. She looks at him curiouslf. He picks up a "Woman's Day" and leafs through it. She rings up the milk, fabric softener, bread, soup, a microwave dinner. *

He goes back to the magazine. 1'he 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.

KEVnf I wish I could use the stove. I'd make.some of these Macafurters.

Be shows her the magazine. *

He smiles. The Girl nods. She can't figure him out. She rings up a large pac~age of plastic Army men.

The Girl picks up the final item -- a quart carton of orange juice.

He hands her a coupon.

~ She rings up the orange juice, less the coupon savings.

Okay~

Kevin reaches into his jacket and takes out Buzz's twenty. *

266A EX'l'. ALLEY-DAY 266A *

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. *

thru OMITTED thru *

( (

Kevin is doing laundry. 'l'he launclry cycle is over. He removes Cate's dress. He examines it. The stain is GONE. Kevin smiles to himself.

He places the dress on top of a laundry basket already loaded with clothes. He lifts the basket and heads up the stairs.

281A OMITTED 281A *

282 EX'l'. HOUSE- VAN - DAY 282

The Ford van is parked deep in the driveway of the house next to the McCallister's.

Harry and Marv are studying the back of the Mccallister house.

MARV * What're you doing?

I Harry crosses the neighbors yard to the McCallister's yard. I *

Kevin's doing dishes. He glances out the window. He freezes. *

HIS POV *

Harry sneaks across the yards. *

CLOSE-UP REVIN *

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. •

[ i

~ 283C INT. FAMILY ROOM - DAY 283C *

Kevin races into the family room and slams on the VCR. He grabs * the remote and dashes into the kitchen. *

Harry walks up the steps and tries to peek in the drapes. He * steps back and pushes the doggie door with his foot. *

Kevin nervously watches the door. *

HIS POV *

The doggie door flaps as Harry kicks it. The door knob rattles. *

CLOSE-OP KEVIN *

He hits the remote; 'l'he movie starts. *

money?

Harry's completely mystified as to who could be in the house.

I MOBSTER'S VOICE I

He's upstairs taking a bath. He 1 11-

cal~ you ~hen he gets out. *

Harry steps away from the door, jumps off the porch and runs

back to the van.

Harry jumps into the van and slams the door.

in the house and another guy upstairs *

l\ takin' a bath.

( 283H IN'l'. 747 - NIGHT - KATE 283H *

She's sleeping on the plane. *

28JI IN'l'. PARIS APARTMENT- LIVING ROOM - NIGHT 283I *

Peter's sitting alone in the l~ving 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-UPPETER *

He turns. to her. *

PETER * What're you doing up, sweetheart? *

CLOSE-UPLINNIE *

She's troubled. *

LINNIE * Where's Mom?

PETER * She stayed at the airport. She's just * got en 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. *

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 matter how mean they

are to each other the rest of the

year. Us here. Them there. It's

stu~id, Daddy. Christmas isn't about * Paris.

and nods as he comes to a realization.

The van's still parked in the drive. *

Harry and Marv are sleeping, snoring bark strippers. *

Kevin comes outside. He slams the door. *

CLOSE-OP HARRY *

One eye opens. He sits up, realizing he's fallen asleep during * his shift~ He looks out the window. *

thru OMITTED thru *

Kevin walks down off the porch with a saw and disappears into * the back yard. *

thru OMITTED thru

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? *

Kevin saws the top off a six-foot fir tree behind the garage.

Kevin has put the little tree into the tree stand. He's found lights and ornaments and is decorating the tree.

Marv is on the back porch, trying to look in the doggie door. Harry is on the other corner. He peeks in a window.

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.

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. I

CLOSEE-UP XEVIN *

Kevin yells at the top of his yoice.

317 EX'l'. BOOSE - BACKYARD - DAY 317

Marv has joined Harry. Harry smiles.

The kid we saw th~ other day. He lives here.

Marv grins. *

318 IN'l'. HOUSE- BUZZ'S ROOM- DAY 318

Kevin runs in, grabs Buzz's BB 'gun off the rack above his bed, whips open his nightstand drawer and grabs a box of BBs. He da~hes out.

Kevin appears in the window with a BB gun. Kevin opens it and looks out.

3·20 KEVIN'S POV - DAY 320

Next door. Harry and Marv walk toward their van. They are talking.· Kevin listens. Marv is·incredulous.

HllRY :MDDDHJDJDJD. I I MARV I don't think it's a very good idea •••

Kevin listens intently. Harry and Marv get inside the van. The van backs out of the driveway.

Kevin's face is filled with concern, turning to worry and fear. He whispers to himself in a voice filled with fear.

(' 321A INT. DETROIT METROPOLITAN AIRPORT- DAY 321A

A heavy snow falls outside. A desperate, tired and worn Kate pleads with the TICKET AGENT.

Everything's full?

TICXE'l' AGEN'l' (nods) It~s Christmas Eve.

KA'l'E What about another airline?

TICKET AGENT

Nothing available. I suggest you get a hotel room in the city. Tomorrow afternoon ••• We can get you a flight to Chicago •••

KA'l'E I can't wait that long.

TICKET AGEN'l'

, I'm. terribly sorry, M'am. There's

nothing else I can do. It's hopeless.

75 •

.. Hopeless? l .?• • • Hopeless? 1?. • • Lady, I've beeri awake for almost 60 hours ••• I've travelled from Chicago to Paris · ·.J• to 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?17 ••• 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 .

:·--·.costs me· everything I own, or if I· . .. ,. have I to sell my soul to the devil

· ~-,:". my son! 11/') -·

The· ticke:t_ ~gent,-:j~s~/ ~~~~e~ at Kate, as does everyone in the terminal.· Suddenly, a hand APPEARS on Kate's shoulder •

•.\ ( 1 ~i: . ' ..:>:..',';,;.':·r: ,:!, \(-~~;::\{ ~f::):?::·;·,.sus·:: .. ' . .,·

:. • '. i ' ' ' J • , • ••• ~ ' ..~' • •

~ :.

• 'I•, • _,/' :~• .:;:>•~\-,:••:?-.;:.-~:•,,,:•:•.~~jJ.l:;~:~;}:•r..~;•:\••;~•-'•'' ' . • :: •• •, • • ••• .·,( Kate turns·/_-:::_A. curly. haired· man in his late thirties/ GUS: . -~·-. · POLINSKY/. stan~s .. beside her •.. Gus is dressed in his travelling· clothes·;·"):- A· sky· blue banlon shirt, sansabelt slacks, plastic loafers 'and"'a red··satiri jacket with the words· "GUS POLINSKI , .. AND THE KENOSHA KICKERS." eml:>lazened across the back.· He is holding ari accordion case.-. Gus extends his hand •

..::··-:"..:{{~·;/.·:_,_;;.;J•jf{\~:r,:~~~?\?:~s_·.; · · , · · .. · .

· • · ._:· ·; :_,Oi:'/''::';·The· Kenosha Kickers. • • · · ... ·

Gus points to a row of men, seated a few feet away, dressed. in pastel; banlon shirts and iolyester slacks, wearing red satin jackets and hclding the r packed musical instruments. Gus continues to speak ..with Kate. . .·

You a polka fan? ..~ .'\·'•.'\::f:'/~t¥:=~'.~./:'.-~~... •,•,'

A littl• .•.• .- :: · < ~•..·:1~:. f•l~'=<:~?~~-..; - ~·· . GUS Ever heard of the "I Don't Want Her You Can Take Ber She can't Stuff the Kielbasa Polka"?

KATE Sounds familiar ••• . ...

.. ,·.:'·,

•.:>·::'---;;.~:,}y-'. ·. ·-.. ' ~- , 1 ' .- ._. ' • • ' ,' ~ .. ·.. V '•

XA'l'E Congratulations.

Kate's eyes light. A POLKA version of "HAVEA HOLLYJOLLY CHRISTMAS" FILIS THE SOUNDTRACK. WE CUT TO:

(

Heavy snow continues to fall. A bright yellow Astro van barrels along the icy, snow covered highway.

STASH, a curly haired fellow, drives •. CAMERAPANS TO the backl 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.

321D 3210 thru OMITTED thru *

A small department store in town. *

KEVJ:N (OS.)

I'd rather stand if that's okay. I'm * a little old to sit on your lap.

( *

(' 321G INT. DEPARTMENT STORE - DUSK 321G *

Kevin is standing at the lo)ee of a store Santa.

SAN'l'A

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.

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.

Would you please tell him that instead • of presents this year I just want my

family back.

Santa doesn't understand.

aunt and my cousins and if he has * time, my Uncle Frank. Okay? *

SANTA I

I'll see what I can do. I

Thanks.

Be starts to walk away.

SANTA * You want a candy cane?

No, thanks. I don't want to spoil my• • appetite.

Be pulls his hat down over his ey~s and takes off.

CLOSE-OP SAN'l'A

( *

He's completely baffled. *

thru OMITTED thru

Kevin's walking home. It's dark. The street lights are on. Kevin is walking slowly. Be's looking at the houses.

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.

CLOSEE-UP KEVIN *

Shuffling down the sidewalk, eyes on the house he's passing.

He looks forward and stops suddenly.

gifts, walking from their car which is parked far down in a * crowded driveway ta the sidewalk of the house Kevin's watching.

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. *

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.

Children are running wild, old men are laughing, ~annies, are

yakking. 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.

(

thru OMITTED thru

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 u~ at the steeple, listens to the sweet voices inside mixing with the RINGINGBELLS. Kevin gathers his courage and walks in.

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.

331 HIS POV - MOVING- NIGH'l' 331

into the light, spaciousness and beauty of the old church.

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.

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. . *

: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 kods

so.

KEVIN * No, sir. *

Kevin looks up.

Kevin looks down from the ceiling to Marley.

They end their number and look to the back of the church as we hear the old man SNORT and CBUCKLE.One very pretty twelve

year old GIRL turns away, knowing that it's her grandfather.

Kevin smiles. Marley pats him on the knee and stops his laughter. He takes his hankie out and blows his nose with a loud honk! I , MARLEY I don't laugh too much anymore, but you got me.

He puts his hankie back.

Kevin feels terrible.

You shouldn't say that.

here. * (points) * Up there. *

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. *

Kevin nods.·

MARLEY I

Telling fibs? I *

Kevin thinks. *

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? *

,.

MARLEY *

r'I

He's open all year 'round. Twenty four

hours a day.

themselves to come in places like

this.

the trouble you had with your folks.

Kevin's startled that Marley knows.

( KEVIN

You know about they?

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. Marley sits

back and watches with a grin. Kevin finishes and sits back in

the pew. Be looks a~ Marley.

KEVIN • How long does it usually take for

these things to work?

~ Marley holds out his hand.

Eve. *

Kevin shakes his hand. It feels good to him to touch another

person. Kevin gets up and steps around Marley. He stops, turns

back and pats him on the shoulder.

you see her.

surprise when you get home•.

Kevin smiles. He turns and walks up the aisle.

the crooks. He stops cold, a look of panic comes over him.

f" Kevin blasts out of the church and tears off down the street.

thru OMITTED thru

356A MONTAGE BEGINS 356A

0 DARLENE LOVE'S ncmu::sTMAS,BABYPLEASE COME HOMEn FIUS THE SOUNDTRACK

playing over the following images of Kevin preparing the house for the burglar's arri~al:

Kevin's hands draw out a·battle plan on a large sheet of paper. ·ae 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. *

,. The lights go on.

( 358 EXT. HOUSE·- NIGHT 358

The picture perfect Christmas card house. Warm. Inviting. Welcoming.

It goes off with a DING! Kevin opens it and takes out a turkey dinner.

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 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.

The van pulls into the driveway. All the way up to the garage and stops. / * I

Kevin's cleaning up the kitchen. He hears the van. He grabs his BB gun and runs to the lights. *

Kevin turns off the light.

Harry and Marv get out of the van •. A FIFTH BELL CHIMES. Harry has the crowbar. *

HARRY· You still are.

Yeah, but I was a lot worse.

A SIXTH BELL CHIMES.

Kevin is standing at the door, peeking out through the curtains. He backs away. A beat and there's a sharp KNOCK.

A SEVENTH BELL CHIMES.

I The barrel of the BB gun slowly sneaks out of the doggie door; and poinus up.

An EIGHTH BELL CHIMES.

SEEN DOWN the BARR.EL of the BB gun.

( 367 CLOSEUP - TRIGGER - NIGHT 367

Kevin's little finger squeezes the.trigger.

A sharp POP! and a TWINGJ Followed by the NINTH CHURCH BELL CHIMING. Barry howls •.•

Yeeuuutzl

••• and grabs his groin. Marv drops to his knees and whips open the doggie door.

Marv's curious and angry face appears. A beat and his eyes open wide in fear.

The muzzle of the BB GUN. POP!

~

Marv jumps back, clutching his forehead.

Barry is off the porch, pinching his groin. Marv joins him.

Harry limps around the side of the house. Marv hangs back a moment, rubbing his forehead.

Barry hustles around the front of the house and jumps up on the porch. It's a sheet of ice •. Be hits it, falls to his ass and slips into the bushes.

,I

r 373 EXT. BASEMENT STUBS - NIGHT 373

Marv starts down the stairs. Ice again. One step and Marv's legs go out from under him.

THROUGH the window, we see Marv fly down the iced stairs. He hits the basement door with a whaml The CROWBAR CLANGS! He pulls himself up. A beat and he falls again.

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.

I ' ' ~ I 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.

Marv steps into the basement. Be feels for a light switch. It doesn't go on. He feels his way through the dark to a hanging * ~- *

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.

380 :INT. BASEMENT -MARV 380

Be 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 'l'HE IRON FALLINGDOWN'l'HE CHUTE. Marv * looks up.

,,

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.

It's glowing red with heat.

A big ~in is on Harry's face. He reaches for the door knob, grabs it and shrieks.

~· 384 INT. FOYER - NIGHT 384

Kevin shakes his fist victoriously.

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 intq a pile of dirty corn snow. ·

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.

I

r-- CLOSE-UP LANDING

A shingle with protruding nails waits for Marv's approaching,

He freezes for a moment, looks down and then howls with pain.

the stairrail. It comes loose in his hand and he takes a

backwards tumble down the stairs.

387 EX'l'. HOOSE- BACKPORCH- NIGH'l' 387

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. Be sticks the crowbar under his arm and carefully opens the door.

· 388 INT. KITCHEN - NIGHT 388

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. rt closes and the torch goes off.

Harry drives his flaming head into the snowbank. The fire is extinguished with a SIZZLE. I I

Lit by flashlight. Kevin draws an "X" through a drawing of the torched door.

thru OMITTED thru

He rises INTO FRAME. The hair on the top of Harry's head is burned away, his sideburns smoldering, blisters rising, eyel:)rows singed, eyes wild with rage and teeth gritted •

..

Barry kicks open the door, snapping the torch wire. He marches into the house.

thru OMITTED thru

Marv stumbles to the door.

Harry listens at the dining room door. It's closed. *

Harry grins.

396A OMITTED 396A *

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. *

397A OMI'rn:D 397A *

Revin is sitting at the top of the stairs. He calls to Barry * with complete confidence.

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.

Marv steps gingerly up the porch stairs and into the kitchen in his bare feet. .· ,

thru OMITTED thru

Kevin stands up.· He's on full alert. They're both in the house. *

He turns to reveal his face full of feathers, his hair burned.

Be's just as much a wreck. Be curls his lip in an angry snarl.

..,.,,._,..._

( 406 INT. FOYER.·- NIGHT 406

Harry and Marv charge into the foyer.Marv's walking on his * heels to spare his punctured soles of his feet. *

off? *

on fire? *

They hit the MicroMachine~ and hit the deck. *

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.

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! *

I The paint can swings INTO CAMERA.

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 turns and screams. Marv catches the second paint can. He's knocked off his feet. Barry.is on his back in the foyer. Be opens his eyes.

~ 409 HARRY'S POV -NIGHT 409

Marv is sailing down on him.

And it's a burglar sandwich.

Kevin scoots down the hallway on his hands and knees, toward the master bedroom.

Marv helps Harry to his feet.

Harry shoves Marv away and heads up the stairs.

Kevin is on the telephone. I I KEVIN Help! My house is being robbed! I live at 1132 Rivard. My name's Murphy.

Barr'f and Marv trudge up the stairs. They are cautious, keeping an alert eye on the railing above.

(' 415 INT. HALLWAY - NIGHT 415

Kevin crawls out of the master bedroom.

Harry and Marv make the turn up the stairs and see Kevin.

Kevin scampers down the hallway to the third floor stairs. "" With the little strength they have left, _Harry and Marv take off do~ the hall,. after Kevin.

A wire is tightly fastened around the knob. CAMERA PANS ALONG the wire, it is connected to another doorknob, across the hall.

· 418 BACKTO SCENE - NIGHT 418

Harry charges down the hall. Suddenly he's off his feet,

r flipped forward with a TWANG! 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.

Harry doesn't move. He is lying on the floor. His eyes open in horror.

The tarantula runs INTO CAMERA.

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.

,,I 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.

95 •

on the spider ••• Barry is shivering with revulsion. The spider climbs up on Barry's shoe.

Marv has lost his senses for the moment. Be brings down the crowbar with all his force. Harry screams as the crowbar slams down on his foot.

' - The tarantula scoots back inside the room.

Marv drops the crowbar, realizing what he's done.

'.

~ 424 IN'I'. ATTIC STAIRWELL- NIGHT 424

' ' Kevin stands at the top of the stairs. Be looks down into the stairwell.

Steep drop. - Barry, then Marv appear at the bottom of the stairs.

- MARV We was just gonna kidnap you. Now we're gonna kidnap ya and feed ya to the fishes.·

426 BACK 'l'O SCENE - NIGHT 426

Kevin yells down to Harry and Marv.

Go kiss a dog on the lips! *

(

Kevin dashes OFFSCREEN.

96 •

..~

Harry and Marv hobble up the stairs

thru OMITTED thru *

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.

432 KEV:r:N'SPOV - NIGHT 432

It is three stories down to the cold, dark, ground.

· 433 BACK TO SCENE - NIGHT 433 ~

Kevin gulps back his nerves and swings out of the window.

Kevin slides down the rope, picking up speed as he heads for his tree house. I I

MOVING_DOWN the rope.

Kevin sails down the rope into the tree house. He puts up his legs to absorb the impact.

The back side. Kevin's legs burst through the weathered wood.

r 438 OMITTED 438 ..I

97 •

Kevin brushes himself off and shakes off the hurt.

Harry and Marv enter. They are quick to see the open window.

Harry climbs up on the student desk beneath the window and looks out.

Harry scans the yard.

Kevin waves to him from the tree house.

Marv calls up to Harry.

MARV I Come on! !

He starts for the stairs.

Harry pulls out his handkerchief and wraps it around his hand.

_.,,

Harry swings out the window on the rope and begins hand-walking down it._ Marv joins him.

Kevin grins and brings up a large pair of hedge trimmers.

He stops cold, his eyes locked open.

.. ~· 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.

thru OMITTED thru

Kevin arrives in the front yard. He stops, turns and looks across the street, to his house.·

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 •.

i

Kevin waves to the two crooks.

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.

Kevin whips around into the back yard, runs down the cellar steps and inside.

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. fea_-:c'~ .

... ·. 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. Be turns.

Huh?••

Before Marv can react he is slammed in the face with the snow

shovel. Marv collapes. Harry turns.

.. HARRY'S POV

r The snow shovel. Swinging into CAMERA. WHAM! The snow shovel

connects with Harry. He falls to the floor beside Marv.

--~

BIS POV *

Marley steps out of the shadows to reveal himself to Kevin.

Bend.

He winks. *

· 456 EXT. MURPHYHOUSE- NIGHT - LATER 456 *

A pair of squad cars are pulled up in front of the Murphy

house. Officers are coming and going from the house. *

457 OMITTED 457 *

·458 INT. SQUAD CAR - NIGH'l' 458 *

Marv.and Harry, handcuffed and looking half-dead, drop into

( *

the back seat from either side. They sit exhausted, confused,

defeated, injured and humiliated.

458A EX'l'. HOOSE- SQUADCAR - NIGHT 458A *

Harry looks out the window.

I

459 HARRY'S POV - NIGH'l' /459

'l'he shirtless sports hero is in the window of the Mccallister house. Rocking back and forth. Kevin pops up beside the sports hero. Seeing Barry_, Kevin grins.

curls his lip in anger.

461 EX'l'. STREET- NIGH1' 461

The two squad cars drive off into the night.

""""~ 462 INT. MCCALLISTER LIVING ROOM - LATER - NIGHT 462-

Kevin places the gifts under his tree.

'~ 463 INT. LIVING. ROOM- NIGHT 463

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.

A picture-perfect snowfall is in progress, having started over the night.

Kevin is at the end of his sleep. He stirs, suddenly sits up and listens carefully. 'l'he house is silent. He looks to the window. · ·

The glass is frosty and the rooftops are white.

Kevin smiles. He leaps out of bed and tears out of the room.

Kevin scrambles down the stairs, jumping the last few steps and skidding on the wooden floor. He shoots into the living room. · · I Kevin grinds to a halt, his face glowing with the biggest smiie of his life. ·

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.

Dammit!

Be stom~s to the coffee table and·picks up a crystal paperweight. He draws his arm hack to heave it at the tree. He ·pauses, thinks better of it. He slowly re-turns the paperweight to the tahl~.

·"'

'~ 469 INT. FOYER~ DAY 469

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.

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.

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 bac~ to the living room.

Kate enters slowly. She's surprised and touched as she sees •••

Kevin's tree, the gifts, then the stockings and finally the cookies and the carrots.

474 KATE 474

Kate's eyes are filled with tears. She puts her hand to her mouth to keep from crying •.

Kevin is sitting on the bed, holding the family portrait.

Kate plucks a little antique silver Christlllas bell ornament off the tree. She shakes it.

No tears. Just defeat and sorrow. o.s. we hear the TINKLE of the BELL. Kevin looks up, thinking he's hearing things. Another TINXLE of the BELIS. Kevin puts the photograph down and covers his ears to see if the sound is in his head. It's not. Be stands.

The BELL CONTINUES~· Kevin pokes his head out of the bedroom door, walks to the railing and looks over. Be can't see anything. But he can hear the BELL. He walks around the railing and down t~ _the landing.

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. · ..·;.... ......,

· 480 CLOSEUP - :KATE - DAY 480

She knows now that he's home. She grabs the bell to silence it.- :\·.· -·-., .

481 CLOSEUP - lCEvIN - DAY· 481

He comes down the stairs, into the foyer and turns into the dining room.·

She's standing in the entrance to the living room, smiling through her tears. ·she rings the bell.

483 BER POV 483

•· Kevin has his back to her. Be straightens up and turns.

484 Hl:S POV 484

Rate rings the bell.

...:

(1"' 485 CLOSEUP - KEVIN 485

The sight of his mother is so overwhelming he doesn't react.

She thinks his hesitation is anger.

He walks slowly to her, stopping in front of her.

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.

It swings open and the haggard, bickering remainder of the family stumbles in. Buzz looks back to Megan. I I

I didn't fall asleep in the cab and drool all over you, did I?

They notice Kate and Kevin.

r. · Kevin runs to his dad. Kate is dumbfounded to see the entire

family home•. Peter gives Kevin a hug.

105 • •

~ PETER r . I . You're okayl

Buzz walks up to Kevin and grins.

Buzz holds out his hand and smiles warmly. Kevin slaps it. Kate gives an incredulous look to Peter.

<- .. ,

Kate nods. If she wasn't so happy, she'd would be frustrated. She kisses her husband and looks at everyone.

a• KATE

:;_; Who wants breakfast?

~

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. - I I

:~.,' . . ... (to Kevin) . . '· I'll be the only decent person in the •:1. family and say that I really, really ,,,~-.

But you can't use that against me. Okay? .. -

Kevin nods. Megan turns to Linnie.

PETER--· Go get the presents. ..

49 l ' CLOSEUP- KEVIN .;. DAY· . 491

( ' ..·.. ..; ··,..;·_-~:' . He thinks for a moment.·..

;: . :~;;:J~f°-'.hung around. ,..

Everybody pauses~··· Kevin smiles and turns to CLOSEthe front door. He looks across the street for a moment.

491A KEVIN'S POV , ' ·, 491A

: ·:,-;..·:,. .··. 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. . · , ..

- . Kevin and Marley exchange a warm and knowing smile; Kevin slowly closes the door to his home.

THE END~

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