The Family Man script
Synopsis: Jack's lavish, fast-paced lifestyle changes one Christmas night when he stumbles into a grocery store holdup and disarms the gunman. The next morning he wakes up in bed lying next to Kate (Tea Leoni), his college sweetheart he left in order to pursue his career, and to the horrifying discovery that his former life no longer exists. As he stumbles through this alternate suburban universe, Jack finds himself at a crossroad where he must choose between his high-power career and the woman he loves.

KENNEDY AIRPORT, PAN AM TERMINAL - NIGHT

SUPER:
AUTUMN, 1987

A line of PASSENGERS about to board a Pan Am flight to

London.

JACK CAMPBELL, 22, head full of long unkempt hair, Tom

Selleck mustache, the hopeful look of youth in his

eyes... sitting next to...

KATE REYNOLDS, 21, pretty, Dorothy Hamill haircut...

rubbing the tears from her swollen red eyes...

KATE:

I got you a few necessities...

Kate hands Jack a new copy of Vonnegut’s “Cat’s

Cradle.”

KATE (CONT’D)

Your copy was a mess...

Jack accepts the book but he’s unable to take his eyes

off Kate. She hands him a cassette.

KATE (CONT’D)

Every one of these songs will

remind you of me in a slightly

different way...

JACK:

All in one tape?

KATE:

I also put side two of London

Calling on there...

Kate leans over and kisses him passionately on the

lips.

KATE (CONT’D)

That was not officially the

goodbye kiss. It was just an

interim kiss...

He looks at her, his eyes welling up. He pulls her

close, kissing her deeply. Then...

ANNOUNCER (O.S.)

This will be the final boarding

call for Pan Am flight 4 to

London, Heathrow.

Jack takes Kate’s hand, getting up, turning sadly to

the gate.

KATE:

You have your ticket?

Jack pulls out a BLUE PAN AM TICKET ENVELOPE. Kate

nods. They embrace and kiss again. As they separate.

JACK:

I’m not even gonna say it,

Kate. Maybe it’ll be like

I never left...

Jack takes one lastlook at her, then heads for the

gate.

Kate stands there, watching him go. Then...

...a moment of intuition. Something isn’t right. She

looks at Jack, about to disappear into the jetway,

trying to decide...

KATE:

Wait.

Jack turns. Kate approaches him.

KATE (CONT’D)

I have a bad feeling about

this.

JACK:

About the plane? What do you

think it’s gonna crash? Don’t

say that...

KATE:

(shaking her head)

I know we’ve talked about this a

thousand times and we both agree

that going to London is the

right thing to do. But in my

heart... this feels wrong.

She looks at the gate...the last few passengers are boarding,

then back into Jack’s eyes.

KATE (CONT’D)

Don’t go, Jack...

JACK:

You mean don’t go at all?

What about my internship?

KATE:

Believe me I know what an

incredible opportunity this

is for you...

JACK:

For us, Kate.

KATE:

Right, for us. But...I’m

afraid that if you get on

that plane...

JACK:

What?

Kate looks at him, pleading with her eyes, but she can’t

say...

KATE:

(torn)

Go. I’m sorry, you should just

go...

JACK:

(thinking, then...)

No, you’re right. What are we

doing?

KATE:

We're being responsible. Go.

Get on the plane.

His eyes narrow as he measures her determination...

KATE (CONT'D)

(a smile)

Get the hell outta my sight.

You bother me.

A laugh from Jack. Kate gives him a calm smile and a

nod - it's not entirely convincing but it's enough for

Jack.

JACK:

(resolute)

Okay, I'm going...

He takes her in his arms one last time and hugs her

tight. Jack looks toward the gate, the line

disappearing...Kate grasps his shirt tightly.

KATE:

I can't seem to let go of

you...

JACK:

You hear me complaining about

that?

A sober look in Jack's eyes.

JACK (CONT'D)

Look, we're at the airport and

no one ever thinks clearly at

the airport so we should just

trust the decision we already

made. You've been accepted to

one of the best law schools in

the country, I've got this

internship at Barclay's Bank.

We have a great plan, honey...

Kate nods, then, with resolve...

KATE:

You want to do something

great, Jack? Let's flush the

plan...start our lives right

now, today...I don't know what

that life's gonna look like

but I do know it has both of

us in it. And I choose us...

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David Diamond

David Diamond is an American screenwriter. His film credits include The Family Man, Old Dogs, When in Rome, Evolution and the television film Minutemen. Frequently collaborates with David Weissman. more…

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"The Family Man" Scripts.com. STANDS4 LLC, 2017. Web. 14 Dec. 2017. <http://www.scripts.com/script/the_family_man_340>.

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