tag:blogger.com,1999:blog-12333632779712945862024-02-20T08:40:40.848-08:00IT'S A WONDERFUL LIFEEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-1233363277971294586.post-25254951762104690972007-03-24T11:55:00.000-07:002007-03-24T11:59:14.452-07:00"IT'S A WONDERFUL LIFE""IT'S A WONDERFUL LIFE"<br /><br /> By<br /><br /> Frances Goodrich<br /><br /> Albert Hackett<br /><br /> Frank Capra<br /><br /> Jo Swerling<br /><br /> <br /><br /> FADE IN:<br /><br /> NIGHT SEQUENCE<br /><br /> Series of shots of various streets and buildings in the town <br /> of Bedford Falls, somewhere in New York State. The streets <br /> are deserted, and snow is falling. It is Christmas Eve. Over <br /> the above scenes we hear voices praying:<br /><br /> GOWER'S VOICE<br /> I owe everything to George Bailey. <br /> Help him, dear Father.<br /><br /> MARTINI'S VOICE<br /> Joseph, Jesus and Mary. Help my friend <br /> Mr. Bailey.<br /><br /> MRS. BAILEY'S VOICE<br /> Help my son George tonight.<br /><br /> BERT'S VOICE<br /> He never thinks about himself, God; <br /> that's why he's in trouble.<br /><br /> ERNIE'S VOICE<br /> George is a good guy. Give him a <br /> break, God.<br /><br /> MARY'S VOICE<br /> I love him, dear Lord. Watch over <br /> him tonight.<br /><br /> JANIE'S VOICE<br /> Please, God. Something's the matter <br /> with Daddy.<br /><br /> ZUZU'S VOICE<br /> Please bring Daddy back.<br /><br /> CAMERA PULLS UP from the Bailey home and travels up through <br /> the sky until it is above the falling snow and moving slowly <br /> toward a firmament full of stars. As the camera stops we <br /> hear the following heavenly voices talking, and as each voice <br /> is heard, one of the stars twinkles brightly:<br /><br /> FRANKLIN'S VOICE<br /> Hello, Joseph, trouble?<br /><br /> JOSEPH'S VOICE<br /> Looks like we'll have to send someone <br /> down – a lot of people are asking <br /> for help for a man named George <br /> Bailey.<br /><br /> FRANKLIN'S VOICE<br /> George Bailey. Yes, tonight's his <br /> crucial night. You're right, we'll <br /> have to send someone down immediately. <br /> Whose turn is it?<br /><br /> JOSEPH'S VOICE<br /> That's why I came to see you, sir. <br /> It's that clock-maker's turn again.<br /><br /> FRANKLIN'S VOICE<br /> Oh – Clarence. Hasn't got his wings <br /> yet, has he? We've passed him up <br /> right along.<br /><br /> JOSEPH'S VOICE<br /> Because, you know, sir, he's got the <br /> I.Q. of a rabbit.<br /><br /> FRANKLIN'S VOICE<br /> Yes, but he's got the faith of a <br /> child – simple. Joseph, send for <br /> Clarence.<br /><br /> A small star flies in from left of screen and stops. It <br /> twinkles as Clarence speaks:<br /><br /> CLARENCE'S VOICE<br /> You sent for me, sir?<br /><br /> FRANKLIN'S VOICE<br /> Yes, Clarence. A man down on earth <br /> needs our help.<br /><br /> CLARENCE'S VOICE<br /> Splendid! Is he sick?<br /><br /> FRANKLIN'S VOICE<br /> No, worse. He's discouraged. At <br /> exactly ten-forty-five PM tonight, <br /> Earth time, that man will be thinking <br /> seriously of throwing away God's <br /> greatest gift.<br /><br /> CLARENCE'S VOICE<br /> Oh, dear, dear! His life! Then I've <br /> only got an hour to dress. What are <br /> they wearing now?<br /><br /> FRANKLIN'S VOICE<br /> You will spend that hour getting <br /> acquainted with George Bailey.<br /><br /> CLARENCE'S VOICE<br /> Sir... If I should accomplish this <br /> mission – I mean – might I perhaps <br /> win my wings? I've been waiting for <br /> over two hundred years now, sir – <br /> and people are beginning to talk.<br /><br /> FRANKLIN'S VOICE<br /> What's that book you've got there?<br /><br /> CLARENCE'S VOICE<br /> The Adventures of Tom Sawyer.<br /><br /> FRANKLIN'S VOICE<br /> Clarence, you do a good job with <br /> George Bailey, and you'll get your <br /> wings.<br /><br /> CLARENCE'S VOICE<br /> Oh, thank you, sir. Thank you.<br /><br /> JOSEPH'S VOICE<br /> Poor George... Sit down.<br /><br /> CLARENCE'S VOICE<br /> Sit down? What are...<br /><br /> JOSEPH'S VOICE<br /> If you're going to help a man, you <br /> want to know something about him, <br /> don't you?<br /><br /> CLARENCE'S VOICE<br /> Well, naturally. Of course.<br /><br /> JOSEPH'S VOICE<br /> Well, keep your eyes open. See the <br /> town?<br /><br /> The stars fade out from the screen, and a light, <br /> indistinguishable blur is seen.<br /><br /> CLARENCE'S VOICE<br /> Where? I don't see a thing.<br /><br /> JOSEPH'S VOICE<br /> Oh, I forgot. You haven't got your <br /> wings yet. Now look, I'll help you <br /> out. Concentrate. Begin to see <br /> something?<br /><br /> The blur on the screen slowly begins to take form. We see a <br /> group of young boys on top of a snow-covered hill.<br /><br /> CLARENCE'S VOICE<br /> Why, yes. This is amazing.<br /><br /> JOSEPH'S VOICE<br /> If you ever get your wings, you'll <br /> see all by yourself.<br /><br /> CLARENCE'S VOICE<br /> Oh, wonderful!<br /><br /> EXT. FROZEN RIVER AND HILL – DAY – CLOSE SHOT<br /><br /> Group of boys. They are preparing to slide down the hill on <br /> large shovels. One of them makes the slide and shoots out <br /> onto the ice of a frozen river at the bottom of the hill.<br /><br /> BOY<br /> (as he slides)<br /> Yippee!!<br /><br /> CLARENCE'S VOICE<br /> Hey, who's that?<br /><br /> JOSEPH'S VOICE<br /> That's your problem, George Bailey.<br /><br /> CLARENCE'S VOICE<br /> A boy?<br /><br /> JOSEPH'S VOICE<br /> That's him when he was twelve, back <br /> in 1919. Something happens here you'll <br /> have to remember later on.<br /><br /> Series of shots as four or five boys make the slide down the <br /> hill and out onto the ice. As each boy comes down the others <br /> applaud.<br /><br /> CLOSE SHOT<br /><br /> George Bailey at bottom of slide.<br /><br /> GEORGE<br /> (through megaphone)<br /> And here comes the scare-baby, my <br /> kid brother, Harry Bailey.<br /><br /> CLOSE SHOT – HARRY<br /><br /> On top of hill, preparing to make his slide.<br /><br /> HARRY<br /> I'm not scared.<br /><br /> BOYS<br /> (ad lib)<br /> Come on, Harry! Attaboy, Harry!<br /><br /> MEDIUM SHOT<br /><br /> Harry makes his slide very fast. He passes the marks made by <br /> the other boys, and his shovel takes him onto the thin ice <br /> at the bend of the river. The ice breaks, and Harry disappears <br /> into the water.<br /><br /> CLOSE SHOT – GEORGE<br /><br /> GEORGE<br /> I'm coming, Harry.<br /><br /> MEDIUM SHOT<br /><br /> George jumps into the water and grabs Harry. As he starts to <br /> pull him out he yells:<br /><br /> GEORGE<br /> Make a chain, gang! A chain!<br /><br /> WIDER ANGLE<br /><br /> The other boys lie flat on the ice, forming a human chain. <br /> When George reaches the edge with Harry in his arms, they <br /> pull them both to safety.<br /><br /> JOSEPH'S VOICE<br /> George saved his brother's life that <br /> day. But he caught a bad cold which <br /> infected his left ear. Cost him his <br /> hearing in that ear. It was weeks <br /> before he could return to his after-<br /> school job at old man Gower's <br /> drugstore.<br /><br /> DISSOLVE<br /><br /> EXT. MAIN STREET – BEDFORD FALLS – SPRING AFTERNOON<br /><br /> MEDIUM SHOT<br /><br /> Five or six boys are coming toward camera, arm in arm, <br /> whistling. Their attention is drawn to an elaborate <br /> horsedrawn carriage proceeding down the other side of the <br /> street.<br /><br /> MEDIUM PAN SHOT<br /><br /> The carriage driving by. We catch a glimpse of an elderly <br /> man riding in it.<br /><br /> CLOSE SHOT<br /><br /> The boys watching the carriage.<br /><br /> GEORGE<br /> Mr. Potter!<br /><br /> CLARENCE'S VOICE<br /> Who's that – a king?<br /><br /> JOSEPH'S VOICE<br /> That's Henry F. Potter, the richest <br /> and meanest man in the county.<br /><br /> The boys continue until they reach Gower's drugstore. The <br /> drugstore is old-fashioned and dignified, with jars of colored <br /> water in the windows and little else. As the kids stop:<br /><br /> GEORGE<br /> So long!<br /><br /> BOYS<br /> (ad lib)<br /> Got to work, slave. Hee-haw. Hee-<br /> haw.<br /><br /> INTERIOR DRUGSTORE – DAY<br /><br /> MEDIUM SHOT<br /><br /> George comes in and crosses to an old-fashioned cigar lighter <br /> on the counter. He shuts his eyes and makes a wish:<br /><br /> GEORGE<br /> Wish I had a million dollars.<br /><br /> He clicks the lighter and the flame springs up.<br /><br /> GEORGE<br /> Hot dog!<br /><br /> WIDER ANGLE<br /><br /> George crosses over to the soda fountain, at which Mary Hatch, <br /> a small girl, is seated, watching him. George goes on to get <br /> his apron from behind the fountain.<br /><br /> GEORGE<br /> (calling toward back <br /> room)<br /> It's me, Mr. Gower. George Bailey.<br /><br /> CLOSE SHOT<br /><br /> Mr. Gower, the druggist, peering from a window in back room. <br /> We see him take a drink from a bottle.<br /><br /> GOWER<br /> You're late.<br /><br /> MEDIUM SHOT<br /><br /> George behind soda fountain. He is putting on his apron.<br /><br /> GEORGE<br /> Yes, sir.<br /><br /> WIDER ANGLE<br /><br /> Violet Bick enters the drugstore and sits on one of the stools <br /> at the fountain. She is the same height as Mary and the same <br /> age, but she is infinitely older in her approach to people.<br /><br /> VIOLET<br /> (with warm friendliness)<br /> Hello, George.<br /> (then, flatly, as she <br /> sees Mary)<br /> 'Lo, Mary.<br /><br /> MARY<br /> (primly)<br /> Hello, Violet.<br /><br /> George regards the two of them with manly disgust. They are <br /> two kids to him, and a nuisance. He starts over for the candy <br /> counter.<br /><br /> GEORGE<br /> Two cents worth of shoelaces?<br /><br /> VIOLET<br /> She was here first.<br /><br /> MARY<br /> I'm still thinking.<br /><br /> GEORGE<br /> (to Violet)<br /> Shoelaces?<br /><br /> VIOLET<br /> Please, Georgie.<br /><br /> George goes over to the candy counter.<br /><br /> VIOLET<br /> (to Mary)<br /> I like him.<br /><br /> MARY<br /> You like every boy.<br /><br /> VIOLET<br /> (happily)<br /> What's wrong with that?<br /><br /> GEORGE<br /> Here you are.<br /><br /> George gives Violet a paper sack containing licorice <br /> shoelaces. Violet gives him the money.<br /><br /> VIOLET<br /> (the vamp)<br /> Help me down?<br /><br /> GEORGE<br /> (disgusted)<br /> Help you down!<br /><br /> Violet jumps down off her stool and exits. Mary, watching, <br /> sticks out her tongue as she passes.<br /><br /> CLOSE SHOT – GEORGE AND MARY AT FOUNTAIN<br /><br /> GEORGE<br /> Made up your mind yet?<br /><br /> MARY<br /> I'll take chocolate.<br /><br /> George puts some chocolate ice cream in a dish.<br /><br /> GEORGE<br /> With coconuts?<br /><br /> MARY<br /> I don't like coconuts.<br /><br /> GEORGE<br /> You don't like coconuts! Say, <br /> brainless, don't you know where <br /> coconuts come from? Lookit here – <br /> from Tahiti – Fiji Islands, the Coral <br /> Sea!<br /><br /> He pulls a magazine from his pocket and shows it to her.<br /><br /> MARY<br /> A new magazine! I never saw it before.<br /><br /> GEORGE<br /> Of course you never. Only us explorers <br /> can get it. I've been nominated for <br /> membership in the National Geographic <br /> Society.<br /><br /> He leans down to finish scooping out the ice cream, his deaf <br /> ear toward her. She leans over, speaking softly.<br /><br /> CLOSE SHOT<br /><br /> Mary, whispering.<br /><br /> MARY<br /> Is this the ear you can't hear on? <br /> George Bailey, I'll love you till <br /> the day I die.<br /><br /> She draws back quickly and looks down, terrified at what she <br /> has said.<br /><br /> CLOSE SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> I'm going out exploring some day, <br /> you watch. And I'm going to have a <br /> couple of harems, and maybe three or <br /> four wives. Wait and see.<br /><br /> He turns back to the cash register, whistling.<br /><br /> ANOTHER ANGLE<br /><br /> Taking in entrance to prescription room at end of fountain. <br /> Gower comes to the entrance. He is bleary-eyed, unshaven, <br /> chewing an old unlit cigar. His manner is gruff and mean. It <br /> is evident he has been drinking.<br /><br /> GOWER<br /> George! George!<br /><br /> GEORGE<br /> Yes, sir.<br /><br /> GOWER<br /> You're not paid to be a canary.<br /><br /> GEORGE<br /> No, sir.<br /><br /> He turns back to the cash register when he notices an open <br /> telegram on the shelf. He is about to toss it aside when he <br /> starts to read it.<br /><br /> INSERT: THE TELEGRAM<br /><br /> It reads: "We regret to inform you that your son, Robert, <br /> died very suddenly this morning of influenza stop. Everything <br /> possible was done for his comfort stop. We await instructions <br /> from you. EDWARD MELLINGTON Pres. HAMMERTON COLLEGE."<br /><br /> BACK TO SHOT<br /><br /> George puts the telegram down. A goodness of heart expresses <br /> itself in a desire to do something for Gower. He gives the <br /> ice cream to Mary without comment and sidles back toward <br /> Gower.<br /><br /> INT. PRESCRIPTION ROOM OF DRUGSTORE – DAY<br /><br /> CLOSE SHOT<br /><br /> Gower, drunk, is intent on putting some capsules into a box.<br /><br /> GEORGE<br /> Mr. Gower, do you want something... <br /> Anything?<br /><br /> GOWER<br /> No.<br /><br /> GEORGE<br /> Anything I can do back here?<br /><br /> GOWER<br /> No.<br /><br /> George looks curiously at Gower, realizing that he is quite <br /> drunk. Gower fumbles and drops some of the capsules to the <br /> floor.<br /><br /> CLOSE SHOT<br /><br /> Capsules spilling on floor at their feet.<br /><br /> BACK TO SHOT<br /><br /> George and Gower.<br /><br /> GEORGE<br /> I'll get them, sir.<br /><br /> He picks up the capsules and puts them in the box. Gower <br /> waves George aside, takes his old wet cigar, shoves it in <br /> his mouth and sits in an old Morris chair in the background. <br /> George turns a bottle around from which Gower has taken the <br /> powder for the capsules. Its label reads "POISON." George <br /> stands still, horrified.<br /><br /> GOWER<br /> Take these capsules over to Mrs. <br /> Blaine's. She's waiting for them.<br /><br /> George picks up the capsule box, not knowing what to do or <br /> say. His eyes go, harassed, to the bottle labeled poison. <br /> George's fingers fumble.<br /><br /> GEORGE<br /> Yes, sir. They have the diphtheria <br /> there, haven't they, sir?<br /><br /> GOWER<br /> Ummmm...<br /><br /> Gower stares moodily ahead, sucking his cigar. George turns <br /> to him, the box in his hand.<br /><br /> GEORGE<br /> Is it a charge, sir?<br /><br /> GOWER<br /> Yes – charge.<br /><br /> GEORGE<br /> Mr. Gower, I think...<br /><br /> GOWER<br /> Aw, get going!<br /><br /> GEORGE<br /> Yes, sir.<br /><br /> INT. DRUGSTORE – DAY<br /><br /> MEDIUM SHOT<br /><br /> George comes out into main room. As he puts on his cap he <br /> sees a Sweet Caporals ad which says:<br /><br /> INSERT<br /><br /> "ASK DAD HE KNOWS" – SWEET CAPORAL<br /><br /> BACK TO SHOT<br /><br /> With an inspiration, George dashes out the door and down the <br /> street. Mary follows him with her eyes.<br /><br /> EXT. STREET – DAY<br /><br /> MEDIUM SHOT<br /><br /> George runs down the street until he comes opposite a two-<br /> story building with a sign on it reading: "Bailey Building <br /> and Loan Association." He stops. Potter's carriage is waiting <br /> at the entrance. Suddenly he runs up the stairs.<br /><br /> INT. OUTER OFFICE BLDG. AND LOAN – DAY<br /><br /> FULL SHOT<br /><br /> The offices are ancient and a bit on the rickety side. There <br /> is a counter with a grill, something like a bank. Before a <br /> door marked:<br /><br /> "PETER BAILEY, PRIVATE", George's Uncle Billy stands, <br /> obviously trying to hear what is going on inside. He is a <br /> very good-humored man of about fifty, in shirt-sleeves. With <br /> him at the door, also listening, are Cousin Tilly Bailey, a <br /> waspish-looking woman, who is the telephone operator, and <br /> Cousin Eustace Bailey, the clerk. The office vibrates with <br /> an aura of crisis as George enters and proceeds directly <br /> toward his father's office.<br /><br /> CLOSE SHOT<br /><br /> Uncle Billy listening at the door. As George is about to <br /> enter his father's office, uncle Billy grabs him by the arm.<br /><br /> UNCLE BILLY<br /> Avast, there, Captain Cook! Where <br /> you headin'?<br /><br /> GEORGE<br /> Got to see Pop, Uncle Billy.<br /><br /> UNCLE BILLY<br /> Some other time, George.<br /><br /> GEORGE<br /> It's important.<br /><br /> UNCLE BILLY<br /> There's a squall in there that's <br /> shapin' up into a storm.<br /><br /> During the foregoing, Cousin Tilly has answered the telephone, <br /> and now she calls out:<br /><br /> COUSIN TILLY<br /> Uncle Billy... telephone.<br /><br /> UNCLE BILLY<br /> Who is it?<br /><br /> COUSIN TILLY<br /> Bank examiner.<br /><br /> INSERT<br /><br /> CLOSEUP – UNCLE BILLY'S LEFT HAND There are pieces of string <br /> tied around two of the fingers, obviously to remind him of <br /> things he has to do.<br /><br /> BACK TO SHOT<br /><br /> Uncle Billy looking at his hand.<br /><br /> UNCLE BILLY<br /> Bank examiner! I should have called <br /> him yesterday. Switch it inside.<br /><br /> He enters a door marked: "WILLIAM BAILEY, PRIVATE". George <br /> stands irresolute a moment, aware of crisis in the affairs <br /> of the Bailey Building and Loan Association, but aware more <br /> keenly of his personal crisis. He opens the door of his <br /> father's office and enters.<br /><br /> INT. BAILEY'S PRIVATE OFFICE – DAY<br /><br /> MEDIUM SHOT<br /><br /> George's father is seated behind his desk, nervously drawing <br /> swirls on a pad. He looks tired and worried. He is a gentle <br /> man in his forties, an idealist, stubborn only for other <br /> people's rights. Nearby, in a throne-like wheelchair, behind <br /> which stands the goon who furnishes the motive power, sits <br /> Henry F. Potter, his squarish derby hat on his head. The <br /> following dialogue is fast and heated, as though the argument <br /> had been in process for some time.<br /><br /> BAILEY<br /> I'm not crying, Mr. Potter.<br /><br /> POTTER<br /> Well, you're begging, and that's a <br /> whole lot worse.<br /><br /> BAILEY<br /> All I'm asking is thirty days more...<br /><br /> GEORGE<br /> (interrupting)<br /> Pop!<br /><br /> BAILEY<br /> Just a minute, son.<br /> (to Potter)<br /> Just thirty short days. I'll dig up <br /> that five thousand somehow.<br /><br /> POTTER<br /> (to his goon)<br /> Shove me up...<br /><br /> Goon pushes his wheelchair closer to the desk.<br /><br /> GEORGE<br /> Pop!<br /><br /> POTTER<br /> Have you put any real pressure on <br /> those people of yours to pay those <br /> mortgages?<br /><br /> BAILEY<br /> Times are bad, Mr. Potter. A lot of <br /> these people are out of work.<br /><br /> POTTER<br /> Then foreclose!<br /><br /> BAILEY<br /> I can't do that. These families have <br /> children.<br /><br /> MEDIUM CLOSE SHOT – POTTER AND BAILEY<br /><br /> GEORGE<br /> Pop!<br /><br /> POTTER<br /> They're not my children.<br /><br /> BAILEY<br /> But they're somebody's children.<br /><br /> POTTER<br /> Are you running a business or a <br /> charity ward?<br /><br /> BAILEY<br /> Well, all right...<br /><br /> POTTER<br /> (interrupting)<br /> Not with my money!<br /><br /> CLOSE SHOT – POTTER AND BAILEY<br /><br /> BAILEY<br /> Mr. Potter, what makes you such a <br /> hardskulled character? You have no <br /> family – no children. You can't begin <br /> to spend all the money you've got.<br /><br /> POTTER<br /> So I suppose I should give it to <br /> miserable failures like you and that <br /> idiot brother of yours to spend for <br /> me.<br /><br /> George cannot listen any longer to such libel about his <br /> father. He comes around in front of the desk.<br /><br /> GEORGE<br /> He's not a failure! You can't say <br /> that about my father!<br /><br /> BAILEY<br /> George, George...<br /><br /> GEORGE<br /> You're not! You're the biggest man <br /> in town!<br /><br /> BAILEY<br /> Run along.<br /><br /> He pushes George toward the door.<br /><br /> GEORGE<br /> Bigger'n him!<br /><br /> As George passes Potter's wheelchair he pushes the old man's <br /> shoulder. The goon puts out a restraining hand.<br /><br /> GEORGE<br /> Bigger'n everybody.<br /><br /> George proceeds toward the door, with his father's hand on <br /> his shoulder. As they go:<br /><br /> POTTER<br /> Gives you an idea of the Baileys.<br /><br /> INT. OUTER OFFICE BLDG. AND LOAN – DAY<br /><br /> CLOSE SHOT<br /><br /> George and his father at the door.<br /><br /> GEORGE<br /> Don't let him say that about you, <br /> Pop.<br /><br /> BAILEY<br /> All right, son, thanks. I'll talk to <br /> you tonight.<br /><br /> Bailey closes the door on George and turns back to Potter. <br /> George stands outside the door with the capsules in his hand.<br /><br /> WIPE TO:<br /><br /> BACK TO DRUGSTORE<br /><br /> INT. BACK ROOM – GOWER'S DRUGSTORE – DAY<br /><br /> CLOSE SHOT<br /><br /> Gower talking on the telephone. George stands in the doorway.<br /><br /> GOWER<br /> (drunkenly)<br /> Why, that medicine should have been <br /> there an hour ago. It'll be over in <br /> five minutes, Mrs. Blaine.<br /><br /> He hangs up the phone and turns to George.<br /><br /> GOWER<br /> Where's Mrs. Blaine's box of capsules?<br /><br /> He grabs George by the shirt and drags him into the back <br /> room.<br /><br /> GEORGE<br /> Capsules...<br /><br /> GOWER<br /> (shaking him)<br /> Did you hear what I said?<br /><br /> GEORGE<br /> (frightened)<br /> Yes, sir, I...<br /><br /> Gower starts hitting George about the head with his open <br /> hands. George tries to protect himself as best he can.<br /><br /> GOWER<br /> What kind of tricks are you playing, <br /> anyway? Why didn't you deliver them <br /> right away? Don't you know that boy's <br /> very sick?<br /><br /> GEORGE<br /> (in tears)<br /> You're hurting my sore ear.<br /><br /> INT. FRONT ROOM DRUGSTORE – DAY<br /><br /> CLOSE SHOT<br /><br /> Mary is still seated at the soda fountain. Each time she <br /> hears George being slapped, she winces.<br /><br /> INT. BACK ROOM DRUGSTORE – DAY<br /><br /> CLOSE SHOT – GEORGE AND GOWER<br /><br /> GOWER<br /> You lazy loafer!<br /><br /> GEORGE<br /> (sobbing)<br /> Mr. Gower, you don't know what you're <br /> doing. You put something wrong in <br /> those capsules. I know you're unhappy. <br /> You got that telegram, and you're <br /> upset. You put something bad in those <br /> capsules. It wasn't your fault, Mr. <br /> Gower...<br /><br /> George pulls the little box out of his pocket. Gower savagely <br /> rips it away from him, breathing heavily, staring at the boy <br /> venomously.<br /><br /> GEORGE<br /> Just look and see what you did. Look <br /> at the bottle you took the powder <br /> from. It's poison! I tell you, it's <br /> poison! I know you feel bad... and...<br /><br /> George falters off, cupping his aching ear with a hand. Gower <br /> looks at the large brown bottle which has not been replaced <br /> on the shelf. He tears open the package, shakes the powder <br /> out of one of the capsules, cautiously tastes it, then <br /> abruptly throws the whole mess to the table and turns to <br /> look at George again. The boy is whimpering, hurt, frightened. <br /> Gower steps toward him.<br /><br /> GEORGE<br /> Don't hurt my sore ear again.<br /><br /> But this time Gower sweeps the boy to him in a hug and, <br /> sobbing hoarsely, crushes the boy in his embrace. George is <br /> crying too.<br /><br /> GOWER<br /> No... No... No...<br /><br /> GEORGE<br /> Don't hurt my ear again!<br /><br /> GOWER<br /> (sobbing)<br /> Oh, George, George...<br /><br /> GEORGE<br /> Mr. Gower, I won't ever tell anyone. <br /> I know what you're feeling. I won't <br /> ever tell a soul. Hope to die, I <br /> won't.<br /><br /> GOWER<br /> Oh, George.<br /><br /> DISSOLVE TO:<br /><br /> INT. LUGGAGE SHOP – DAY – (1928)<br /><br /> MEDIUM SHOT<br /><br /> It is late afternoon. A young man is looking over an <br /> assortment of luggage. Across the counter stands Joe Hepner, <br /> the proprietor of the store – he is showing a suitcase.<br /><br /> JOE<br /> An overnight bag – genuine English <br /> cowhide, combination lock, fitted up <br /> with brushes, combs...<br /><br /> CUSTOMER<br /> Nope.<br /><br /> AS CAMERA MOVES UP CLOSER to him, he turns and we get our <br /> first glimpse of George as a young man. CAMERA HAS MOVED UP <br /> to a CLOSEUP by now.<br /><br /> GEORGE<br /> Nope. Nope. Nope. Nope. Now, look, <br /> Joe. Now, look, I... I want a big <br /> one.<br /><br /> Suddenly, in action, as George stands with his arms <br /> outstretched in illustration, the picture freezes and becomes <br /> a still. Over this hold-frame shot we hear the voices from <br /> Heaven:<br /><br /> CLARENCE'S VOICE<br /> What did you stop it for?<br /><br /> JOSEPH'S VOICE<br /> I want you to take a good look at <br /> that face.<br /><br /> CLARENCE'S VOICE<br /> Who is it?<br /><br /> JOSEPH'S VOICE<br /> George Bailey.<br /><br /> CLARENCE'S VOICE<br /> Oh, you mean the kid that had his <br /> ears slapped back by the druggist.<br /><br /> JOSEPH'S VOICE<br /> That's the kid.<br /><br /> CLARENCE'S VOICE<br /> It's a good face. I like it. I like <br /> George Bailey. Tell me, did he ever <br /> tell anyone about the pills?<br /><br /> JOSEPH'S VOICE<br /> Not a soul.<br /><br /> CLARENCE'S VOICE<br /> Did he ever marry the girl? Did he <br /> ever go exploring?<br /><br /> JOSEPH'S VOICE<br /> Well, wait and see.<br /><br /> CLOSE SHOT – THE SCREEN<br /><br /> The arrested CLOSEUP of George springs to life again.<br /><br /> GEORGE<br /> Big - see! I don't want one for one <br /> night. I want something for a <br /> thousand and one nights, with plenty <br /> of room for labels from Italy and <br /> Baghdad, Samarkand... a great big <br /> one. <br /><br /> JOE<br /> I see, a flying carpet, huh? I don't <br /> suppose you'd like this old second-<br /> hand job, would you?<br /><br /> He brings a large suitcase up from under the counter.<br /><br /> GEORGE<br /> Now you're talkin'. Gee whiz, I could <br /> use this as a raft in case the boat <br /> sunk. How much does this cost?<br /><br /> JOE<br /> No charge.<br /><br /> GEORGE<br /> That's my trick ear, Joe. It sounded <br /> as if you said no charge.<br /><br /> JOE<br /> (indicating name on <br /> suitcase)<br /> That's right.<br /><br /> GEORGE<br /> (as he sees his name)<br /> What's my name doing on it?<br /><br /> JOE<br /> A little present from old man Gower. <br /> Came down and picked it out himself.<br /><br /> GEORGE<br /> (admiring the bag)<br /> He did? Whatta you know about that – <br /> my old boss...<br /><br /> JOE<br /> What boat you sailing on?<br /><br /> GEORGE<br /> I'm working across on a cattle boat.<br /><br /> JOE<br /> A cattle boat?<br /><br /> GEORGE<br /> (as he exits)<br /> Okay, I like cows.<br /><br /> WIPE TO:<br /><br /> INT. GOWER'S DRUGSTORE – DAY<br /><br /> MEDIUM SHOT<br /><br /> The place is practically the same except that it is now full <br /> of school kids having sodas, etc. A juke box and many little <br /> tables have been added. It has become the hangout of the <br /> local small fry. There are now three kids jerking sodas. <br /> Gower is a different man now – sober, shaven and good-humored. <br /> He is behind the counter when George comes in. Gower's face <br /> lights up when he sees George.<br /><br /> GEORGE<br /> Mr. Gower... Mr. Gower... thanks <br /> ever so much for the bag. It's just <br /> exactly what I wanted.<br /><br /> GOWER<br /> Aw, forget it.<br /><br /> GEORGE<br /> Oh, it's wonderful.<br /><br /> GOWER<br /> Hope you enjoy it.<br /><br /> George suddenly sees the old cigar lighter on the counter. <br /> He closes his eyes and makes a wish.<br /><br /> GEORGE<br /> Oh... Oh. Wish I had a million <br /> dollars.<br /><br /> As he snaps the lighter the flame springs up.<br /><br /> GEORGE<br /> Hot dog!<br /><br /> George shakes Gower's hand vigorously and exits.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – DAY<br /><br /> PAN SHOT as George crosses the street, Uncle Billy, cousin <br /> Tilly and Cousin Eustace are leaning out of the second floor <br /> window of the Building and Loan offices.<br /><br /> UNCLE BILLY<br /> Avast there, Captain Cook. You got <br /> your sea legs yet?<br /><br /> COUSIN EUSTACE<br /> Parlez-vous francais? Hey, send us <br /> some of them picture postcards, will <br /> you, George?<br /><br /> UNCLE BILLY<br /> Hey, George, don't take any plugged <br /> nickels.<br /><br /> COUSIN TILLY<br /> Hey, George, your suitcase is leaking. <br /> George waves up at them and continues <br /> on across the street.<br /><br /> EXT. MAIN STREET – DAY<br /><br /> MEDIUM SHOT<br /><br /> As George crosses the street. He spots Ernie and his cab, <br /> and Bert the motor cop, parked alongside.<br /><br /> GEORGE<br /> Hey, Ernie!<br /><br /> ERNIE<br /> Hiya, George!<br /><br /> GEORGE<br /> Hi, Bert.<br /><br /> BERT<br /> George...<br /><br /> GEORGE<br /> Ernie, I'm a rich tourist today. How <br /> about driving me home in style?<br /><br /> Bert opens the door of the cab and puts George's suitcase <br /> inside.<br /><br /> ERNIE<br /> Sure, your highness, hop in. And, <br /> for the carriage trade, I puts on my <br /> hat.<br /><br /> As George is about to enter the cab, he stops suddenly as he <br /> sees Violet (now obviously a little sex machine) come toward <br /> him. Her walk and figure would stop anybody. She gives him a <br /> sultry look.<br /><br /> REVERSE ANGLE<br /><br /> The three men by the cab, but including Violet.<br /><br /> VIOLET<br /> Good afternoon, Mr. Bailey.<br /><br /> GEORGE<br /> Hello, Violet. Hey, you look good. <br /> That's some dress you got on there.<br /><br /> CLOSE SHOT – VIOLET<br /><br /> She reacts to this.<br /><br /> VIOLET<br /> Oh, this old thing? Why, I only wear <br /> it when I don't care how I look.<br /><br /> CAMERA PANS WITH HER AS VIOLET SWINGS ON DOWN THE SIDEWALK.<br /><br /> REVERSE SHOT – CAB<br /><br /> As Violet goes by, George and Bert raise their heads above <br /> the top of the cab.<br /><br /> MEDIUM SHOT<br /><br /> On Violet's back as she goes. As she crosses the street, an <br /> elderly man turns to look at her and is almost hit by a car <br /> that pulls up with screeching brakes.<br /><br /> CLOSE SHOT – GEORGE AND BERT AT CAB<br /><br /> Ernie sticks his head out form the driver's seat.<br /><br /> ERNIE<br /> How would you like...<br /><br /> GEORGE<br /> (as he enters cab)<br /> Yes...<br /><br /> ERNIE<br /> Want to come along, Bert? We'll <br /> show you the town!<br /><br /> Bert looks at his watch, then takes another look at Violet's <br /> retreating figure.<br /><br /> BERT<br /> No, thanks. Think I'll go home and <br /> see what the wife's doing.<br /><br /> ERNIE<br /> Family man.<br /><br /> DISSOLVE TO:<br /><br /> INT. BAILEY DINING ROOM – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> Pop Bailey is seated at the dinner table. Mrs. Bailey and <br /> Annie, the cook, look up toward the vibrating ceiling. There <br /> are SOUNDS of terrific banging and scuffling upstairs. Annie <br /> pounds on the ceiling with a broom.<br /><br /> MOTHER<br /> (calling out)<br /> George! Harry! You're shaking the <br /> house down! Stop it!<br /><br /> POP<br /> Oh, let 'em alone. I wish I was up <br /> there with them.<br /><br /> MOTHER<br /> Harry'll tear his dinner suit. George!<br /><br /> ANOTHER ANGLE<br /><br /> Mrs. Bailey is calling up the stairs.<br /><br /> ANNIE<br /> That's why all children should be <br /> girls.<br /><br /> MOTHER<br /> But if they were all girls, there <br /> wouldn't be any... Oh, never mind.<br /> (calling upstairs)<br /> George! Harry! Come down to dinner <br /> this minute. Everything's getting <br /> cold and you know we've been waiting <br /> for you.<br /><br /> GEORGE'S VOICE<br /> Okay, Mom.<br /><br /> She goes up the stairs. Pop is smiling and poking his plate. <br /> A commotion is heard on the stairs, the boys imitating fanfare <br /> MUSIC. Down they come, holding their mother high between <br /> them on their hands. They bring her into the dining room and <br /> deposit her gracefully into Pop's lap.<br /><br /> BOYS<br /> Here's a present for you, Pop.<br /><br /> Pop kisses her. Mother gives Pop a quick hug, then turns <br /> with all the wrath she can muster on the two boys.<br /><br /> MOTHER<br /> Oh, you two idiots! George, sit down <br /> and have dinner.<br /><br /> HARRY<br /> I've eaten.<br /><br /> MOTHER<br /> Well, aren't you going to finish <br /> dressing for your graduation party? <br /> Look at you.<br /><br /> HARRY<br /> I don't care. It's George's tux.<br /><br /> Annie crosses the room, holding her broom. Harry reaches out <br /> for her.<br /><br /> ANNIE<br /> If you lay a hand on me, I'll hit <br /> you with this broom.<br /><br /> HARRY<br /> Annie, I'm in love with you. There's <br /> a moon out tonight.<br /><br /> As he pushes her through the kitchen door, he slaps her fanny. <br /> She screams. The noise is cut off by the swinging door. George <br /> and his mother sit down at the table.<br /><br /> GEORGE<br /> Boy, oh, boy, oh, boy – my last meal <br /> at the old Bailey boarding house.<br /><br /> MOTHER<br /> Oh, my lands, my blood pressure!<br /><br /> CLOSE SHOT<br /><br /> Harry, as he sticks his head through the kitchen door.<br /><br /> HARRY<br /> Pop, can I have the car? I'm going <br /> to take over a lot of plates and <br /> things.<br /><br /> MOTHER<br /> What plates?<br /><br /> HARRY<br /> Oh, Mom – I'm chairman of the eats <br /> committee and we only need a couple <br /> of dozen.<br /><br /> MOTHER<br /> Oh, no you don't. Harry, now, not my <br /> best Haviland.<br /><br /> She follows Harry into the kitchen, leaving Pop and George. <br /> As she goes:<br /><br /> GEORGE<br /> Oh, let him have the plates, Mother.<br /><br /> CLOSE SHOT<br /><br /> George and his father, eating at the table. There is a great <br /> similarity and a great understanding between them.<br /><br /> POP<br /> Hope you have a good trip, George. <br /> Uncle Billy and I are going to miss <br /> you.<br /><br /> GEORGE<br /> I'm going to miss you, too, Pop. <br /> What's the matter? You look tired.<br /><br /> POP<br /> Oh, I had another tussle with Potter <br /> today.<br /><br /> GEORGE<br /> Oh...<br /><br /> POP<br /> I thought when we put him on the <br /> Board of Directors, he'd ease up on <br /> us a little bit.<br /><br /> GEORGE<br /> I wonder what's eating that old money <br /> grubbing buzzard anyway?<br /><br /> POP<br /> Oh, he's a sick man. Frustrated and <br /> sick. Sick in his mind, sick in his <br /> soul, if he has one. Hates everybody <br /> that has anything that he can't have. <br /> Hates us mostly, I guess.<br /><br /> MEDIUM SHOT<br /><br /> The dining room. Harry and his mother come out of the kitchen, <br /> Harry carrying a pie in each hand and balancing one on his <br /> head. CAMERA PANS WITH them as they cross.<br /><br /> HARRY<br /> Gangway! Gangway! So long, Pop.<br /><br /> POP<br /> So long, son.<br /><br /> GEORGE<br /> Got a match?<br /><br /> HARRY<br /> Very funny. Very funny.<br /><br /> MOTHER<br /> Put those things in the car and I'll <br /> get your tie and studs together.<br /><br /> HARRY<br /> Okay, Mom. You coming later? You <br /> coming later, George?<br /><br /> GEORGE<br /> What do you mean, and be bored to <br /> death?<br /><br /> HARRY<br /> Couldn't want a better death. Lots <br /> of pretty girls, and we're going to <br /> use that new floor of yours tonight, <br /> too.<br /><br /> GEORGE<br /> I hope it works.<br /><br /> POP<br /> No gin tonight, son.<br /><br /> HARRY<br /> Aw, Pop, just a little.<br /><br /> POP<br /> No, son, not one drop.<br /><br /> CLOSE SHOT<br /><br /> George and Pop at the table. Annie comes in with some dishes.<br /><br /> ANNIE<br /> Boys and girls and music. Why do <br /> they need gin?<br /><br /> She exits.<br /><br /> GEORGE<br /> Father, did I act like that when I <br /> graduated from high school?<br /><br /> POP<br /> Pretty much. You know, George, wish <br /> we could send Harry to college with <br /> you. Your mother and I talked it <br /> over half the night.<br /><br /> GEORGE<br /> We have that all figured out. You <br /> see, Harry'll take my job at the <br /> Building and Loan, work there four <br /> years, then he'll go.<br /><br /> POP<br /> He's pretty young for that job.<br /><br /> GEORGE<br /> Well, no younger than I was.<br /><br /> POP<br /> Maybe you were born older, George.<br /><br /> GEORGE<br /> How's that?<br /><br /> POP<br /> I say, maybe you were born older. I <br /> suppose you've decided what you're <br /> going to do when you get out of <br /> college.<br /><br /> GEORGE<br /> Oh, well, you know what I've always <br /> talked about – build things... design <br /> new buildings – plan modern cities – <br /> all that stuff I was talking about.<br /><br /> POP<br /> Still after that first million before <br /> you're thirty.<br /><br /> GEORGE<br /> No, I'll settle for half that in <br /> cash.<br /><br /> Annie comes in again from the kitchen.<br /><br /> POP<br /> Of course, it's just a hope, but you <br /> wouldn't consider coming back to the <br /> Building and Loan, would you?<br /><br /> Annie stops serving to hear his answer.<br /><br /> GEORGE<br /> Well, I...<br /> (to Annie)<br /> Annie, why don't you draw up a chair? <br /> Then you'd be more comfortable and <br /> you could hear everything that's <br /> going on.<br /><br /> ANNIE<br /> I would if I thought I'd hear anything <br /> worth listening to.<br /><br /> GEORGE<br /> You would, huh?<br /><br /> She gives George a look, and goes on out into the kitchen. <br /> Bailey smiles and turns to George.<br /><br /> POP<br /> I know it's soon to talk about it.<br /><br /> GEORGE<br /> Oh, now, Pop, I couldn't. I couldn't <br /> face being cooped up for the rest of <br /> my life in a shabby little office.<br /><br /> He stops, realizing that he has hurt his father.<br /><br /> GEORGE<br /> Oh, I'm sorry, Pop. I didn't mean <br /> that remark, but this business of <br /> nickels and dimes and spending all <br /> your life trying to figure out how <br /> to save three cents on a length of <br /> pipe... I'd go crazy. I want to do <br /> something big and something important.<br /><br /> POP<br /> (quietly)<br /> You know, George, I feel that in a <br /> small way we are doing something <br /> important. Satisfying a fundamental <br /> urge. It's deep in the race for a <br /> man to want his own roof and walls <br /> and fireplace, and we're helping him <br /> get those things in our shabby little <br /> office.<br /><br /> GEORGE<br /> (unhappily)<br /> I know, Dad. I wish I felt... But <br /> I've been hoarding pennies like a <br /> miser in order to... Most of my <br /> friends have already finished college. <br /> I just feel like if I don't get away, <br /> I'd bust.<br /><br /> POP<br /> Yes... Yes... You're right, son.<br /><br /> GEORGE<br /> You see what I mean, don't you, Pop?<br /><br /> POP<br /> This town is no place for any man <br /> unless he's willing to crawl to <br /> Potter. You've got talent, son. You <br /> get yourself an education. Then get <br /> out of here.<br /><br /> GEORGE<br /> Pop, do you want a shock? I think <br /> you're a great guy.<br /><br /> To cover his embarrassment, he looks toward the kitchen door <br /> and calls:<br /><br /> GEORGE<br /> Oh, did you hear that, Annie?<br /><br /> CLOSE SHOT<br /><br /> Annie listening through glass in door.<br /><br /> ANNIE<br /> I heard it. About time one of you <br /> lunkheads said it.<br /><br /> CLOSE SHOT<br /><br /> George and his father at the table.<br /><br /> GEORGE<br /> I'm going to miss old Annie. Pop, I <br /> think I'll get dressed and go over <br /> to Harry's party.<br /><br /> POP<br /> Have a good time, son.<br /><br /> WIPE TO:<br /><br /> INT. HIGH SCHOOL GYM – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> At one end of the room an orchestra is playing. George wends <br /> his way through the dancing couples toward a supper table. <br /> He and Harry are carrying plates and pies.<br /><br /> GEORGE<br /> Here you are.<br /><br /> Several of the boys take the plates from him. George looks <br /> at them, feeling very grown up and out of place.<br /><br /> HARRY<br /> (introducing George)<br /> You know my kid brother, George. I'm <br /> going to put him through college.<br /><br /> Sam Wainwright comes in behind Harry, waggles his hands at <br /> his ears as he talks.<br /><br /> SAM<br /> Here comes George. Hello, hee-haw!<br /><br /> George swings around, delighted to hear a familiar voice.<br /><br /> WIDER ANGLE<br /><br /> Including Sam and Marty Hatch. Sam is assured and breezy, <br /> wearing very collegiate clothes.<br /><br /> GEORGE<br /> Oh, oh. Sam Wainwright! How are you? <br /> When did you get here?<br /><br /> SAM<br /> Oh, this afternoon. I thought I'd <br /> give the kids a treat.<br /><br /> GEORGE<br /> Old college graduate now, huh?<br /><br /> SAM<br /> Yeah – old Joe College Wainwright, <br /> they call me. Well, freshman, looks <br /> like you're going to make it after <br /> all.<br /><br /> GEORGE<br /> Yep.<br /><br /> Sam sees Harry and leaves George in the middle of a gesture.<br /><br /> SAM<br /> (to Harry)<br /> Harry! You're the guy I want to see. <br /> Coach has heard all about you.<br /><br /> HARRY<br /> He has?<br /><br /> SAM<br /> Yeah. He's followed every game and <br /> his mouth's watering. He wants me to <br /> find out if you're going to come <br /> along with us.<br /><br /> HARRY<br /> Well, I gotta make some dough first.<br /><br /> SAM<br /> Well, you better make it fast. We <br /> need great ends like you – not broken <br /> down old guys like this one.<br /><br /> George and Sam wiggle their fingers at their ears, saluting <br /> each other.<br /><br /> GEORGE<br /> Hee-haw!<br /><br /> SAM<br /> Hee-haw!<br /><br /> An elderly, fussy school principal comes over to George.<br /><br /> PRINCIPAL<br /> George, welcome back.<br /><br /> GEORGE<br /> Hello, Mr. Partridge, how are you?<br /><br /> PRINCIPAL<br /> Putting a pool under this floor was <br /> a great idea. Saved us another <br /> building. Now, Harry, Sam, have a <br /> lot of fun. There's lots of stuff <br /> to eat and drink. Lots of pretty <br /> girls around.<br /><br /> Violet Bick comes into the scene and turns to face George. <br /> She is waving her dance program at him.<br /><br /> VIOLET<br /> Hey, George...<br /><br /> GEORGE<br /> Hello, Violet.<br /><br /> VIOLET<br /> Hello, what am I bid?<br /><br /> Marty Hatch enters scene.<br /><br /> MARTY<br /> George.<br /><br /> GEORGE<br /> Hiya, Marty. Well, it's old home <br /> week.<br /><br /> MARTY<br /> Do me a favor, will you, George?<br /><br /> GEORGE<br /> What's that?<br /><br /> MARTY<br /> Well, you remember my kid sister, <br /> Mary?<br /><br /> GEORGE<br /> Oh, yeah, yeah.<br /><br /> SAM<br /> "Momma wants you, Marty." "Momma <br /> wants you, Marty." Remember?<br /><br /> MARTY<br /> Dance with her, will you?<br /><br /> GEORGE<br /> Oh... me? Oh, well, I feel funny <br /> enough already, with all these kids.<br /><br /> MARTY<br /> Aw, come on. Be a sport. Just dance <br /> with her one time and you'll give <br /> her the thrill of her life.<br /><br /> SAM<br /> Aw, go on.<br /><br /> MARTY<br /> (calling off)<br /> Hey, sis.<br /><br /> GEORGE<br /> Well, excuse me, Violet. Don't be <br /> long, Marty. I don't want to be a <br /> wet nurse for...<br /><br /> He stops suddenly as he sees Mary, staring at her.<br /><br /> CLOSEUP – MARY HATCH<br /><br /> She is standing talking to one of the boys, Freddie, a glass <br /> of punch in her hand. For the first time, she is wearing an <br /> evening gown and she has gained assurance from the admiration <br /> of the boy with her. She turns around and for the first time <br /> she sees George. For a second she loses her poise, staring <br /> at him.<br /><br /> FREDDIE'S VOICE<br /> And the next thing I know, some guy <br /> came up and tripped me. That's the <br /> reason why I came in fourth. If it <br /> hadn't been for that...<br /><br /> CLOSE SHOT<br /><br /> George, staring at Mary.<br /><br /> FREDDIE'S VOICE<br /> ...that race would have been a cinch. <br /> I tried to find out who it was <br /> later...<br /><br /> CLOSEUP – MARY<br /><br /> Still staring at George, and smiling.<br /><br /> FREDDIE'S VOICE<br /> ...but I couldn't find out. Nobody'd <br /> ever tell you whoever it was because <br /> they'd be scared. They know...<br /><br /> MEDIUM CLOSEUP<br /><br /> Mary and Freddie. Marty comes into scene, followed by George.<br /><br /> FREDDIE<br /> ...what kind of...<br /><br /> MARTY<br /> (interrupting)<br /> You remember George? This is Mary. <br /> Well, I'll be seeing you.<br /><br /> GEORGE<br /> Well... Well... Well...<br /><br /> FREDDIE<br /> Now, to get back to my story, see...<br /><br /> Mary hands her punch cup to Freddie, and she and George start <br /> dancing.<br /><br /> FREDDIE<br /> Hey, this is my dance!<br /><br /> GEORGE<br /> Oh, why don't you stop annoying <br /> people?<br /><br /> FREDDIE<br /> Well, I'm sorry. Hey!<br /><br /> MOVING SHOT<br /><br /> Following George and Mary as they dance.<br /><br /> GEORGE<br /> Well, hello.<br /><br /> MARY<br /> Hello. You look at me as if you didn't <br /> know me.<br /><br /> GEORGE<br /> Well, I don't.<br /><br /> MARY<br /> You've passed me on the street almost <br /> every day.<br /><br /> GEORGE<br /> Me?<br /><br /> MARY<br /> Uh-huh.<br /><br /> GEORGE<br /> Uh-uh. That was a little girl named <br /> Mary Hatch. That wasn't you.<br /><br /> A WHISTLE is heard offscreen, and the MUSIC stops.<br /><br /> CLOSE SHOT<br /><br /> Harry on the orchestra platform, whistle in hand.<br /><br /> HARRY<br /> Oyez – oyez – oyez... The big <br /> Charleston contest. The prize? A <br /> genuine loving cup. Those not tapped <br /> by the judges will remain on the <br /> floor. Let's go!<br /><br /> CLOSEUP – GEORGE AND MARY<br /><br /> As the MUSIC starts and couples begin dancing once more, <br /> they look at each other.<br /><br /> GEORGE<br /> I'm not very good at this.<br /><br /> MARY<br /> Neither am I.<br /><br /> GEORGE<br /> Okay – what can we lose?<br /><br /> They start their Charleston. We see a SERIES OF SHOTS of <br /> various couples doing their routines, some good, some bad.<br /><br /> CLOSEUP – FREDDIE<br /><br /> Leaning against the railing around the dance floor, looking <br /> daggers at George. Mickey, a young punk who has had one too <br /> many, is beside him.<br /><br /> MICKEY<br /> What's the matter, Othello – jealous? <br /> Did you know there's a swimming pool <br /> under this floor? And did you know <br /> that button behind you causes this <br /> floor to open up? And did you further <br /> know that George Bailey is dancing <br /> right over that crack? And I've got <br /> the key?<br /><br /> Freddie needs no more. He takes the key from Mickey and turns <br /> the switch. The floor begins to part in the middle, each <br /> half sliding under the bleacher seats. Pandemonium starts. <br /> Dancers begin to scream as they try to get off. Some are so <br /> engrossed in dancing they continue at top speed. Teachers <br /> and elders start to scurry off. As the floor opens, it reveals <br /> an attractive, lighted swimming pool. George and Mary are <br /> so busy dancing they don't notice the floor opening. <br /> Spotlights concentrate on them. They mistake the screams for <br /> cheers.<br /><br /> CLOSE SHOT<br /><br /> George and Mary dancing.<br /><br /> GEORGE<br /> They're cheering us. We must be good.<br /><br /> MEDIUM CLOSE SHOT<br /><br /> The crowd watching George and Mary dancing. They move <br /> backwards until finally they reach the edge of the floor and <br /> fall into the pool below.<br /><br /> SERIES OF SHOTS<br /><br /> George and Mary still trying to dance in the water – the <br /> crowd on the edge cheering them – some of the crowd leap <br /> into the pool – the principal trying to restore order, finally <br /> clasps his hands like a diver and leaps in himself.<br /><br /> FADE OUT<br /><br /> FADE IN:<br /><br /> EXT. TREE-LINED RESIDENTIAL STREET – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George and Mary. The night is warm with a bright moon. George <br /> is dressed in jersey sweater and oversize football pants <br /> that keep wanting to come down. Mary is in an old white bath <br /> robe. Each is carrying their wet clothes tied into a bundle <br /> that leaves a trail of dripping water. As they near the camera <br /> we hear them singing:<br /><br /> GEORGE AND MARY<br /> (singing)<br /> Buffalo Gals can't you come out <br /> tonight. Can't you come out tonight. <br /> Can't you come out tonight. Buffalo <br /> Gals can't you come out tonight and <br /> dance by the light of the moon.<br /><br /> GEORGE<br /> Hot dog! Just like an organ.<br /><br /> MARY<br /> Beautiful.<br /><br /> CAMERA MOVES WITH them as they proceed down the street.<br /><br /> GEORGE<br /> And I told Harry I thought I'd be <br /> bored to death. You should have seen <br /> the commotion in that locker room. I <br /> had to knock down three people to <br /> get this stuff we're wearing here. <br /> Here, let me hold that old wet dress <br /> of yours.<br /><br /> He takes the bundle of clothes from Mary. They stop and look <br /> at each other.<br /><br /> MARY<br /> Do I look as funny as you do?<br /><br /> GEORGE<br /> I guess I'm not quite the football <br /> type. You... look wonderful. You <br /> know, if it wasn't me talking I'd <br /> say you were the prettiest girl in <br /> town.<br /><br /> MARY<br /> Well, why don't you say it?<br /><br /> GEORGE<br /> I don't know. Maybe I will say it. <br /> How old are you anyway?<br /><br /> MARY<br /> Eighteen.<br /><br /> GEORGE<br /> Eighteen? Why, it was only last year <br /> you were seventeen.<br /><br /> MARY<br /> Too young or too old?<br /><br /> GEORGE<br /> Oh, no. Just right. Your age fits <br /> you. Yes, sir, you look a little <br /> older without your clothes on.<br /><br /> Mary stops. George, to cover his embarrassment, talks quickly <br /> on:<br /><br /> GEORGE<br /> I mean, without a dress. You look <br /> older... I mean, younger. You look <br /> just...<br /><br /> In his confusion George steps on the end of the belt of Mary's <br /> bath robe, which is trailing along behind her. She gathers <br /> the robe around her.<br /><br /> GEORGE<br /> Oh-oh...<br /><br /> MARY<br /> (holding out her hand)<br /> Sir, my train, please.<br /><br /> GEORGE<br /> A pox upon me for a clumsy lout.<br /><br /> He picks up the belt and throws it over her arm.<br /><br /> GEORGE<br /> Your... your caboose, my lady.<br /><br /> MARY<br /> You may kiss my hand.<br /><br /> GEORGE<br /> Ummmmm...<br /><br /> Holding her hand, George moves in closer to Mary.<br /><br /> GEORGE<br /> Hey – hey, Mary.<br /><br /> Mary turns away from him, singing "Buffalo Gals":<br /><br /> MARY<br /> (singing)<br /> As I was lumbering down the street...<br /><br /> George looks after her; then picks up a rock from the street.<br /><br /> GEORGE<br /> Okay, then, I'll throw a rock at the <br /> old Granville house.<br /><br /> MARY<br /> Oh, no, don't. I love that old house.<br /><br /> MEDIUM LONG SHOT – OLD HOUSE<br /><br /> It is a weather-beaten, old-fashioned two-storied house that <br /> once was no doubt resplendent.<br /><br /> GEORGE<br /> No. You see, you make a wish and <br /> then try and break some glass. You <br /> got to be a pretty good shot nowadays, <br /> too.<br /><br /> MEDIUM CLOSEUP – GEORGE AND MARY<br /><br /> MARY<br /> Oh, no, George, don't. It's full of <br /> romance, that old place. I'd like to <br /> live in it.<br /><br /> GEORGE<br /> In that place?<br /><br /> MARY<br /> Uh-huh.<br /><br /> GEORGE<br /> I wouldn't live in it as a ghost. <br /> Now watch... right on the second <br /> floor there.<br /><br /> MEDIUM LONG SHOT – OLD HOUSE<br /><br /> George hurls the rock at the house. We hear the SOUND of a <br /> window breaking.<br /><br /> EXT. FRONT PORCH OF HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> We see a grumpy old man in shirt sleeves in a rocking chair <br /> on the porch. He looks up as he hears the breaking glass.<br /><br /> EXT. STREET – NIGHT<br /><br /> CLOSEUP – GEORGE AND MARY<br /><br /> MARY<br /> What'd you wish, George?<br /><br /> GEORGE<br /> Well, not just one wish. A whole <br /> hatful, Mary. I know what I'm going <br /> to do tomorrow and the next day and <br /> the next year and the year after <br /> that. I'm shaking the dust of this <br /> crummy little town off my feet and <br /> I'm going to see the world. Italy, <br /> Greece, the Parthenon, the Colosseum. <br /> Then I'm coming back here and go to <br /> college and see what they know... <br /> and then I'm going to build things. <br /> I'm gonna build air fields. I'm <br /> gonna build skyscrapers a hundred <br /> stories high. I'm gonna build bridges <br /> a mile long...<br /><br /> As he talks, Mary has been listening intently. She finally <br /> stoops down and picks up a rock, weighting it in her hand.<br /><br /> GEORGE<br /> Are you gonna throw a rock?<br /><br /> MEDIUM LONG SHOT<br /><br /> The old deserted house. Mary throws her rock, and once more <br /> we hear the SOUND of breaking glass.<br /><br /> GEORGE<br /> Hey, that's pretty good. What'd you <br /> wish, Mary?<br /><br /> Mary looks at him provocatively, then turns and shuffles off <br /> down the street, singing as she goes. George hurries after <br /> her.<br /><br /> MARY<br /> (singing)<br /> Buffalo Gals, can't you come out <br /> tonight...<br /><br /> George joins her in the singing as they proceed down the <br /> street.<br /><br /> MARY AND GEORGE<br /> (singing)<br /> ...can't you come out tonight, can't <br /> you come out tonight. Buffalo Gals <br /> can't you come out tonight and dance <br /> by the light of the moon.<br /><br /> GEORGE<br /> What'd you wish when you threw that <br /> rock?<br /><br /> CLOSE SHOT<br /><br /> Man on the porch of house, listening to George and Mary.<br /><br /> MEDIUM CLOSEUP – GEORGE AND MARY<br /><br /> They have stopped walking and now face one another.<br /><br /> MARY<br /> Oh, no.<br /><br /> GEORGE<br /> Come on, tell me.<br /><br /> MARY<br /> If I told you it might not come true.<br /><br /> GEORGE<br /> What is it you want, Mary? What do <br /> you want? You want the moon? Just <br /> say...<br /><br /> LONG SHOT<br /><br /> Full moon shining through the trees.<br /><br /> BACK TO SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> ...the word and I'll throw a lasso <br /> around it and pull it down. Hey, <br /> that's a pretty good idea. I'll give <br /> you the moon, Mary.<br /><br /> MARY<br /> I'll take it. And then what?<br /><br /> GEORGE<br /> Well, then you could swallow it and <br /> it'd all dissolve, see? And the <br /> moonbeams'd shoot out of your fingers <br /> and your toes, and the ends of your <br /> hair.<br /> (pauses)<br /> Am I talking too much?<br /><br /> MEDIUM CLOSEUP – MAN ON PORCH OF HOUSE<br /><br /> As George finishes talking, he jumps up out of his chair:<br /><br /> MAN<br /> Yes!! Why don't you kiss her instead <br /> of talking her to death?<br /><br /> CLOSE SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> How's that?<br /><br /> MEDIUM CLOSEUP – MAN ON PORCH<br /><br /> MAN<br /> Why don't you kiss her instead of <br /> talking her to death?<br /><br /> CLOSE SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> Want me to kiss her, huh?<br /><br /> CLOSE SHOT – PORCH OF HOUSE<br /><br /> MAN<br /> Aw, youth is wasted on the wrong <br /> people.<br /><br /> As he speaks, the man leaves the porch and goes into his <br /> house, slamming the front door.<br /><br /> CLOSE SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> Hey, hey, hold on. Hey, mister, come <br /> on back out here, and I'll show you <br /> some kissing that'll put hair back <br /> on your head. What are you...<br /><br /> Mary runs off scene. George has been once more standing on <br /> the belt of her bath robe, so as she goes, her robe comes <br /> off.<br /><br /> GEORGE<br /> (looking around)<br /> Mary...<br /><br /> He drops his bundle of clothes and picks up Mary's robe. He <br /> cannot see her anywhere.<br /><br /> GEORGE<br /> Okay, I give up. Where are you?<br /><br /> CLOSEUP – BUSH AT EDGE OF SIDEWALK<br /><br /> We see Mary's face peering out from the leaves.<br /><br /> MARY<br /> Over here in the hydrangea bushes.<br /><br /> MEDIUM CLOSE SHOT – GEORGE AND MARY<br /><br /> George walks toward the bush.<br /><br /> GEORGE<br /> Here you are. Catch.<br /><br /> He is about to throw her the robe, when a thought strikes <br /> him.<br /><br /> GEORGE<br /> Wait a minute. What am I doing? This <br /> is a very interesting situation.<br /><br /> MARY<br /> (from the bushes)<br /> Please give me my robe.<br /><br /> GEORGE<br /> Hmm... A man doesn't get in a <br /> situation like this every day.<br /><br /> MARY<br /> (impatiently)<br /> I'd like to have my robe.<br /><br /> GEORGE<br /> Not in Bedford Falls, anyway.<br /><br /> Mary thrashes around in the bushes. We hear her say:<br /><br /> MARY<br /> Ouch!<br /><br /> GEORGE<br /> Gesundheit. This requires a little <br /> thought here.<br /><br /> MARY<br /> (getting mad)<br /> George Bailey! Give me my robe!<br /><br /> GEORGE<br /> I've heard about things like this, <br /> but I've never...<br /><br /> MARY<br /> (interrupting)<br /> Shame on you. I'm going to tell your <br /> mother on you.<br /><br /> GEORGE<br /> Oh, my mother's way up the corner <br /> there.<br /><br /> MARY<br /> (desperate)<br /> I'll call the police.<br /><br /> GEORGE<br /> They're way downtown. They'd be on <br /> my side, too.<br /><br /> MARY<br /> I'm going to scream!<br /><br /> GEORGE<br /> (thoughtfully)<br /> Maybe I could sell tickets. Let's <br /> see. No, the point is, in order to <br /> get this robe... I've got it! I'll <br /> make a deal with you, Mary.<br /><br /> Headlights flash into the scene, and the old Bailey automobile <br /> drives in, with Harry at the wheel, and Uncle Billy beside <br /> him.<br /><br /> UNCLE BILLY<br /> George! George! Come on home, quick! <br /> Your father's had a stroke!<br /><br /> George throws Mary's robe over the bush and gets into the <br /> car.<br /><br /> GEORGE<br /> Mary... Mary, I'm sorry. I've got to <br /> go.<br /><br /> HARRY<br /> Come on, George, let's hurry.<br /><br /> GEORGE<br /> Did you get a doctor?<br /><br /> UNCLE BILLY<br /> Yes, Campbell's there now.<br /><br /> CLOSEUP – THE HYDRANGEA BUSH<br /><br /> As the car drives off, Mary, now wearing the robe, rises up <br /> from the bush and follows the car with her eyes.<br /><br /> FADE OUT<br /><br /> FADE IN:<br /><br /> EXT. BAILEY BUILDING AND LOAN SIGN OVER ENTRANCE<br /><br /> INT. BAILEY BUILDING AND LOAN OFFICE – DAY<br /><br /> CLOSE SHOT – DIRECTORS MEETING<br /><br /> There are about twelve directors seated around a long table. <br /> They are the substantial citizens of Bedford Falls: Dr. <br /> Campbell, a lawyer, an insurance agent, a real estate <br /> salesman, etc. Prominently seated among them is Henry F. <br /> Potter, his goon beside his wheelchair. Uncle Billy and George <br /> are seated among the directors. The Chairman of the Board is <br /> Dr. Campbell. They have folders and papers before them, on <br /> which they have been reporting. Before each of the directors <br /> there are individual reports for them to study.<br /><br /> DR. CAMPBELL<br /> I think that's all we'll need you <br /> for, George. I know you're anxious <br /> to make a train.<br /><br /> GEORGE<br /> (rising)<br /> I have a taxi waiting downstairs.<br /><br /> DR. CAMPBELL<br /> I want the Board to know that George <br /> gave up his trip to Europe to help <br /> straighten things out here these <br /> past few months. Good luck to you <br /> at school, George.<br /><br /> GEORGE<br /> Thanks.<br /><br /> DR. CAMPBELL<br /> Now we come to the real purpose of <br /> this meeting – to appoint a successor <br /> to our dear friend, Peter Bailey.<br /><br /> POTTER<br /> Mr. Chairman, I'd like to get to my <br /> real purpose.<br /><br /> MAN<br /> Wait just a minute now.<br /><br /> POTTER<br /> Wait for what? I claim this <br /> institution is not necessary to this <br /> town. Therefore, Mr. Chairman, I <br /> make a motion to dissolve this <br /> institution and turn its assets and <br /> liabilities over to the receiver.<br /><br /> UNCLE BILLY<br /> (angrily)<br /> George, you hear what that buzzard...<br /><br /> LAWYER<br /> Mr. Chairman, it's too soon after <br /> Peter Bailey's death to discuss <br /> chloroforming the Building and Loan.<br /><br /> MAN<br /> Peter Bailey died three months ago. <br /> I second Mr. Potter's motion.<br /><br /> DR. CAMPBELL<br /> Very well. In that case I'll ask the <br /> two executive officers to withdraw.<br /><br /> Dr. Campbell rises from his seat. George and Uncle Billy <br /> start to collect their papers and leave the table.<br /><br /> DR. CAMPBELL<br /> But before you go, I'm sure the whole <br /> board wishes to express its deep <br /> sorrow at the passing of Peter Bailey.<br /><br /> GEORGE<br /> Thank you very much.<br /><br /> DR. CAMPBELL<br /> It was his faith and devotion that <br /> are responsible for this organization.<br /><br /> POTTER<br /> I'll go further than that. I'll say <br /> that to the public Peter Bailey was <br /> the Building and Loan.<br /><br /> Everyone looks at him surprised.<br /><br /> UNCLE BILLY<br /> (trying to control <br /> himself)<br /> Oh, that's fine, Potter, coming from <br /> you, considering that you probably <br /> drove him to his grave.<br /><br /> POTTER<br /> Peter Bailey was not a business man. <br /> That's what killed him. Oh, I don't <br /> mean any disrespect to him, God rest <br /> his soul. He was a man of high <br /> ideals, so-called, but ideals without <br /> common sense can ruin this town.<br /> (picking up papers <br /> from table)<br /> Now, you take this loan here to Ernie <br /> Bishop... You know, that fellow that <br /> sits around all day on his brains in <br /> his taxi. You know... I happen to <br /> know the bank turned down this loan, <br /> but he comes here and we're building <br /> him a house worth five thousand <br /> dollars. Why?<br /><br /> George is at the door of the office, holding his coat and <br /> papers, ready to leave.<br /><br /> GEORGE<br /> Well, I handled that, Mr. Potter. <br /> You have all the papers there. His <br /> salary, insurance. I can personally <br /> vouch for his character.<br /><br /> POTTER<br /> (sarcastically)<br /> A friend of yours?<br /><br /> GEORGE<br /> Yes, sir.<br /><br /> POTTER<br /> You see, if you shoot pool with some <br /> employee here, you can come and borrow <br /> money. What does that get us? A <br /> discontented, lazy rabble instead of <br /> a thrifty working class. And all <br /> because a few starry-eyed dreamers <br /> like Peter Bailey stir them up and <br /> fill their heads with a lot of <br /> impossible ideas. Now, I say...<br /><br /> George puts down his coat and comes around to the table, <br /> incensed by what Potter is saying about his father.<br /><br /> GEORGE<br /> Just a minute – just a minute. Now, <br /> hold on, Mr. Potter. You're right <br /> when you say my father was no business <br /> man. I know that. Why he ever started <br /> this cheap, penny-ante Building and <br /> Loan, I'll never know. But neither <br /> you nor anybody else can say anything <br /> against his character, because his <br /> whole life was... Why, in the twenty-<br /> five years since he and Uncle Billy <br /> started this thing, he never once <br /> thought of himself. Isn't that right, <br /> Uncle Billy? He didn't save enough <br /> money to send Harry to school, let <br /> alone me. But he did help a few people <br /> get out of your slums, Mr. Potter. <br /> And what's wrong with that? Why... <br /> Here, you're all businessmen here. <br /> Doesn't it make them better citizens? <br /> Doesn't it make them better customers? <br /> You... you said... What'd you say <br /> just a minute ago?... They had to <br /> wait and save their money before <br /> they even ought to think of a decent <br /> home. Wait! Wait for what? Until <br /> their children grow up and leave <br /> them? Until they're so old and broken-<br /> down that they... Do you know how <br /> long it takes a working man to save <br /> five thousand dollars? Just remember <br /> this, Mr. Potter, that this rabble <br /> you're talking about... they do most <br /> of the working and paying and living <br /> and dying in this community. Well, <br /> is it too much to have them work and <br /> pay and live and die in a couple of <br /> decent rooms and a bath? Anyway, my <br /> father didn't think so. People were <br /> human beings to him, but to you, a <br /> warped, frustrated old man, they're <br /> cattle. Well, in my book he died a <br /> much richer man than you'll ever be!<br /><br /> POTTER<br /> I'm not interested in your book. I'm <br /> talking about the Building and Loan.<br /><br /> GEORGE<br /> I know very well what you're talking <br /> about. You're talking about something <br /> you can't get your fingers on, and <br /> it's galling you. That's what you're <br /> talking about, I know.<br /> (to the Board)<br /> Well, I've said too much. I... You're <br /> the Board here. You do what you want <br /> with this thing. Just one thing more, <br /> though. This town needs this measly <br /> one-horse institution if only to <br /> have some place where people can <br /> come without crawling to Potter. <br /> Come on, Uncle Billy!<br /><br /> George leaves the room, followed by the jubilant Uncle Billy. <br /> Potter's face is grim with hatred. The "frustrated old man" <br /> remark was gall in his veins.<br /><br /> POTTER<br /> Sentimental hogwash! I want my <br /> motion...<br /><br /> He is interrupted by a babble of talk, as the directors take <br /> up the argument<br /><br /> INT. OUTER OFFICE – BUILDING AND LOAN – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George, visibly shaken, is busy with his bag, his papers. He <br /> is worried about the outcome of the meeting. Dissolving the <br /> Building and Loan will alter his plans. Uncle Billy follows <br /> him around, chattering.<br /><br /> UNCLE BILLY<br /> Boy, oh, boy, that was telling him, <br /> George, old boy. You shut his big <br /> mouth.<br /> (to Cousin Tilly and <br /> Cousin Eustace)<br /> You should have heard him.<br /><br /> COUSIN EUSTACE<br /> What happened? We heard a lot of <br /> yelling.<br /><br /> UNCLE BILLY<br /> Well, we're being voted out of <br /> business after twenty-five years. <br /> Easy come, easy go.<br /><br /> COUSIN TILLY<br /> (reading a newspaper)<br /> Here it is, "Help Wanted – Female."<br /><br /> MEDIUM CLOSE SHOT – DOORWAY TO OFFICE<br /><br /> Ernie is in the doorway.<br /><br /> ERNIE<br /> You still want me to hang around, <br /> George?<br /><br /> MEDIUM CLOSE SHOT – GEORGE AND THE OTHERS<br /><br /> GEORGE<br /> (looking at his watch)<br /> Yeah, I'll be right down.<br /><br /> UNCLE BILLY<br /> Hey, you'll miss your train. You're <br /> a week late for school already. Go <br /> on.<br /><br /> GEORGE<br /> (indicating Board <br /> room)<br /> I wonder what's going on in there?<br /><br /> UNCLE BILLY<br /> Oh, never mind. Don't worry about <br /> that. They're putting us out of <br /> business. So what? I can get another <br /> job. I'm only fifty-five.<br /><br /> COUSIN TILLY<br /> Fifty-six!<br /><br /> UNCLE BILLY<br /> Go on – go on. Hey, look, you gave <br /> up your boat trip, now you don't <br /> want to miss college too, do you?<br /><br /> Dr. Campbell comes running out, all excited.<br /><br /> DR. CAMPBELL<br /> George! George! They voted Potter <br /> down! They want to keep it going!<br /><br /> Cousin Eustace, Cousin Tilly and Uncle Billy cheer wildly. <br /> Dr. Campbell and George shake hands.<br /><br /> UNCLE BILLY<br /> Whoopee!<br /><br /> DR. CAMPBELL<br /> But they've got one condition – only <br /> one condition.<br /><br /> GEORGE<br /> What's that?<br /><br /> DR. CAMPBELL<br /> That's the best part of it. They've <br /> appointed George here as executive <br /> secretary to take his father's place.<br /><br /> GEORGE<br /> Oh, no! But, Uncle Billy...<br /><br /> DR. CAMPBELL<br /> You can keep him on. That's all right. <br /> As secretary you can hire anyone you <br /> like.<br /><br /> GEORGE<br /> (emphatically)<br /> Dr. Campbell, now let's get this <br /> thing straight. I'm leaving. I'm <br /> leaving right now. I'm going to <br /> school. This is my last chance. Uncle <br /> Billy here, he's your man.<br /><br /> DR. CAMPBELL<br /> But, George, they'll vote with Potter <br /> otherwise.<br /><br /> LAP DISSOLVE<br /><br /> EXT. SKY – NIGHT<br /><br /> The same stars we saw in the opening sequence are once more <br /> twinkling as we hear the voices form Heaven<br /><br /> CLARENCE'S VOICE<br /> I know. I know. He didn't go.<br /><br /> JOSEPH'S VOICE<br /> That's right. Not only that, but he <br /> gave his school money to his brother <br /> Harry, and sent him to college. Harry <br /> became a football star – made second <br /> team All American.<br /><br /> CLARENCE'S VOICE<br /> Yes, but what happened to George?<br /><br /> LAP DISSOLVE<br /><br /> EXT. RAILROAD STATION – DAY – FOUR YEARS LATER<br /><br /> MEDIUM SHOT<br /><br /> Characteristic activity; a number of people waiting for the <br /> train. Uncle Billy is seated on a baggage wagon eating <br /> peanuts as George paces up and down in front of him.<br /><br /> JOSEPH'S VOICE<br /> George got four years older, waiting <br /> for Harry to come back and take over <br /> the Building and Loan.<br /><br /> GEORGE<br /> Oh, there are plenty of jobs around <br /> for somebody that likes to travel. <br /> Look at this.<br /> (takes some folders <br /> from his pocket)<br /> There... Venezuela oil fields – <br /> wanted, man with construction <br /> experience. Here's the Yukon, right <br /> here – wanted, man with engineering <br /> experience.<br /><br /> The WHISTLE of the approaching train is heard.<br /><br /> GEORGE<br /> Thar she blows. You know what the <br /> three most exciting sounds in the <br /> world are?<br /><br /> UNCLE BILLY<br /> Uh-huh. Breakfast is served; lunch <br /> is served; dinner...<br /><br /> GEORGE<br /> No, no, no, no! Anchor chains, plane <br /> motors, and train whistles.<br /><br /> UNCLE BILLY<br /> Peanut?<br /><br /> WIPE TO:<br /><br /> EXT. TRAIN – DAY<br /><br /> MEDIUM SHOT<br /><br /> The train comes to a stop, and Harry is among the first to <br /> get off, followed by an attractive girl about the same age <br /> as he is. George rushes into the shot, and as the brothers <br /> embrace:<br /><br /> GEORGE<br /> (joyously)<br /> There's the professor now! Old <br /> professor, Phi Beta Kappa Bailey! <br /> All American!<br /><br /> HARRY<br /> Well, if it isn't old George <br /> Geographic Explorer Bailey! What? No <br /> husky dogs? No sled?<br /> (to Uncle Billy)<br /> Uncle Billy, you haven't changed a <br /> bit.<br /><br /> UNCLE BILLY<br /> Nobody ever changes around here. You <br /> know that.<br /><br /> GEORGE<br /> Oh, am I glad to see you.<br /><br /> HARRY<br /> Say, where's Mother?<br /><br /> GEORGE<br /> She's home cooking the fatted calf. <br /> Come on, let's go.<br /><br /> HARRY<br /> Oh, wait. Wait... Wait a minute.<br /><br /> CLOSE SHOT<br /><br /> The group, including Ruth Dakin. This is the young lady who <br /> came off the train with Harry. In the excitement of greetings <br /> she has been momentarily forgotten. She stands, smiling, <br /> waiting.<br /><br /> GEORGE<br /> Hello.<br /><br /> UNCLE BILLY<br /> How do you do.<br /><br /> HARRY<br /> Ruth Dakin.<br /><br /> RUTH<br /> Ruth Dakin Bailey, if you don't mind.<br /><br /> George and Uncle Billy stare, astounded.<br /><br /> UNCLE BILLY<br /> Huh?<br /><br /> HARRY<br /> Well, I wired you I had a surprise. <br /> Here she is. Meet the wife.<br /><br /> George is thunderstruck. He takes Ruth's hand.<br /><br /> UNCLE BILLY<br /> Well, what do you know – wife.<br /><br /> GEORGE<br /> Well, how do you do. Congratulations. <br /> Congratulations. What am I doing?<br /><br /> He kisses Ruth. CAMERA MOVES WITH them down the platform.<br /><br /> GEORGE<br /> Harry, why didn't you tell somebody?<br /> (to Ruth)<br /> What's a pretty girl like you doing <br /> marrying this two-headed brother of <br /> mine?<br /><br /> RUTH<br /> (smiling)<br /> Well, I'll tell you. It's purely <br /> mercenary. My father offered him a <br /> job.<br /><br /> George stops, with a sinking feeling. Uncle Billy and Ruth <br /> continue out of shot. Harry stops with George.<br /><br /> UNCLE BILLY<br /> (as he moves off)<br /> Oh, he gets you and a job? Well, <br /> Harry's cup runneth over.<br /><br /> HARRY<br /> George... about that job. Ruth spoke <br /> out of turn. I never said I'd take <br /> it. You've been holding the bag here <br /> for four years, and... well, I won't <br /> let you down, George. I would like <br /> to... Oh, wait a minute. I forgot <br /> the bags. I'll be right back.<br /><br /> He runs out of the shot, George watching him.<br /><br /> CLOSE SHOT<br /><br /> George slowly moves after Uncle Billy and Ruth. He is thinking <br /> deeply.<br /><br /> UNCLE BILLY'S VOICE<br /> It was a surprise to me. This is the <br /> new Mrs. Bailey, my nephew's wife. <br /> Old, old friend of the family.<br /><br /> RUTH'S VOICE<br /> Oh, of course. I've heard him speak <br /> of you.<br /><br /> UNCLE BILLY'S VOICE<br /> And I want to tell you, we're going <br /> to give the biggest party this town <br /> ever saw.<br /><br /> CAMERA MOVES WITH George as he comes into the scene. Ruth <br /> detaches herself from the group and offers George some <br /> popcorn.<br /><br /> RUTH<br /> (to George)<br /> Here, have some popcorn. George, <br /> George, George... that's all Harry <br /> ever talks about.<br /><br /> GEORGE<br /> (quietly)<br /> Ruth, this... what about this job?<br /><br /> RUTH<br /> Oh, well, my father owns a glass <br /> factory in Buffalo. He wants to get <br /> Harry started in the research <br /> business.<br /><br /> GEORGE<br /> Is it a good job?<br /><br /> RUTH<br /> Oh, yes, very. Not much money, but a <br /> good future, you know. Harry's a <br /> genius at research. My father fell <br /> in love with him.<br /><br /> GEORGE<br /> And you did, too?<br /><br /> Ruth nods, smiling.<br /><br /> WIPE TO:<br /><br /> EXT. FRONT PORCH – BAILEY HOME – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Cousin Eustace is taking a photograph of the family group <br /> assembled on the porch. Flash bulbs go off, and the group <br /> breaks up. The crowd enters the front door of the house, <br /> leaving George and Uncle Billy on the porch.<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> The latter is tipsy. He feels very high.<br /><br /> UNCLE BILLY<br /> Oh, boy, oh boy, oh boy. I feel so <br /> good I could spit in Potter's eye. I <br /> think I will. What did you say, huh? <br /> Oh, maybe I'd better go home.<br /><br /> He looks around for his hat, which is on his head.<br /><br /> UNCLE BILLY<br /> Where's my hat? Where's my...<br /><br /> George takes the hat from Uncle Billy's head and hands it to <br /> him.<br /><br /> UNCLE BILLY<br /> Oh, thank you, George. Which one is <br /> mine?<br /><br /> GEORGE<br /> (laughing)<br /> The middle one.<br /><br /> UNCLE BILLY<br /> Oh, thank you, George, old boy, old <br /> boy. Now, look – if you'll point me <br /> in the right direction... would you <br /> do that? George?<br /><br /> GEORGE<br /> Right down here.<br /><br /> They descend the porch steps, and George turns his uncle <br /> around and heads him down the street.<br /><br /> UNCLE BILLY<br /> Old Building and Loan pal, huh...<br /><br /> GEORGE<br /> Now you just turn this way and go <br /> right straight down.<br /><br /> UNCLE BILLY<br /> That way, huh?<br /><br /> He staggers out of the scene, and as George turns away, we <br /> hear Uncle Billy singing "My Wild Irish Rose." There is a <br /> CRASH of cans and bottles, then:<br /><br /> UNCLE BILLY'S VOICE<br /> I'm all right. I'm all right. "... <br /> the sweetest flower that grows... "<br /><br /> EXT. HOUSE – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George is standing at the garden gate. He takes some travel <br /> folders from his pocket, looks at them and throws them away. <br /> He is obviously disturbed about the latest turn of events. <br /> His mother comes out of the house and kisses him.<br /><br /> GEORGE<br /> Hello, Mom.<br /><br /> MRS. BAILEY<br /> (as she kisses him)<br /> That's for nothing. How do you like <br /> her?<br /><br /> She nods toward the house, where Harry and Ruth, among a <br /> crowd of other couples, are dancing to the MUSIC of a <br /> phonograph, and can be seen through the front door.<br /><br /> GEORGE<br /> She's swell.<br /><br /> MRS. BAILEY<br /> Looks like she can keep Harry on his <br /> toes.<br /><br /> GEORGE<br /> Keep him out of Bedford Falls, anyway.<br /><br /> MRS. BAILEY<br /> Did you know that Mary Hatch is back <br /> from school?<br /><br /> GEORGE<br /> Uh-huh.<br /><br /> MRS. BAILEY<br /> Came back three days ago.<br /><br /> GEORGE<br /> Hmmmm...<br /><br /> MRS. BAILEY<br /> Nice girl, Mary.<br /><br /> GEORGE<br /> Hmmmm...<br /><br /> MRS. BAILEY<br /> Kind that will help you find the <br /> answers, George.<br /><br /> GEORGE<br /> Hmmm...<br /><br /> MRS. BAILEY<br /> Oh, stop that grunting.<br /><br /> GEORGE<br /> Hmmm...<br /><br /> MRS. BAILEY<br /> Can you give me one good reason why <br /> you shouldn't call on Mary?<br /><br /> GEORGE<br /> Sure – Sam Wainwright.<br /><br /> MRS. BAILEY<br /> Hmmm?<br /><br /> GEORGE<br /> Yes. Sam's crazy about Mary.<br /><br /> MRS. BAILEY<br /> Well, she's not crazy about him.<br /><br /> GEORGE<br /> Well, how do you know? Did she discuss <br /> it with you?<br /><br /> MRS. BAILEY<br /> No.<br /><br /> GEORGE<br /> Well then, how do you know?<br /><br /> MRS. BAILEY<br /> Well, I've got eyes, haven't I? Why, <br /> she lights up like a firefly whenever <br /> you're around.<br /><br /> GEORGE<br /> Oh...<br /><br /> MRS. BAILEY<br /> And besides, Sam Wainwright's away <br /> in New York, and you're here in <br /> Bedford Falls.<br /><br /> GEORGE<br /> And all's fair in love and war?<br /><br /> MRS. BAILEY<br /> (primly)<br /> I don't know about war.<br /><br /> GEORGE<br /> Mother, you know, I can see right <br /> through you – right back to your <br /> back collar button... trying to get <br /> rid of me, huh?<br /><br /> MRS. BAILEY<br /> Uh-huh.<br /><br /> They kiss. Mrs. Bailey puts George's hat on his head.<br /><br /> GEORGE<br /> Well, here's your hat, what's your <br /> hurry? All right, Mother, old <br /> Building and Loan pal, I think I'll <br /> go out and find a girl and do a little <br /> passionate necking.<br /><br /> MRS. BAILEY<br /> Oh, George!<br /><br /> GEORGE<br /> Now, if you'll just point me in the <br /> right direction... This direction?<br /> (as he leaves)<br /> Good night, Mrs. Bailey.<br /><br /> WIPE TO:<br /><br /> EXT. MAIN STREET BEDFORD FALLS – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George is standing in the middle of the street, hands in his <br /> pockets. As a girl passes, he turns and watches her for a <br /> moment. He is obviously undecided as to what he wants to <br /> do.<br /><br /> EXT. VIOLET BICK'S BEAUTY SHOP – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> Violet is locking up for the night. A couple of men are <br /> crowding around her, each one bent on taking her out. There <br /> is laughter, kidding and pawing. She looks up and sees George <br /> standing there.<br /><br /> VIOLET<br /> (to the two men)<br /> Excuse me...<br /><br /> MAN<br /> Now, wait a minute.<br /><br /> VIOLET<br /> I think I got a date. But stick <br /> around, fellows, just in case, huh?<br /><br /> MAN<br /> We'll wait for you, baby.<br /><br /> CAMERA PANS WITH Violet as she crosses the street to George.<br /><br /> MEDIUM CLOSE SHOT – GEORGE AND VIOLET<br /><br /> VIOLET<br /> Hello, Georgie-Porgie.<br /><br /> GEORGE<br /> Hello, Vi.<br /><br /> He looks her over. Violet takes her beauty shop seriously <br /> and she's an eyeful. She senses the fact that George is far <br /> from immune to her attractions. She links her arm in his and <br /> continues on down the street with him.<br /><br /> CLOSE MOVING SHOT – GEORGE AND VIOLET<br /><br /> VIOLET<br /> What gives?<br /><br /> GEORGE<br /> Nothing.<br /><br /> VIOLET<br /> Where are you going?<br /><br /> GEORGE<br /> Oh, I'll probably end up down at the <br /> library.<br /><br /> They stop walking and face one another.<br /><br /> VIOLET<br /> George, don't you ever get tired of <br /> just reading about things?<br /><br /> Her eyes are seductive and guileful as she looks up at him. <br /> He is silent for a moment, then blurts out:<br /><br /> GEORGE<br /> Yes... what are you doing tonight?<br /><br /> VIOLET<br /> (feigned surprise)<br /> Not a thing.<br /><br /> GEORGE<br /> Are you game, Vi? Let's make a night <br /> of it.<br /><br /> VIOLET<br /> (just what she wanted)<br /> Oh, I'd love it, Georgie. What'll we <br /> do?<br /><br /> GEORGE<br /> Let's go out in the fields and take <br /> off our shoes and walk through the <br /> grass.<br /><br /> VIOLET<br /> Huh?<br /><br /> GEORGE<br /> Then we can go up to the falls. It's <br /> beautiful up there in the moonlight, <br /> and there's a green pool up there, <br /> and we can swim in it. Then we can <br /> climb Mt. Bedford, and smell the <br /> pines, and watch the sunrise against <br /> the peaks, and... we'll stay up there <br /> the whole night, and everybody'll be <br /> talking and there'll be a terrific <br /> scandal...<br /><br /> VIOLET<br /> (interrupting)<br /> George, have you gone crazy? Walk in <br /> the grass in my bare feet? Why, it's <br /> ten miles up to Mt. Bedford.<br /><br /> GEORGE<br /> Shhh...<br /><br /> VIOLET<br /> (angrily)<br /> You think just because you...<br /><br /> By this time a small crowd has collected to watch the above <br /> scene. Violet is furious and talking in a loud voice, and <br /> George is trying to quiet her. Finally:<br /><br /> GEORGE<br /> Okay, just forget about the whole <br /> thing.<br /><br /> As George stalks off, the crowd breaks into laughter, and we<br /><br /> WIPE TO:<br /><br /> EXT. RESIDENTIAL STREET – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George is walking slowly past the Hatch home. He stares <br /> meditatively at the simple dwelling, then he starts walking <br /> ahead. But after a few steps he turns around and starts <br /> back. He walks past the house a few yards, turns, and starts <br /> back again.<br /><br /> INT. BEDROOM WINDOW – HATCH HOME – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Mary is looking out the window, watching George walk back <br /> and forth.<br /><br /> MARY<br /> What are you doing, picketing?<br /><br /> George stops, startled, and looks up.<br /><br /> GEORGE<br /> Hello, Mary. I just happened to be <br /> passing by.<br /><br /> MARY<br /> Yeah, so I noticed. Have you made up <br /> your mind?<br /><br /> GEORGE<br /> How's that?<br /><br /> MARY<br /> Have you made up your mind?<br /><br /> GEORGE<br /> About what?<br /><br /> MARY<br /> About coming in. Your mother just <br /> phoned and said you were on your way <br /> over to pay me a visit.<br /><br /> EXT. STREET – NIGHT<br /><br /> MEDIUM LONG SHOT<br /><br /> George looks surprised at this.<br /><br /> GEORGE<br /> My mother just called you? Well, how <br /> did she know?<br /><br /> MARY<br /> Didn't you tell her?<br /><br /> GEORGE<br /> I didn't tell anybody. I just went <br /> for a walk and happened to be passing <br /> by...<br /><br /> But Mary has disappeared from the window.<br /><br /> GEORGE<br /> (to himself)<br /> What do you... went for a walk, that's <br /> all.<br /><br /> INT. HATCH HOME – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Mary is running down the stairs.<br /><br /> MARY<br /> (calling off)<br /> I'll be downstairs, mother.<br /><br /> MRS. HATCH'S VOICE<br /> All right, dear.<br /><br /> Mary looks in a mirror at the bottom of the stairs and fixes <br /> her hair. She is plainly excited at George's visit. She runs <br /> into the parlor and puts a sketch on an easel.<br /><br /> INSERT: THE SKETCH<br /><br /> It is a caricature of George throwing a lasso around the <br /> moon. Lettering on the drawing says: "George Lassos The <br /> Moon."<br /><br /> BACK TO SHOT<br /><br /> Mary runs into the hall, opens the phonograph and puts on a <br /> record of "Buffalo Gals." Then she opens the front door and <br /> stands there waiting for George.<br /><br /> INT. DOORWAY – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George is struggling with the gate – he finally kicks it <br /> open and starts slowly up the path toward Mary.<br /><br /> MARY<br /> Well, are you coming in or aren't <br /> you?<br /><br /> GEORGE<br /> Well, I'll come in for a minute, but <br /> I didn't tell anybody I was coming <br /> over here.<br /><br /> CLOSE SHOT<br /><br /> Mary and George are in the entrance hall.<br /><br /> GEORGE<br /> When did you get back?<br /><br /> MARY<br /> Tuesday.<br /><br /> GEORGE<br /> Where'd you get that dress?<br /><br /> MARY<br /> Do you like it?<br /><br /> GEORGE<br /> It's all right. I thought you'd go <br /> back to New York like Sam and Ingie, <br /> and the rest of them.<br /><br /> MARY<br /> Oh, I worked there for a couple of <br /> vacations, but I don't know... I <br /> guess I was homesick.<br /><br /> GEORGE<br /> (shocked)<br /> Homesick? For Bedford Falls?<br /><br /> MARY<br /> Yes, and my family and... oh, <br /> everything. Would you like to sit <br /> down?<br /><br /> They go through the doorway into the parlor.<br /><br /> GEORGE<br /> All right, for a minute. I still <br /> can't understand it though. You know <br /> I didn't tell anybody I was coming <br /> here.<br /><br /> MARY<br /> Would you rather leave?<br /><br /> GEORGE<br /> No, I don't want to be rude.<br /><br /> MARY<br /> Well, then, sit down.<br /><br /> George sees the cartoon on the easel and bends down for a <br /> close look at it.<br /><br /> GEORGE<br /> (indicating cartoon)<br /> Some joke, huh?<br /><br /> CLOSE SHOT<br /><br /> George and Mary sitting on the divan. He is uncomfortable, <br /> and she tries desperately to keep the conversation alive.<br /><br /> GEORGE<br /> Well, I see it still smells like <br /> pine needles in here.<br /><br /> MARY<br /> Thank you.<br /><br /> There is silence for a moment, then Mary joins in singing <br /> with the phonograph record which has been playing all through <br /> the above scene:<br /><br /> MARY<br /> (singing)<br /> "And dance by the light..."<br /><br /> GEORGE<br /> What's the matter? Oh, yeah... yeah...<br /><br /> He looks at his watch, as though about to leave.<br /><br /> GEORGE<br /> Well, I...<br /><br /> MARY<br /> (desperately)<br /> It was nice about your brother Harry, <br /> and Ruth, wasn't it?<br /><br /> GEORGE<br /> Oh... yeah, yeah. That's all right.<br /><br /> MARY<br /> Don't you like her?<br /><br /> GEORGE<br /> Well, of course I like her. She's a <br /> peach.<br /><br /> MARY<br /> Oh, it's just marriage in general <br /> you're not enthusiastic about, huh?<br /><br /> GEORGE<br /> No, marriage is all right for Harry, <br /> and Marty, and Sam and you.<br /><br /> INT. STAIRS<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Mrs. Hatch, in a bathrobe, and with her hair in curlers, is <br /> leaning over the banister as she calls:<br /><br /> MRS. HATCH<br /> Mary! Mary!<br /><br /> INT. PARLOR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George and Mary seated on the divan.<br /><br /> MRS. HATCH'S VOICE<br /> Who's down there with you?<br /><br /> MARY<br /> It's George Bailey, Mother.<br /><br /> MRS. HATCH'S VOICE<br /> George Bailey? What's he want?<br /><br /> MARY<br /> I don't know.<br /> (to George)<br /> What do you want?<br /><br /> GEORGE<br /> (indignant)<br /> Me? Not a thing. I just came in to <br /> get warm.<br /><br /> MARY<br /> (to mother)<br /> He's making violent love to me, <br /> Mother.<br /><br /> George is aghast.<br /><br /> MRS. HATCH'S VOICE<br /> You tell him to go right back home, <br /> and don't you leave the house, either. <br /> Sam Wainwright promised to call you <br /> from New York tonight.<br /><br /> GEORGE<br /> (heatedly)<br /> But your mother needn't... you know <br /> I didn't come here to... to... to...<br /><br /> MARY<br /> (rising)<br /> What did you come here for?<br /><br /> GEORGE<br /> I don't know. You tell me. You're <br /> supposed to be the one that has all <br /> the answers. You tell me.<br /><br /> MARY<br /> (terribly hurt)<br /> Oh, why don't you go home?<br /><br /> GEORGE<br /> (almost shouting)<br /> That's where I'm going. I don't know <br /> why I came here in the first place! <br /> Good night!<br /><br /> As George leaves the room, the telephone in the hall starts <br /> ringing.<br /><br /> MARY<br /> (to George)<br /> Good night!<br /><br /> MRS. HATCH'S VOICE<br /> Mary! Mary! The telephone! It's Sam!<br /><br /> INT. HALL – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Mary comes into the hall.<br /><br /> MARY<br /> (almost weeping)<br /> I'll get it.<br /><br /> As Mary comes into the hall, she stops by the phonograph, <br /> which is still playing "Buffalo Gals," takes off the record <br /> with a jerk, and smashes it against the machine. The phone <br /> is still ringing.<br /><br /> MRS. HATCH<br /> Mary, he's waiting!<br /><br /> MARY<br /> Hello.<br /><br /> As Mary picks up the phone, George comes in from the front <br /> porch.<br /><br /> GEORGE<br /> I forgot my hat.<br /><br /> MARY<br /> (overly enthusiastic)<br /> Hee-haw! Hello, Sam, how are you?<br /><br /> SAM'S VOICE<br /> Aw, great. Gee, it's good to hear <br /> your voice again.<br /><br /> George has stopped, hat in hand, to hear the first greetings.<br /><br /> MARY<br /> Oh, well, that's awfully sweet of <br /> you, Sam.<br /> (glances toward door, <br /> sees George still <br /> there)<br /> There's an old friend of yours here. <br /> George Bailey.<br /><br /> SAM<br /> You mean old moss-back George?<br /><br /> MARY<br /> Yes, old moss-back George.<br /><br /> SAM'S VOICE<br /> Hee-haw! Put him on.<br /><br /> MARY<br /> Wait a minute. I'll call him.<br /> (calling)<br /> George!<br /><br /> MRS. HATCH<br /> He doesn't want to speak to George, <br /> you idiot!<br /><br /> MARY<br /> He does so. He asked for him.<br /> (calling)<br /> Geo... George, Sam wants to speak to <br /> you.<br /><br /> She hands the instrument to George.<br /><br /> GEORGE<br /> Hello, Sam.<br /><br /> INT. SAM'S NEW YORK OFFICE – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Sam is seated at his desk, while a couple of his friends are <br /> nearby, with highballs in their hands.<br /><br /> SAM<br /> (into phone)<br /> Well, George Baileyoffski! Hey, a <br /> fine pal you are. What're you trying <br /> to do? Steal my girl?<br /><br /> INT. HATCH HALL – NIGHT<br /><br /> MEDIUM CLOSE SHOT – GEORGE AND MARY<br /><br /> GEORGE<br /> (into phone)<br /> What do you mean? Nobody's trying to <br /> steal your girl. Here... here's Mary.<br /><br /> SAM'S VOICE<br /> No, wait a minute. Wait a minute. I <br /> want to talk to both of you. Tell <br /> Mary to get on the extension.<br /><br /> GEORGE<br /> (to Mary)<br /> Here. You take it. You tell him.<br /><br /> MARY<br /> Mother's on the extension.<br /><br /> INT. UPPER HALLWAY – NIGHT<br /><br /> CLOSE SHOT – MRS. HATCH<br /><br /> As she hears this, she hastily hangs up the extension phone <br /> on which she has been listening.<br /><br /> BACK TO SHOT – GEORGE AND MARY<br /><br /> MARY<br /> We can both hear. Come here.<br /><br /> Mary takes the telephone from George and holds it so that of <br /> necessity George's cheek is almost against hers. He is very <br /> conscious of her proximity.<br /><br /> MARY<br /> (on phone)<br /> We're listening, Sam.<br /><br /> SAM'S VOICE<br /> I have a big deal coming up that's <br /> going to make us all rich. George, <br /> you remember that night in Martini's <br /> bar when you told me you read <br /> someplace about making plastics out <br /> of soybeans?<br /><br /> GEORGE<br /> Huh? Yeah-yeah-yeah... soybeans. <br /> Yeah.<br /><br /> SAM'S VOICE<br /> Well, Dad's snapped up the idea. <br /> He's going to build a factory outside <br /> of Rochester. How do you like that?<br /><br /> Mary is watching George interestedly. George is very conscious <br /> of her, close to him.<br /><br /> GEORGE<br /> Rochester? Well, why Rochester?<br /><br /> SAM'S VOICE<br /> Well, why not? Can you think of <br /> anything better?<br /><br /> GEORGE<br /> Oh, I don't know... why not right <br /> here? You remember that old tool <br /> and machinery works? You tell your <br /> father he can get that for a song. <br /> And all the labor he wants, too. <br /> Half the town was thrown out of work <br /> when they closed down.<br /><br /> SAM'S VOICE<br /> That so? Well, I'll tell him. Hey, <br /> that sounds great! Oh, baby, I knew <br /> you'd come through. Now, here's the <br /> point. Mary, Mary, you're in on this <br /> too. Now listen. Have you got any <br /> money?<br /><br /> GEORGE<br /> Money? Yeah... well, a little.<br /><br /> SAM'S VOICE<br /> Well, now listen. I want you to put <br /> every cent you've got into our stock, <br /> you hear? And George, I may have a <br /> job for you; that is, unless you're <br /> still married to that broken-down <br /> Building and Loan. This is the biggest <br /> thing since radio, and I'm letting <br /> you in on the ground floor. Oh, <br /> Mary... Mary...<br /><br /> MARY<br /> (nervously)<br /> I'm here.<br /><br /> SAM'S VOICE<br /> Would you tell that guy I'm giving <br /> him the chance of a lifetime, you <br /> hear? The chance of a lifetime.<br /><br /> As Mary listens, she turns to look at George, her lips almost <br /> on his lips.<br /><br /> MARY<br /> (whispering)<br /> He says it's the chance of a lifetime.<br /><br /> George can stand it no longer. He drops the phone with a <br /> crash, grabs Mary by the shoulders and shakes her. Mary begins <br /> to cry.<br /><br /> GEORGE<br /> (fiercely)<br /> Now you listen to me! I don't want <br /> any plastics! I don't want any ground <br /> floors, and I don't want to get <br /> married – ever – to anyone! You <br /> understand that? I want to do what I <br /> want to do. And you're... and <br /> you're...<br /><br /> He pulls her to him in a fierce embrace. Two meant for each <br /> other find themselves in tearful ecstasy.<br /><br /> GEORGE<br /> Oh, Mary... Mary...<br /><br /> MARY<br /> George... George... George...<br /><br /> GEORGE<br /> Mary...<br /><br /> CLOSE SHOT<br /><br /> Mrs. Hatch is at the top of the stairs. She practically faints <br /> at what she sees.<br /><br /> WIPE TO:<br /><br /> INT. FRONT HALL BAILEY HOME – DAY – SEVERAL MONTHS LATER<br /><br /> CLOSEUP<br /><br /> Cousin Tilly's face fills the screen as she cries:<br /><br /> COUSIN TILLY<br /> Here they come!<br /><br /> CAMERA PULLS BACK, and we hear the SOUND of the Wedding March. <br /> People are crowded into the rooms: family, friends, neighbors. <br /> There is a din of conversation. Mary and George appear at <br /> the top of the stairs in traveling clothes, with Mrs. Hatch, <br /> red-eyed, behind them. Mary throws her bouquet, which is <br /> caught by Violet Bick. As they come out onto the porch, we <br /> see that it is raining. Nevertheless, Cousin Eustace has <br /> his camera equipment set up and is taking pictures of the <br /> group. George and Mary dodge through the rain and a shower <br /> of rice and get into Ernie's taxicab, which pulls away from <br /> the curb.<br /><br /> EXT. PORCH OF BAILEY HOUSE – DAY<br /><br /> CLOSE SHOT<br /><br /> Mrs. Bailey and Annie, the maid.<br /><br /> MRS. BAILEY<br /> First Harry, now George. Annie, we're <br /> just two old maids now.<br /><br /> ANNIE<br /> You speak for yourself, Mrs. B.<br /><br /> INT. ERNIE'S CAB – DAY<br /><br /> CLOSE SHOT – GEORGE, MARY AND ERNIE<br /><br /> George and Mary are in each other's arms.<br /><br /> ERNIE<br /> If either of you two see a stranger <br /> around here, it's me.<br /><br /> GEORGE<br /> Hey, look! Somebody's driving this <br /> cab.<br /><br /> Ernie reaches over and hands George a bottle of champagne <br /> done up in gift wrappings.<br /><br /> ERNIE<br /> Bert, the cop, sent this over. He <br /> said to float away to Happy Land on <br /> the bubbles.<br /><br /> GEORGE<br /> Oh, look at this. Champagne!<br /><br /> MARY<br /> Good old Bert.<br /><br /> ERNIE<br /> By the way, where are you two going <br /> on this here now honeymoon?<br /><br /> GEORGE<br /> Where are we going?<br /> (takes out a fat roll <br /> of bills)<br /> Look at this. There's the kitty, <br /> Ernie. Here, come on, count it, <br /> Mary.<br /><br /> MARY<br /> I feel like a bootlegger's wife.<br /> (holding up the money)<br /> Look!<br /><br /> GEORGE<br /> You know what we're going to do? <br /> We're going to shoot the works. A <br /> whole week in New York. A whole week <br /> in Bermuda. The highest hotels – the <br /> oldest champagne – the richest caviar <br /> – the hottest music, and the prettiest <br /> wife!<br /><br /> ERNIE<br /> That does it! Then what?<br /><br /> GEORGE<br /> (to Mary)<br /> Then what, honey?<br /><br /> MARY<br /> After that, who cares?<br /><br /> GEORGE<br /> That does it – come here.<br /><br /> The cab passes the bank, and Ernie sees a crowd of people <br /> around the door. He stops the cab.<br /><br /> LONG SHOT<br /><br /> Scurrying people under umbrellas, swarming around the bank <br /> doors. Panic is in the air. Attendants are trying to close <br /> down. Several people come running past the cab.<br /><br /> INT. CAB<br /><br /> CLOSE SHOT – GEORGE, MARY AND ERNIE<br /><br /> ERNIE<br /> Don't look now, but there's something <br /> funny going on over there at the <br /> bank, George, I've never really seen <br /> one, but that's got all the earmarks <br /> of a run.<br /><br /> PASSERBY<br /> Hey, Ernie, if you got any money in <br /> the bank, you better hurry.<br /><br /> MARY<br /> George, let's not stop. Let's go!<br /><br /> George gets out of the cab and looks down the street.<br /><br /> GEORGE<br /> Just a minute, dear. Oh-oh...<br /><br /> MARY<br /> Please, let's not stop, George.<br /><br /> GEORGE<br /> I'll be back in a minute, Mary.<br /><br /> George runs off up the street, toward the Building and Loan.<br /><br /> EXT. BUILDING AND LOAN – DAY<br /><br /> CLOSE SHOT – SIDEWALK<br /><br /> An iron grill blocks the street entrance to the Building and <br /> Loan. It has been locked. A crowd of men and women are <br /> waiting around the grill. They are simply-dressed people, to <br /> whom their savings are a matter of life and death. George <br /> comes in with an assumed cheerful manner. The people look at <br /> him silently, half shamefaced, but grimly determined on their <br /> rights. In their hearts there is panic and fear.<br /><br /> GEORGE<br /> Hello, everybody. Mrs. Thompson, how <br /> are you? Charlie? What's the matter <br /> here, can't you get in?<br /><br /> No one answers. He quickly unlocks the grill door and pushes <br /> it open. Followed by the crowd, George runs upstairs and <br /> into the outer offices of the Building and Loan.<br /><br /> INT. OUTER OFFICE – BUILDING AND LOAN – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George, followed by the still-silent people, comes in. Uncle <br /> Billy is standing in the doorway to his private office, taking <br /> a drink from a bottle. He motions to George to join him.<br /><br /> GEORGE<br /> What is this, Uncle Billy? A holiday?<br /><br /> UNCLE BILLY<br /> George...<br /><br /> He points to George's office. George turns back cheerfully <br /> to the crowd.<br /><br /> GEORGE<br /> Come on in, everybody. That's right, <br /> just come in.<br /><br /> George vaults over the counter.<br /><br /> GEORGE<br /> Now look, why don't you all sit down. <br /> There are a lot of seats over there. <br /> Just make yourselves at home.<br /><br /> UNCLE BILLY<br /> George, can I see you a minute?<br /><br /> The people ignore George and remain standing in front of the <br /> teller's window. They all have their passbooks out. George <br /> hurries into his office where Uncle Billy is waiting for <br /> him.<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> GEORGE<br /> Why didn't you call me?<br /><br /> UNCLE BILLY<br /> I just did, but they said you left. <br /> This is a pickle, George, this is a <br /> pickle.<br /><br /> GEORGE<br /> All right now, what happened? How <br /> did it start?<br /><br /> UNCLE BILLY<br /> How does anything like this ever <br /> start? All I know is the bank called <br /> our loan.<br /><br /> GEORGE<br /> When?<br /><br /> UNCLE BILLY<br /> About an hour ago. I had to hand <br /> over all our cash.<br /><br /> GEORGE<br /> All of it?<br /><br /> UNCLE BILLY<br /> Every cent of it, and it still was <br /> less than we owe.<br /><br /> GEORGE<br /> Holy mackerel!<br /><br /> UNCLE BILLY<br /> And then I got scared, George, and <br /> closed the doors. I... I... I...<br /><br /> GEORGE<br /> The whole town's gone crazy.<br /><br /> The telephone rings. Uncle Billy picks it up.<br /><br /> UNCLE BILLY<br /> Yes, hello? George... it's Potter.<br /><br /> GEORGE<br /> Hello?<br /><br /> INT. POTTER'S LIBRARY – DAY<br /><br /> MEDIUM SHOT<br /><br /> Potter seated behind his desk, his goon alongside him. <br /> Standing in front of the desk is a distinguished-looking <br /> man, obviously the president of the bank. He is mopping his <br /> brow with his handkerchief.<br /><br /> POTTER<br /> George, there is a rumor around town <br /> that you've closed your doors. Is <br /> that true? Oh, well, I'm very glad <br /> to hear that... George, are you all <br /> right? Do you need any police?<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> GEORGE<br /> (on phone)<br /> Police? What for?<br /><br /> INT. POTTER'S OFFICE – DAY<br /><br /> MEDIUM CLOSE SHOT – POTTER TALKING ON PHONE<br /><br /> POTTER<br /> Well, mobs get pretty ugly sometimes, <br /> you know. George, I'm going all out <br /> to help in this crisis. I've just <br /> guaranteed the bank sufficient funds <br /> to meet their needs. They'll close <br /> up for a week, and then reopen.<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> GEORGE<br /> (to Uncle Billy)<br /> He just took over the bank.<br /><br /> INT. POTTER'S OFFICE – DAY<br /><br /> CLOSE SHOT – POTTER ON PHONE<br /><br /> POTTER<br /> I may lose a fortune, but I'm willing <br /> to guarantee your people too. Just <br /> tell them to bring their shares over <br /> here and I will pay them fifty cents <br /> on the dollar.<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> GEORGE<br /> (furiously)<br /> Aw, you never miss a trick, do you, <br /> Potter? Well, you're going to miss <br /> this one.<br /><br /> George bangs the receiver down and turns to meet Uncle Billy's <br /> anxious look.<br /><br /> INT. POTTER'S OFFICE<br /><br /> CLOSEUP – POTTER ON PHONE<br /><br /> POTTER<br /> If you close your doors before six <br /> P.M. you will never reopen.<br /><br /> He realizes George has hung up, and clicks the phone <br /> furiously.<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND UNCLE BILLY<br /><br /> UNCLE BILLY<br /> George, was it a nice wedding? Gosh, <br /> I wanted to be there.<br /><br /> GEORGE<br /> Yeah...<br /> (looks at string on <br /> Uncle Billy's finger)<br /> ...you can take this one off now.<br /><br /> An ominous SOUND of angry voices comes from the other room. <br /> George and Uncle Billy exit from George's office.<br /><br /> INT. OUTER OFFICE – BUILDING AND LOAN – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> More people have crowded around the counter. Their muttering <br /> stops and they stand silent and grim. There is panic in their <br /> faces.<br /><br /> GEORGE<br /> Now, just remember that this thing <br /> isn't as black as it appears.<br /><br /> As George speaks, sirens are heard passing in the street <br /> below. The crowd turn to the windows, then back to George.<br /><br /> GEORGE<br /> I have some news for you, folks. <br /> I've just talked to old man Potter, <br /> and he's guaranteed cash payments at <br /> the bank. The bank's going to reopen <br /> next week.<br /><br /> ED<br /> But, George, I got my money here.<br /><br /> CHARLIE<br /> Did he guarantee this place?<br /><br /> GEORGE<br /> Well, no, Charlie. I didn't even ask <br /> him. We don't need Potter over here.<br /><br /> Mary and Ernie have come into the room during this scene. <br /> Mary stands watching silently.<br /><br /> CHARLIE<br /> I'll take mine now.<br /><br /> GEORGE<br /> No, but you... you... you're thinking <br /> of this place all wrong. As if I had <br /> the money back in a safe. The money's <br /> not here. Your money's in Joe's <br /> house...<br /> (to one of the men)<br /> ...right next to yours. And in the <br /> Kennedy house, and Mrs. Macklin's <br /> house, and a hundred others. Why, <br /> you're lending them the money to <br /> build, and then, they're going to <br /> pay it back to you as best they can. <br /> Now what are you going to do? <br /> Foreclose on them?<br /><br /> TOM<br /> I got two hundred and forty-two <br /> dollars in here, and two hundred and <br /> forty-two dollars isn't going to <br /> break anybody.<br /><br /> MEDIUM CLOSE SHOT – ANOTHER ANGLE<br /><br /> GEORGE<br /> (handing him a slip)<br /> Okay, Tom. All right. Here you are. <br /> You sign this. You'll get your money <br /> in sixty days.<br /><br /> TOM<br /> Sixty days?<br /><br /> GEORGE<br /> Well, now that's what you agreed to <br /> when you bought your shares.<br /><br /> There is a commotion at the outer doors. A man (Randall) <br /> comes in and makes his way up to Tom.<br /><br /> RANDALL<br /> Tom... Tom, did you get your money?<br /><br /> TOM<br /> No.<br /><br /> RANDALL<br /> Well, I did. Old man Potter'll pay <br /> fifty cents on the dollar for every <br /> share you got.<br /> (shows bills)<br /><br /> CROWD<br /> (ad lib)<br /> Fifty cents on the dollar!<br /><br /> RANDALL<br /> Yes, cash!<br /><br /> TOM<br /> (to George)<br /> Well, what do you say?<br /><br /> GEORGE<br /> Now, Tom, you have to stick to your <br /> original agreement. Now give us sixty <br /> days on this.<br /><br /> TOM<br /> (turning to Randall)<br /> Okay, Randall.<br /><br /> He starts out.<br /><br /> MRS. THOMPSON<br /> Are you going to go to Potter's?<br /><br /> TOM<br /> Better to get half than nothing.<br /><br /> A few other people start for the door. CAMERA PANS WITH <br /> George as he vaults over the counter quickly, speaking to <br /> the people.<br /><br /> GEORGE<br /> Tom! Tom! Randall! Now wait... now <br /> listen... now listen to me. I beg of <br /> you not to do this thing. If Potter <br /> gets hold of this Building and Loan <br /> there'll never be another decent <br /> house built in this town. He's already <br /> got charge of the bank. He's got <br /> the bus line. He's got the department <br /> stores. And now he's after us. Why? <br /> Well, it's very simple. Because we're <br /> cutting in on his business, that's <br /> why. And because he wants to keep <br /> you living in his slums and paying <br /> the kind of rent he decides.<br /><br /> The people are still trying to get out, but some of them <br /> have stood still, listening to him. George has begun to make <br /> an impression on them.<br /><br /> GEORGE<br /> Joe, you lived in one of his houses, <br /> didn't you? Well, have you forgotten? <br /> Have you forgotten what he charged <br /> you for that broken-down shack?<br /> (to Ed)<br /> Here, Ed. You know, you remember <br /> last year when things weren't going <br /> so well, and you couldn't make your <br /> payments. You didn't lose your house, <br /> did you? Do you think Potter would <br /> have let you keep it?<br /> (turns to address the <br /> room again)<br /> Can't you understand what's happening <br /> here? Don't you see what's happening? <br /> Potter isn't selling. Potter's buying! <br /> And why? Because we're panicky and <br /> he's not. That's why. He's picking <br /> up some bargains. Now, we can get <br /> through this thing all right. We've <br /> got to stick together, though. We've <br /> got to have faith in each other.<br /><br /> MRS. THOMPSON<br /> But my husband hasn't worked in over <br /> a year, and I need money.<br /><br /> WOMAN<br /> How am I going to live until the <br /> bank opens?<br /><br /> MAN<br /> I got doctor bills to pay.<br /><br /> MAN<br /> I need cash.<br /><br /> MAN<br /> Can't feed my kids on faith.<br /><br /> During this scene Mary has come up behind the counter. <br /> Suddenly, as the people once more start moving toward the <br /> door, she holds up a roll of bills and calls out<br /><br /> MARY<br /> How much do you need?<br /><br /> George jumps over the counter and takes the money from Mary.<br /><br /> GEORGE<br /> Hey! I got two thousand dollars! <br /> Here's two thousand dollars. This'll <br /> tide us over until the bank reopen.<br /> (to Tom)<br /> All right, Tom, how much do you need?<br /><br /> TOM<br /> (doggedly)<br /> Two hundred and forty-two dollars!<br /><br /> GEORGE<br /> (pleading)<br /> Aw, Tom, just enough to tide you <br /> over till the bank reopens.<br /><br /> TOM<br /> I'll take two hundred and forty-two <br /> dollars.<br /><br /> George starts rapidly to count out the money. Tom throws his <br /> passbook on the counter.<br /><br /> GEORGE<br /> There you are.<br /><br /> TOM<br /> That'll close my account.<br /><br /> GEORGE<br /> Your account's still here. That's a <br /> loan.<br /><br /> Mary turns and slips out through the crowd, followed by Ernie. <br /> George hands the two hundred and forty-two dollars to Tom, <br /> and speaks to Ed, the next in line.<br /><br /> GEORGE<br /> Okay. All right, Ed?<br /><br /> ED<br /> I got three hundred dollars here, <br /> George.<br /><br /> Uncle Billy takes out his wallet and takes out all the cash <br /> he's got.<br /><br /> GEORGE<br /> Aw, now, Ed... what'll it take till <br /> the bank reopens? What do you need?<br /><br /> ED<br /> Well, I suppose twenty dollars.<br /><br /> GEORGE<br /> Twenty dollars. Now you're talking. <br /> Fine. Thanks, Ed.<br /> (to Mrs. Thompson, <br /> next in line)<br /> All right, now, Mrs. Thompson. How <br /> much do you want?<br /><br /> MRS. THOMPSON<br /> But it's your own money, George.<br /><br /> GEORGE<br /> Never mind about that. How much do <br /> you want?<br /><br /> MRS. THOMPSON<br /> I can get along with twenty, all <br /> right.<br /><br /> GEORGE<br /> (counting it out)<br /> Twenty dollars.<br /><br /> MRS. THOMPSON<br /> And I'll sign a paper.<br /><br /> GEORGE<br /> You don't have to sign anything. I <br /> know you'll pay it back when you <br /> can. That's okay.<br /> (to woman next in <br /> line)<br /> All right, Mrs. Davis.<br /><br /> MRS. DAVIS<br /> Could I have seventeen-fifty?<br /><br /> GEORGE<br /> Seven...<br /> (he kisses her)<br /> Bless your heart, Of course you can <br /> have it. You got fifty cents?<br /> (counting)<br /> Seven...<br /><br /> WIPE TO:<br /><br /> INT. OUTER OFFICE BUILDING AND LOAN – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George, Uncle Billy and Cousin Tilly are behind the counter, <br /> watching the minute hand of a clock on the wall as George <br /> counts off the seconds. Cousin Eustace is ready to close the <br /> door.<br /><br /> UNCLE BILLY<br /> (excitedly)<br /> We're going to make it, George. <br /> They'll never close us up today!<br /><br /> GEORGE<br /> (counting)<br /> Six... five... four... three... two... <br /> one... Bingo!<br /><br /> Cousin Eustace slams and locks the door, and scurries around <br /> the counter to join the others.<br /><br /> GEORGE<br /> We made it! Look...<br /> (holds up two bills)<br /> ... look, we're still in business! <br /> We've still got two bucks left!<br /><br /> Uncle Billy is taking a drink out of his bottle.<br /><br /> GEORGE<br /> Well, let's have some of that. Get <br /> some glasses, Cousin Tilly.<br /> (to Uncle Billy)<br /> We're a couple of financial wizards.<br /><br /> UNCLE BILLY<br /> Those Rockefellers!<br /><br /> GEORGE<br /> Get a tray for these great big <br /> important simoleons.<br /><br /> UNCLE BILLY<br /> We'll save them for seed. A toast! <br /> They raise their glasses.<br /><br /> GEORGE<br /> A toast! A toast to Papa Dollar and <br /> to Mama Dollar, and if you want the <br /> old Building and Loan to stay in <br /> business, you better have a family <br /> real quick.<br /><br /> COUSIN TILLY<br /> I wish they were rabbits.<br /><br /> GEORGE<br /> I wish they were too. Okay, let's <br /> put them in the safe and see what <br /> happens.<br /><br /> The four of them parade through the office; George puts the <br /> two dollars in the safe.<br /><br /> CLOSE SHOT – GROUP AROUND THE SAFE DOOR<br /><br /> As George comes out:<br /><br /> COUSIN EUSTACE<br /> (handing out cigars)<br /> Wedding cigars!<br /><br /> GEORGE<br /> (startled)<br /> Oh-oh... wedding! Holy mackerel, I'm <br /> married! Where's Mary? Mary...<br /> (he runs around looking <br /> for her)<br /> Poor Mary. Look, I've got a train to <br /> catch.<br /> (looks at his watch)<br /> Well, the train's gone. I wonder if <br /> Ernie's still here with his taxicab?<br /><br /> George rushes into his office to look out the window.<br /><br /> COUSIN TILLY<br /> (on telephone)<br /> George, there's a call for you.<br /><br /> GEORGE<br /> Look, will you get my wife on the <br /> phone? She's probably over at her <br /> mother's.<br /><br /> COUSIN TILLY<br /> Mrs. Bailey is on the phone.<br /><br /> INT. GEORGE'S OFFICE<br /><br /> MEDIUM CLOSEUP – GEORGE IS THOROUGHLY RATTLED<br /><br /> GEORGE<br /> I don't want Mrs. Bailey. I want my <br /> wife. Mrs. Bailey! Oh, that's my <br /> wife! Here, I'll take it in here.<br /> (picks up phone)<br /> Mary? Hello. Listen, dear, I'm <br /> sorry... What? Come home? What home? <br /> Three-twenty Sycamore? Well, what... <br /> whose home is that? The Waldorf Hotel, <br /> huh?<br /><br /> WIPE TO:<br /><br /> EXT. OLD GRANVILLE HOUSE – NIGHT<br /><br /> MEDIUM LONG SHOT<br /><br /> An old-fashioned, run-down house, unpainted and warped by <br /> the weather. It once had class but has not been lived in for <br /> years. This is the house that George and Mary will live in <br /> from now on. The rain is pouring down. A faint glow of light <br /> shines out from bottom windows. George hurries into scene. <br /> He stops to make sure it is the right number before going up <br /> the steps.<br /><br /> EXT. SIDE OF HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Bert and man working in rain, sorting through travel posters.<br /><br /> MAN<br /> Hey, this is the company's posters, <br /> and the company won't like this.<br /><br /> BERT<br /> How would you like to get a ticket <br /> next week? Haven't you any romance <br /> in you?<br /><br /> MAN<br /> Sure I have, but I got rid of it.<br /><br /> BERT<br /> (reading poster)<br /> Liver pills! Who wants to see liver <br /> pills on their honeymoon? What? They <br /> want romantic places, beautiful <br /> places... places George wants to <br /> go.<br /><br /> A sharp whistle is heard.<br /><br /> CLOSE SHOT – WINDOW OF HOUSE<br /><br /> Ernie is leaning from the window.<br /><br /> ERNIE<br /> Hey, Bert, here he comes.<br /><br /> CLOSE SHOT – BERT AND MAN<br /><br /> BERT<br /> Come on, we got to get this up. He's <br /> coming.<br /><br /> MAN<br /> Who?<br /><br /> BERT<br /> The groom, idiot. Come on, get that <br /> ladder.<br /><br /> MAN<br /> (disgustedly)<br /> What are they – ducks?<br /><br /> CLOSE SHOT – SIDE PORCH OF HOUSE<br /><br /> Bert and the man are putting up travel posters to cover up <br /> the broken windows.<br /><br /> BERT<br /> Get that ladder up here.<br /><br /> MAN<br /> All right – all right.<br /><br /> BERT<br /> Hurry up... hurry up... hurry up.<br /><br /> MAN<br /> I'm hurrying.<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George is approaching the front door of the house, on which <br /> a sign is hanging: "Bridal Suite." Ernie looks out through <br /> the curtain covering the broken glass of the front door.<br /><br /> ERNIE<br /> Hiya... Good evening, sir.<br /><br /> Ernie opens the door, revealing himself as a homemade butler. <br /> This has been accomplished by rolling up his pants and putting <br /> on an old coachman's hat. George enters.<br /><br /> ERNIE<br /> Entray, monsieur, entray.<br /><br /> INT. GRANVILLE HOUSE – NIGHT<br /><br /> CLOSE SHOT – GEORGE ENTERS<br /><br /> The house is carpetless, empty – the rain and wind cause <br /> funny noises upstairs. A huge fire is burning in the <br /> fireplace. Near the fireplace a collection of packing boxes <br /> are heaped together in the shape of a small table and covered <br /> with a checkered oil cloth. It is set for two. A bucket with <br /> ice and a champagne bottle sit on the table as well as a <br /> bowl of caviar. Two small chickens are impaled on a spit <br /> over the fire. A phonograph is playing on a box, and a string <br /> from the phonograph is turning the chickens on the spit. The <br /> phonograph is playing "Song of the Islands." Mary is standing <br /> near the fireplace looking as pretty as any bride ever looked. <br /> She is smiling at George, who has been slowly taking in the <br /> whole set-up. Through a door he sees the end of a cheap bed, <br /> over the back of which is a pair of pajamas and a nightie. <br /> Ernie exits and closes the door.<br /><br /> MARY<br /> (tears in her eyes)<br /> Welcome home, Mr. Bailey.<br /><br /> GEORGE<br /> (overcome)<br /> Well, I'll be... Mary, Mary, where <br /> did you...<br /><br /> They rush into each other's arms and hold each other in <br /> ecstasy.<br /><br /> EXT. SIDE OF HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Bert and Ernie, standing in the pouring rain, start singing <br /> "I Love You Truly."<br /><br /> INT. HOUSE – NIGHT<br /><br /> CLOSE SHOT – GEORGE AND MARY<br /><br /> They remain embraced.<br /><br /> GEORGE<br /> Oh, Mary...<br /><br /> MARY<br /> Remember the night we broke the <br /> windows in this old house? This is <br /> what I wished for.<br /><br /> GEORGE<br /> Darling, you're wonderful.<br /><br /> EXT. SIDE OF HOUSE – NIGHT<br /><br /> CLOSE SHOT – BERT AND ERNIE<br /><br /> They finish their song, and Ernie kisses Bert on the forehead. <br /> Bert slams Ernie's hat on his head.<br /><br /> FADE OUT<br /><br /> FADE IN:<br /><br /> EXT. SLUM STREET BEDFORD FALLS – DAY – TWO YEARS LATER<br /><br /> MEDIUM CLOSE SHOT<br /><br /> In front of one of the miserable shacks that line the street <br /> are two vehicles. One of them is George Bailey's rickety <br /> car, and the other is an even more rickety truck piled high <br /> with household goods. The Martini family is moving. The family <br /> consists of Martini, his wife and four kid of various ages, <br /> from two to ten. George and Mary are helping the Martinis <br /> move. About a dozen neighbors crowd around. Martini and <br /> George, assisted by three of the Martini children, are <br /> carrying out the last of the furniture. As they emerge from <br /> the house, one of the neighbors, Schultz, calls out:<br /><br /> SCHULTZ<br /> Martini, you rented a new house?<br /><br /> MARTINI<br /> Rent?<br /> (to George)<br /> You hear what he say, Mr. Bailey?<br /><br /> GEORGE<br /> What's that?<br /><br /> MARTINI<br /> I own the house. Me, Giuseppe Martini. <br /> I own my own house. No more we live <br /> like pigs in thisa Potter's Field. <br /> Hurry, Maria.<br /><br /> MARIA<br /> Yes...<br /><br /> GEORGE<br /> Come on...<br /> (to Mary)<br /> Bring the baby.<br /> (to Martini)<br /> I'll bring the kids in the car.<br /><br /> MARTINI<br /> Oh, thank you, Mr. Bailey.<br /><br /> Mary gets in the front seat of the car, with the baby in her <br /> arms.<br /><br /> GEORGE<br /> All right, kids – here – get in here. <br /> Now get right up on the seat there. <br /> Get the... get the goat!<br /><br /> The family goat gets in the back seat with the three kids.<br /><br /> MARTINI<br /> Goodbye, everybody!<br /><br /> GEORGE<br /> All in...<br /><br /> The rickety caravan starts off down the street, to the cheers <br /> of the neighbors.<br /><br /> WIPE TO:<br /><br /> EXT. BAILEY PARK – DAY<br /><br /> CLOSE SHOT<br /><br /> Sign hanging from a tree "Welcome to Bailey Park." CAMERA <br /> PANS TO follow George's car and the old truck laden with <br /> furniture as they pass – we hear Martini's voice singing "O <br /> Sole Mio." Bailey Park is a district of new small houses, <br /> not all alike, but each individual. New lawns here and there, <br /> and young trees. It has the promise when built up of being a <br /> pleasant little middle class section.<br /><br /> WIPE TO:<br /><br /> EXT. MARTINI'S NEW HOUSE – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George and Mary are on the porch of the new house, with the <br /> Martinis lined up before them.<br /><br /> GEORGE<br /> Mr. and Mrs. Martini, welcome home. <br /> The Martinis cross themselves.<br /><br /> EXT. STREET – BAILEY PARK – DAY<br /><br /> CLOSE SHOT<br /><br /> Sam Wainwright is standing in front of his big black town <br /> car. Sam is the epitome of successful, up-and-coming <br /> businessman. His wife, in the car, is a very attractive, <br /> sophisticated-looking lady, dripping with furs and jewels. <br /> Sam is watching George across the street.<br /><br /> SAM<br /> That old George... he's always making <br /> a speech.<br /> (to George)<br /> Hee-haw!<br /> (wiggles his hands)<br /><br /> EXT. NEW HOUSE – DAY<br /><br /> CLOSE SHOT – MARY AND GEORGE ON PORCH<br /><br /> GEORGE<br /> (to Mary)<br /> Sam Wainwright!<br /><br /> MARY<br /> Oh, who cares.<br /> (to Mrs. Martini, <br /> giving her loaf of <br /> bread)<br /> Bread! That this house may never <br /> know hunger.<br /><br /> Mrs. Martini crosses herself.<br /><br /> MARY<br /> (giving her salt)<br /> Salt! That life may always have <br /> flavor.<br /><br /> GEORGE<br /> (handing bottle to <br /> Martini)<br /> And wine! That joy and prosperity <br /> may reign forever. Enter the Martini <br /> castle!<br /><br /> The Martinis cross themselves, shaking hands all around. The <br /> kids enter, with screams of delight. Mrs. Martini kisses <br /> Mary.<br /><br /> INT. POTTER'S OFFICE IN BANK – DAY<br /><br /> CLOSE SHOT<br /><br /> Potter seated in his wheelchair at his desk, with his goon <br /> beside him. His rent collector, Reineman, is talking, <br /> pointing to maps spread out on the desk.<br /><br /> REINEMAN<br /> Look, Mr. Potter, it's no skin off <br /> my nose. I'm just your little rent <br /> collector. But you can't laugh off <br /> this Bailey Park any more. Look at <br /> it.<br /><br /> A buzzer is heard, and Potter snaps on the dictaphone on his <br /> desk.<br /><br /> SECRETARY'S VOICE<br /> Congressman Blatz is here to see <br /> you.<br /><br /> POTTER<br /> (to dictaphone)<br /> Oh, tell the congressman to wait.<br /> (to Reineman)<br /> Go on.<br /><br /> REINEMAN<br /> Fifteen years ago, a half-dozen houses <br /> stuck here and there.<br /> (indicating map)<br /> There's the old cemetery, squirrels, <br /> buttercups, daisies. Used to hunt <br /> rabbits there myself. Look at it <br /> today. Dozens of the prettiest little <br /> homes you ever saw. Ninety per cent <br /> owned by suckers who used to pay <br /> rent to you. Your Potter's Field, my <br /> dear Mr. Employer, is becoming just <br /> that. And are the local yokels making <br /> with those David and Goliath <br /> wisecracks!<br /><br /> POTTER<br /> Oh, they are, are they? Even though <br /> they know the Baileys haven't made a <br /> dime out of it.<br /><br /> REINEMAN<br /> You know very well why. The Baileys <br /> were all chumps. Every one of these <br /> homes is worth twice what it cost <br /> the Building and Loan to build. If I <br /> were you, Mr. Potter...<br /><br /> POTTER<br /> (interrupting)<br /> Well, you are not me.<br /><br /> REINEMAN<br /> (as he leaves)<br /> As I say, it's no skin off my nose. <br /> But one of these days this bright <br /> young man is going to be asking George <br /> Bailey for a job.<br /><br /> Reineman exits.<br /><br /> POTTER<br /> The Bailey family has been a boil on <br /> my neck long enough.<br /><br /> He flips the switch on the dictaphone.<br /><br /> SECRETARY'S VOICE<br /> Yes, sir?<br /><br /> POTTER<br /> Come in here.<br /><br /> EXT. STREET IN BAILEY PARK – DAY<br /><br /> CLOSE SHOT<br /><br /> George and Mary are talking to Sam Wainwright in front of <br /> the latter's car. Hs wife, Jane, is now out of the car.<br /><br /> SAM<br /> We just stopped in town to take a <br /> look at the new factory, and then <br /> we're going to drive on down to <br /> Florida.<br /><br /> GEORGE<br /> Oh...<br /><br /> JANE<br /> Why don't you have your friends join <br /> us?<br /><br /> SAM<br /> Why, sure. Hey, why don't you kids <br /> drive down with us, huh?<br /><br /> GEORGE<br /> Oh, I'm afraid I couldn't get away, <br /> Sam.<br /><br /> SAM<br /> Still got the nose to the old <br /> grindstone, eh? Jane, I offered to <br /> let George in on the ground floor in <br /> plastics, and he turned me down cold.<br /><br /> GEORGE<br /> Oh, now, don't rub it in.<br /><br /> SAM<br /> I'm not rubbing it in. Well, I guess <br /> we better run along.<br /><br /> There is handshaking all around as Sam and Jane get into <br /> their car.<br /><br /> JANE<br /> Awfully glad to have met you, Mary.<br /><br /> MARY<br /> Nice meeting you.<br /><br /> GEORGE<br /> Goodbye.<br /><br /> JANE<br /> Goodbye, George.<br /><br /> SAM<br /> So long, George. See you in the funny <br /> papers.<br /><br /> GEORGE<br /> Goodbye, Sam.<br /><br /> MARY<br /> Have fun.<br /><br /> GEORGE<br /> Thanks for dropping around.<br /><br /> SAM<br /> (to chauffeur)<br /> To Florida!<br /> (to George)<br /> Hee-haw!<br /><br /> GEORGE<br /> Hee-haw.<br /><br /> The big black limousine glides away, leaving George standing <br /> with his arm around Mary, gazing broodingly after it. They <br /> slowly walk over to George's old car and look at it silently.<br /><br /> WIPE TO:<br /><br /> INT. POTTER'S OFFICE – DAY<br /><br /> CLOSE SHOT<br /><br /> Potter is lighting a big cigar which he has just given George. <br /> The goon is beside Potter's chair, as usual.<br /><br /> GEORGE<br /> Thank you, sir. Quite a cigar, Mr. <br /> Potter.<br /><br /> POTTER<br /> You like it? I'll send you a box.<br /><br /> GEORGE<br /> (nervously)<br /> Well, I... I suppose I'll find out <br /> sooner or later, but just what exactly <br /> did you want to see me about?<br /><br /> POTTER<br /> (laughs)<br /> George, now that's just what I like <br /> so much about you.<br /> (pleasantly and <br /> smoothly)<br /> George, I'm an old man, and most <br /> people hate me. But I don't like <br /> them either, so that makes it all <br /> even. You know just as well as I do <br /> that I run practically everything in <br /> this town but the Bailey Building <br /> and Loan. You know, also, that for a <br /> number of years I've been trying to <br /> get control of it... or kill it. But <br /> I haven't been able to do it. You <br /> have been stopping me. In fact, you <br /> have beaten me, George, and as anyone <br /> in this county can tell you, that <br /> takes some doing. Take during the <br /> depression, for instance. You and I <br /> were the only ones that kept our <br /> heads. You saved the Building and <br /> Loan, and I saved all the rest.<br /><br /> GEORGE<br /> Yes. Well, most people say you stole <br /> all the rest.<br /><br /> POTTER<br /> The envious ones say that, George, <br /> the suckers. Now, I have stated my <br /> side very frankly. Now, let's look <br /> at your side. Young man, twenty-<br /> seven, twenty-eight... married, <br /> making, say... forty a week.<br /><br /> GEORGE<br /> (indignantly)<br /> Forty-five!<br /><br /> POTTER<br /> Forty-five. Forty-five. Out of which, <br /> after supporting your mother, and <br /> paying your bills, you're able to <br /> keep, say, ten, if you skimp. A child <br /> or two comes along, and you won't <br /> even be able to save the ten. Now, <br /> if this young man of twenty-eight <br /> was a common, ordinary yokel, I'd <br /> say he was doing fine. But George <br /> Bailey is not a common, ordinary <br /> yokel. He's an intelligent, smart, <br /> ambitious young man — who hates his <br /> job – who hates the Building and <br /> Loan almost as much as I do. A young <br /> man who's been dying to get out on <br /> his own ever since he was born. A <br /> young man... the smartest one of the <br /> crowd, mind you, a young man who has <br /> to sit by and watch his friends go <br /> places, because he's trapped. Yes, <br /> sir, trapped into frittering his <br /> life away playing nursemaid to a lot <br /> of garlic-eaters. Do I paint a <br /> correct picture, or do I exaggerate?<br /><br /> GEORGE<br /> (mystified)<br /> Now what's your point, Mr. Potter?<br /><br /> POTTER<br /> My point? My point is, I want to <br /> hire you.<br /><br /> GEORGE<br /> (dumbfounded)<br /> Hire me?<br /><br /> POTTER<br /> I want you to manage my affairs, run <br /> my properties. George, I'll start <br /> you out at twenty thousand dollars a <br /> year.<br /><br /> George drops his cigar on his lap. He nervously brushes off <br /> the sparks from his clothes.<br /><br /> GEORGE<br /> (flabbergasted)<br /> Twenty thou... twenty thousand dollars <br /> a year?<br /><br /> POTTER<br /> You wouldn't mind living in the nicest <br /> house in town, buying your wife a <br /> lot of fine clothes, a couple of <br /> business trips to New York a year, <br /> maybe once in a while Europe. You <br /> wouldn't mind that, would you, George?<br /><br /> GEORGE<br /> Would I?<br /> (looking around <br /> skeptically)<br /> You're not talking to somebody else <br /> around here, are you? You know, this <br /> is me, you remember me? George Bailey.<br /><br /> POTTER<br /> Oh, yes, George Bailey. Whose ship <br /> has just come in – providing he has <br /> brains enough to climb aboard.<br /><br /> GEORGE<br /> Well, what about the Building and <br /> Loan?<br /><br /> POTTER<br /> Oh, confound it, man, are you afraid <br /> of success? I'm offering you a three <br /> year contract at twenty thousand <br /> dollars a year, starting today. Is <br /> it a deal or isn't it?<br /><br /> GEORGE<br /> Well, Mr. Potter, I... I... I know I <br /> ought to jump at the chance, but <br /> I... I just... I wonder if it would <br /> be possible for you to give me twenty-<br /> four hours to think it over?<br /><br /> POTTER<br /> Sure, sure, sure. You go on home and <br /> talk about it to your wife.<br /><br /> GEORGE<br /> I'd like to do that.<br /><br /> POTTER<br /> In the meantime, I'll draw up the <br /> papers.<br /><br /> GEORGE<br /> All right, sir.<br /><br /> POTTER<br /> (offers hand)<br /> Okay, George?<br /><br /> GEORGE<br /> (taking his hand)<br /> Okay, Mr. Potter.<br /><br /> As they shake hands, George feels a physical revulsion. <br /> Potter's hand feels like a cold mackerel to him. In that <br /> moment of physical contact he knows he could never be <br /> associated with this man. George drops his hand with a <br /> shudder. He peers intently into Potter's face.<br /><br /> GEORGE<br /> (vehemently)<br /> No... no... no... no, now wait a <br /> minute, here! I don't have to talk <br /> to anybody! I know right now, and <br /> the answer is no! NO! Doggone it!<br /> (getting madder all <br /> the time)<br /> You sit around here and you spin <br /> your little webs and you think the <br /> whole world revolves around you and <br /> your money. Well, it doesn't, Mr. <br /> Potter! In the... in the whole vast <br /> configuration of things, I'd say you <br /> were nothing but a scurvy little <br /> spider. You...<br /><br /> He turns and shouts at the goon, impassive as ever beside <br /> Potter's wheelchair.<br /><br /> GEORGE<br /> ...And that goes for you too!<br /><br /> As George opens the office door to exit, he shouts at Mr. <br /> Potter's secretary in the outer office<br /><br /> GEORGE<br /> And it goes for you too!<br /><br /> WIPE TO:<br /><br /> INT. BEDROOM – GEORGE AND MARY'S HOUSE – NIGHT<br /><br /> CLOSE SHOT – GEORGE ENTERS THE BEDROOM<br /><br /> The room is modestly furnished with just a cheap bed, a chair <br /> or two, and a dresser. Mary is asleep in the bed. As George <br /> comes in, his head is filled with many confusing thoughts, <br /> relating to incidents in his past life.<br /><br /> POTTER'S VOICE<br /> You wouldn't mind living in the nicest <br /> house in town. Buying your wife a <br /> lot of fine clothes, going to New <br /> York on a business trip a couple of <br /> times a year. Maybe to Europe once <br /> in a while.<br /><br /> George takes off his hat and coat, moves over to the dresser <br /> and stares at his reflection in the mirror.<br /><br /> GEORGE'S VOICE<br /> I know what I'm going to do tomorrow <br /> and the next day and next year and <br /> the year after that. I'm shaking the <br /> dust of this crummy little town off <br /> my feet, and I'm going to see the <br /> world... And I'm going to build <br /> things. I'm going to build air fields. <br /> I'm going to build skyscrapers a <br /> hundred stories high. I'm going to <br /> build a bridge a mile long.<br /><br /> While the above thoughts are passing through George's head, <br /> his attention is caught by a picture on the wall near the <br /> dresser:<br /><br /> INSERT: PICTURE ON THE WALL<br /><br /> It is the sketch of George lassoing the moon that we first <br /> saw in Mary's living room. The lettering reads: "George Lassos <br /> The Moon."<br /><br /> GEORGE'S VOICE<br /> What is it you want, Mary? You want <br /> the moon? If you do, just say the <br /> word; I'll throw a lasso around it <br /> and pull it down for you.<br /><br /> Mary is now awake, and starts singing their theme song:<br /><br /> MARY<br /> (singing)<br /> Buffalo Gals, won't you come out <br /> tonight, won't you come out tonight, <br /> won't you come out tonight.<br /><br /> George crosses over and sits on the edge of the bed.<br /><br /> GEORGE<br /> Hi.<br /><br /> MARY<br /> Hi.<br /><br /> GEORGE<br /> Mary Hatch, why in the world did you <br /> ever marry a guy like me?<br /><br /> MARY<br /> To keep from being an old maid.<br /><br /> GEORGE<br /> You could have married Sam Wainwright <br /> or anybody else in town.<br /><br /> MARY<br /> I didn't want to marry anybody else <br /> in town. I want my baby to look like <br /> you.<br /><br /> GEORGE<br /> You didn't even have a honeymoon. I <br /> promised you...<br /> (does a double take)<br /> ...Your what?<br /><br /> MARY<br /> My baby.<br /><br /> GEORGE<br /> (incredulously)<br /> You mean... Mary, you on the nest?<br /><br /> MARY<br /> George Bailey lassos stork.<br /><br /> GEORGE<br /> Lassos the stork! You mean you... <br /> What is it, a boy or a girl?<br /><br /> Mary nods her head happily.<br /><br /> FADE OUT<br /><br /> FADE IN:<br /><br /> MONTAGE SEQUENCE<br /><br /> Over the following SERIES OF SHOTS we hear the voices of <br /> Joseph and Clarence in Heaven.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> George is crossing the street, heading for the offices of <br /> the Building and Loan.<br /><br /> JOSEPH'S VOICE<br /> Now, you've probably already guessed <br /> that George never leaves Bedford <br /> Falls.<br /><br /> CLARENCE'S VOICE<br /> No!<br /><br /> INT. HOSPITAL – DAY<br /><br /> CLOSE SHOT – NURSE HOLDING NEWBORN BABY<br /><br /> JOSEPH'S VOICE<br /> Mary had her baby, a boy.<br /><br /> INT. SITTING ROOM – DAY<br /><br /> CLOSE SHOT<br /><br /> Mary sitting on the floor playing with a baby. A little boy <br /> is in a playpen nearby.<br /><br /> JOSEPH'S VOICE<br /> Then she had another one – a girl.<br /><br /> INT. GRANVILLE HOUSE – DAY<br /><br /> CLOSE SHOTS<br /><br /> Mary is busy hanging wallpaper and painting the old place.<br /><br /> JOSEPH'S VOICE<br /> Day after day she worked away remaking <br /> the old Granville house into a home.<br /><br /> INT. GRANVILLE HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George has just come into the hall. He is obviously tired <br /> and discouraged as he starts up the stairs. The knob on the <br /> banister comes off in his hand.<br /><br /> JOSEPH'S VOICE<br /> Night after night George came back <br /> late from the office. Potter was <br /> bearing down hard.<br /><br /> WIPE TO:<br /><br /> EXT. RECRUITING GROUNDS – DAY<br /><br /> MEDIUM LONG SHOT<br /><br /> A group of men, obviously just drafted, marching along in a <br /> camp.<br /><br /> JOSEPH'S VOICE<br /> Then came a war.<br /><br /> INT. RED CROSS WORKROOM – DAY<br /><br /> CLOSE SHOT<br /><br /> Mrs. Bailey and other women in Red Cross uniforms busily <br /> sewing, etc.<br /><br /> JOSEPH'S VOICE<br /> Ma Bailey and Mrs. Hatch joined the <br /> Red Cross and sewed.<br /><br /> EXT. TRAIN IN RAILROAD STATION – DAY<br /><br /> CLOSE SHOT<br /><br /> Mary, with portable U.S.O. pushcart, is serving coffee and <br /> doughnuts to men leaning from the train.<br /><br /> JOSEPH'S VOICE<br /> Mary had two more babies, but still <br /> found time to run the U.S.O.<br /><br /> INT. FACTORY – DAY<br /><br /> CLOSE SHOT<br /><br /> Sam Wainwright showing set of blueprints to two Army officers.<br /><br /> JOSEPH'S VOICE<br /> Sam Wainwright made a fortune in <br /> plastic hoods for planes.<br /><br /> INT. FACTORY – DAY<br /><br /> CLOSE SHOT<br /><br /> Potter is wheeled in toward a long table around which several <br /> men are seated.<br /><br /> JOSEPH'S VOICE<br /> Potter became head of the draft board.<br /><br /> POTTER<br /> (reading from papers)<br /> One-A... One-A... One-A...<br /><br /> EXT. STREET IN BEDFORD FALLS – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Gower and Uncle Billy are conducting a bond rally from the <br /> top of an Army tank.<br /><br /> JOSEPH'S VOICE<br /> Gower and Uncle Billy sold war bonds.<br /><br /> EXT. BATTLEFIELD – NIGHT<br /><br /> MEDIUM CLOSEUP<br /><br /> Bert, in uniform, moving cautiously with fixed bayonet. Smoke <br /> and flashes of gunfire in background.<br /><br /> JOSEPH'S VOICE<br /> Bert the cop was wounded in North <br /> Africa. Got the Silver Star.<br /><br /> EXT. SKY – DAY<br /><br /> LONG SHOT<br /><br /> Hundreds of planes, flying overhead, with parachutes dropping <br /> from them.<br /><br /> JOSEPH'S VOICE<br /> Ernie, the taxi driver, parachuted <br /> into France.<br /><br /> EXT. REMAGEN BRIDGE OVER THE RHINE – DAY<br /><br /> CLOSE SHOT<br /><br /> Marty in the foreground, beckoning to soldiers to come on.<br /><br /> JOSEPH'S VOICE<br /> Marty helped capture the Remagen <br /> Bridge.<br /><br /> INT. READY ROOM ON AIRCRAFT CARRIER – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Harry is fastening the helmet of his flying clothes. He waves <br /> as he exits through the door.<br /><br /> JOSEPH'S VOICE<br /> Harry... Harry Bailey topped them <br /> all. A Navy flier, he shot down <br /> fifteen planes.<br /><br /> EXT. OCEAN FROM DECK OF CARRIER – NIGHT<br /><br /> LONG SHOT<br /><br /> A flaming plane crashes into the sea.<br /><br /> JOSEPH'S VOICE<br /> ...two of them as they were about to <br /> crash into a transport full of <br /> soldiers.<br /><br /> CLARENCE'S VOICE<br /> Yes, but George...<br /><br /> INT. RATION OFFICE – DAY<br /><br /> CLOSE SHOT<br /><br /> George, behind the counter, is trying to quiet a crowd of <br /> people all clamoring for more ration points.<br /><br /> JOSEPH'S VOICE<br /> George? Four-F on account of his <br /> ear, George fought the battle of <br /> Bedford Falls.<br /><br /> George shouts.<br /><br /> GEORGE<br /> Hold on... hold on... hold on now. <br /> Don't you know there's a war on?<br /><br /> EXT. STRET – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George, in the uniform of an air raid warden, is patrolling <br /> his beat.<br /><br /> JOSEPH'S VOICE<br /> Air raid Warden...<br /><br /> EXT. HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Man beside lighted window pulls down the shade as George <br /> blows his whistle.<br /><br /> EXT. STREET – DAY<br /><br /> CLOSE SHOT<br /><br /> George is helping load his old car with scrap paper.<br /><br /> JOSEPH'S VOICE<br /> ...paper drives...<br /><br /> EXT. DUMP – DAY<br /><br /> CLOSE SHOT<br /><br /> Wheelbarrow full of junk being dumped onto pile.<br /><br /> JOSEPH'S VOICE<br /> ...Scrap drives...<br /><br /> EXT. STREET – DAY<br /><br /> MEDIUM CLOSE SHOT – CHILDREN WHEELING OLD TIRES<br /><br /> JOSEPH'S VOICE<br /> ...Rubber drives...<br /><br /> INT. CHURCH – DAY<br /><br /> MEDIUM SHOT – PEOPLE PRAYING IN CHURCH<br /><br /> JOSEPH'S VOICE<br /> Like everybody else, on V-E Day he <br /> wept and prayed.<br /><br /> EXT. CHURCH – ANOTHER ANGLE<br /><br /> MEDIUM CLOSE SHOT – PEOPLE ENTERING CHURCH<br /><br /> JOSEPH'S VOICE<br /> On V-J Day he wept and prayed again.<br /><br /> FRANKLIN'S VOICE<br /> Joseph, now show him what happened <br /> today.<br /><br /> JOSEPH'S VOICE<br /> Yes, sir.<br /><br /> EXT. BEDFORD FALLS STREET – WINTER – DAY<br /><br /> George is walking along the sidewalk reading a newspaper. It <br /> is a raw, gusty day, and his overcoat and muffler flap in <br /> the breeze. Draped around one arm is a large Christmas <br /> wreath. Under his other arm are several more copies of the <br /> paper.<br /><br /> JOSEPH'S VOICE<br /> This morning, day before Christmas, <br /> about ten A.M. Bedford Falls time...<br /><br /> George comes to where Ernie, the taxi driver, is standing on <br /> the sidewalk.<br /><br /> GEORGE<br /> (holding out paper)<br /> Hi, Ernie, look at that.<br /><br /> INSERT: NEWSPAPER<br /><br /> The front page of the paper, the Bedford Falls Sentinel. The <br /> headline reads: "PRESIDENT DECORATES HARRY BAILEY – LOCAL <br /> BOY WINS CONGRESSIONAL MEDAL OF HONOR". The subhead tells of <br /> a plan for a giant jubilee and parade, to be followed by a <br /> banquet, in honor of Commander Harry Bailey, U.S.N. on his <br /> way home from Washington after receiving the Congressional <br /> Medal of Honor. There's a large picture of President Truman <br /> pinning the coveted medal on Harry's bosom, in the midst of <br /> dignitaries; a picture of the transport which Harry saved. <br /> Practically the whole front page is devoted to the story.<br /><br /> CLOSE SHOT – GEORGE AND ERNIE<br /><br /> ERNIE<br /> (kidding)<br /> Gonna snow again.<br /><br /> GEORGE<br /> (outraged)<br /> What do you mean – it's gonna snow <br /> again? Look at the headlines.<br /><br /> ERNIE<br /> I know – I know – I know. I think <br /> it's marvelous.<br /><br /> Gower comes running across the street from his drugstore and <br /> joins them.<br /><br /> GEORGE<br /> (reading)<br /> Commander Harry Bailey. Mr. Gower, <br /> look at this – the second page.<br /> (gives them papers)<br /> Now look, this is for you. This is <br /> for you, this is for you.<br /> (as he leaves)<br /> See you again.<br /><br /> EXT. STREET – DAY<br /><br /> MEDIUM LONG SHOT<br /><br /> Uncle Billy is walking along the street, humming happily to <br /> himself. He sees some men decorating the Court House with <br /> banners and bunting – there is a huge sign reading: "Welcome <br /> Home Harry Bailey"<br /><br /> UNCLE BILLY<br /> (calls out)<br /> Be sure you spell the name right.<br /><br /> INT. OUTER OFFICE BUILDING AND LOAN – DAY<br /><br /> FULL SHOT<br /><br /> The offices are unchanged, still small-time and old-fashioned. <br /> The same office force, albeit a few years older: Cousin Tilly <br /> and Cousin Eustace. Seated on a chair is a middle-aged man <br /> with a brief case. The outer door opens and George enters:<br /><br /> GEORGE<br /> Extra! Extra! Read all about it!<br /><br /> Cousin Tilly and Cousin Eustace are talking on the phone.<br /><br /> COUSIN EUSTACE<br /> George! George! It's Harry now on <br /> long distance from Washington!<br /><br /> GEORGE<br /> Harry! What do you know about that?<br /><br /> COUSIN EUSTACE<br /> He reversed the charges. It's okay, <br /> isn't it?<br /><br /> GEORGE<br /> What do you mean it's okay? For a <br /> hero?<br /> (takes the phone)<br /> Harry! Oh, you old seven kinds of a <br /> son of a gun. Congratulations! How's <br /> Mother standing it?... She did? What <br /> do you know...<br /> (to Eustace)<br /> Mother had lunch with the President's <br /> wife!<br /><br /> COUSIN TILLY<br /> Wait till Martha hears about this.<br /><br /> COUSIN EUSTACE<br /> What did they have to eat?<br /><br /> GEORGE<br /> (on phone)<br /> What did they have to eat? Harry, <br /> you should see what they're cooking <br /> up in the town for you... Oh, are <br /> they?<br /> (to Eustace)<br /> The Navy's going to fly Mother home <br /> this afternoon.<br /><br /> COUSIN EUSTACE<br /> In a plane?<br /><br /> GEORGE<br /> What? Uncle Billy?<br /> (to Eustace)<br /> Has Uncle Billy come in yet?<br /><br /> COUSIN TILLY<br /> No, he stopped at the bank first.<br /><br /> GEORGE<br /> (on phone)<br /> He's not here right now, Harry.<br /><br /> Cousin Eustace has turned away from George and caught a <br /> glimpse of the man waiting in the chair. This is Carter, the <br /> bank examiner, come for his annual audit of the books of the <br /> Building and Loan.<br /><br /> GEORGE<br /> (on phone)<br /> But look...<br /><br /> COUSIN EUSTACE<br /> (interrupting)<br /> George...<br /><br /> GEORGE<br /> (on phone)<br /> ...now tell me about it.<br /><br /> COUSIN EUSTACE<br /> (interrupting)<br /> ...George, that man's here again.<br /><br /> GEORGE<br /> What man?<br /><br /> COUSIN EUSTACE<br /> (nervously)<br /> Bank... bank examiner.<br /><br /> GEORGE<br /> Oh...<br /> (on phone)<br /> Talk to Eustace a minute, will you. <br /> I'll be right back.<br /><br /> He gives the phone to Eustace, puts down his wreath and goes <br /> over to Carter.<br /><br /> CLOSE SHOT – GEORGE AND CARTER<br /><br /> They shake hands.<br /><br /> GEORGE<br /> Good morning, sir.<br /><br /> CARTER<br /> Carter – bank examiner.<br /><br /> GEORGE<br /> Mr. Carter, Merry Christmas.<br /><br /> CARTER<br /> Merry Christmas.<br /><br /> GEORGE<br /> We're all excited around here.<br /> (shows him paper)<br /> My brother just got the Congressional <br /> Medal of Honor. The President just <br /> decorated him.<br /><br /> CARTER<br /> Well, I guess they do those things. <br /> Well, I trust you had a good year.<br /><br /> GEORGE<br /> Good year? Well, between you and me, <br /> Mr. Carter, we're broke.<br /><br /> CARTER<br /> Yeah, very funny.<br /><br /> GEORGE<br /> Well...<br /> (leading him into <br /> office)<br /> ...now, come right in here, Mr. <br /> Carter.<br /><br /> CARTER<br /> (as they go)<br /> Although I shouldn't wonder when you <br /> okay reverse charges on personal <br /> long distance calls.<br /><br /> COUSIN TILLY<br /> George, shall we hang up?<br /><br /> GEORGE<br /> No, no. He wants to talk to Uncle <br /> Billy. You just hold on.<br /><br /> CARTER<br /> (in doorway)<br /> Now, if you'll cooperate, I'd like <br /> to finish with you by tonight. I <br /> want to spend Christmas in Elmira <br /> with my family.<br /><br /> GEORGE<br /> I don't blame you at all, Mr. Carter, <br /> Just step right in here. We'll fix <br /> you up.<br /><br /> INT. BANK – DAY<br /><br /> CLOSE SHOT<br /><br /> Uncle Billy is filling out a deposit slip at one of the desks.<br /><br /> UNCLE BILLY<br /> (writing)<br /> December twenty-fourth...<br /><br /> He takes a thick envelope from his inside pocket and thumbs <br /> through the bills it contains. It is evidently a large sum <br /> of money.<br /><br /> UNCLE BILLY<br /> Eight thousand...<br /><br /> MEDIUM SHOT – DOOR TO STREET<br /><br /> Potter is being wheeled in by his goon. Various bank officials <br /> run over to greet him – he is reading a newspaper. Uncle <br /> Billy has finished filling out his slip, and comes over to <br /> taunt Potter, the envelope containing the money in his hand.<br /><br /> UNCLE BILLY<br /> Well, good morning, Mr. Potter. What's <br /> the news?<br /><br /> He grabs the paper from Potter's hand.<br /><br /> UNCLE BILLY(CONT'D)<br /> Well, well, well, Harry Bailey wins <br /> Congressional Medal. That couldn't <br /> be one of the Bailey boys? You just <br /> can't keep those Baileys down, now, <br /> can you, Mr. Potter?<br /><br /> POTTER<br /> How does slacker George feel about <br /> that?<br /><br /> UNCLE BILLY<br /> Very jealous, very jealous. He only <br /> lost three buttons off his vest. Of <br /> course, slacker George would have <br /> gotten two of those medals if he had <br /> gone.<br /><br /> POTTER<br /> Bad ear.<br /><br /> UNCLE BILLY<br /> Yes.<br /><br /> Uncle Billy folds Potter's paper over the envelope containing <br /> his money, and flings his final taunt at the old man.<br /><br /> UNCLE BILLY<br /> After all, Potter, some people like <br /> George had to stay home. Not every <br /> heel was in Germany and Japan!<br /><br /> In a cold rage, Potter grabs his paper and wheels off toward <br /> his office. Uncle Billy smiles triumphantly and goes toward <br /> deposit window with his deposit slip.<br /><br /> CLOSE SHOT<br /> Uncle Billy and bank teller at the <br /> window.<br /><br /> UNCLE BILLY<br /> (still chuckling)<br /> Good morning, Horace.<br /><br /> Uncle Billy hands the bank book over. The teller opens it, <br /> starts to punch it with rubber stamps.<br /><br /> TELLER<br /> I guess you forgot something.<br /><br /> UNCLE BILLY<br /> Huh?<br /><br /> TELLER<br /> You forgot something.<br /><br /> UNCLE BILLY<br /> What?<br /><br /> TELLER<br /> Well, aren't you going to make a <br /> deposit?<br /><br /> UNCLE BILLY<br /> Sure, sure I am.<br /><br /> TELLER<br /> Well, then... it's usually customary <br /> to bring the money with you.<br /><br /> UNCLE BILLY<br /> Oh, shucks...<br /><br /> Uncle Billy searches through every pocket he has.<br /><br /> UNCLE BILLY<br /> (looks bewildered)<br /> I know I had...<br /><br /> The teller, knowing the old man's vagaries, points to one of <br /> the numerous string tied around his fingers.<br /><br /> TELLER<br /> How about that one there?<br /><br /> UNCLE BILLY<br /> Hmm? Well, I...<br /><br /> INT. POTTER'S OFFICE – DAY<br /><br /> CLOSE SHOT<br /><br /> Potter is now behind his desk. He spreads the newspaper out <br /> in front of him, muttering as he does so.<br /><br /> POTTER<br /> Bailey...<br /><br /> He sees the envelope, looks inside at the money. Then, to <br /> his goon, indicating the office door:<br /><br /> POTTER<br /> Take me back there. Hurry up.<br /> (as they go)<br /> Come on, look sharp.<br /><br /> Potter opens the door just a little, and peers through into <br /> the bank.<br /><br /> INT. BANK – DAY<br /><br /> CLOSE SHOT – DEPOSIT SLIP DESK<br /><br /> Uncle Billy looks around for the money envelope. It is not <br /> there. He looks puzzled, thinks hard, then a look of concern <br /> creeps into his eyes. He starts thumping his pockets, with <br /> increasing panic, and looks in the waste paper basket on the <br /> floor. He finally rushes through the door and out into the <br /> street.<br /><br /> INT. POTTER'S OFFICE – DAY<br /><br /> CLOSE SHOT – POTTER WATCHING THROUGH THE DOOR<br /><br /> POTTER<br /> (to goon)<br /> Take me back.<br /><br /> The goon wheels him back to his desk. He is deep in thought, <br /> with a crafty expression on his face.<br /><br /> EXT. STREET – DAY<br /><br /> MEDIUM CLOSE SHOT<br /><br /> Uncle Billy running across the street in the direction of <br /> the Building and Loan.<br /><br /> INT. OUTER OFFICE – BUILDING AND LOAN – DAY<br /><br /> CLOSE SHOT<br /><br /> George coming from room where he has just left the bank <br /> examiner.<br /><br /> GEORGE<br /> Just make yourself at home, Mr. <br /> Carter. I'll get those books for <br /> you.<br /><br /> He sees Violet Bick standing there.<br /><br /> GEORGE<br /> Oh, hello, Vi.<br /><br /> VIOLET<br /> George, can I see you for a second?<br /><br /> GEORGE<br /> Why, of course you can. Come on in <br /> the office here.<br /><br /> He hears a noise, and sees Uncle Billy entering the office.<br /><br /> GEORGE<br /> Uncle Billy, talk to Harry. He's on <br /> the telephone.<br /><br /> George and Violet enter his private office. Uncle Billy comes <br /> hurrying in.<br /><br /> COUSIN TILLY<br /> Hurry, Uncle Billy, hurry. Long <br /> distance, Washington.<br /><br /> COUSIN EUSTACE<br /> Hey, here's Harry on the phone.<br /><br /> COUSIN TILLY<br /> Harry, your nephew, remember?<br /><br /> COUSIN EUSTACE<br /> (on phone)<br /> Here he is.<br /><br /> Uncle Billy picks up the phone and speaks distractedly, <br /> without knowing what he is saying.<br /><br /> UNCLE BILLY<br /> (on phone)<br /> Hello... hello... Yes, Harry – yes... <br /> everything... everything's fine.<br /><br /> He hangs up agitatedly, muttering to himself as he goes into <br /> his own office. Cousin Tilly and Cousin Eustace look after <br /> him, dumbfounded.<br /><br /> UNCLE BILLY<br /> I should have my head examined. Eight <br /> thousand dollars. It's got to be <br /> somewhere.<br /><br /> INT. GEORGE'S OFFICE – DAY<br /><br /> CLOSE SHOT – GEORGE AND VIOLET<br /><br /> George has just finished writing something, and is slipping <br /> the paper into an envelope.<br /><br /> GEORGE<br /> (hands it to her)<br /> Here you are.<br /><br /> VIOLET<br /> (bitterly)<br /> Character? If I had any character, <br /> I'd...<br /><br /> GEORGE<br /> It takes a lot of character to leave <br /> your home town and start all over <br /> again. He pulls some money from his <br /> pocket, and offers it to her.<br /><br /> VIOLET<br /> No, George, don't...<br /><br /> GEORGE<br /> Here, now, you're broke, aren't you?<br /><br /> VIOLET<br /> I know, but...<br /><br /> GEORGE<br /> What do you want to do, hock your <br /> furs, and that hat? Want to walk to <br /> New York? You know, they charge for <br /> meals and rent up there just the <br /> same as they do in Bedford Falls.<br /><br /> VIOLET<br /> (taking money)<br /> Yeah – sure...<br /><br /> GEORGE<br /> It's a loan. That's my business. <br /> Building and Loan. Besides, you'll <br /> get a job. Good luck to you.<br /><br /> She looks at him, then says a strange thing.<br /><br /> VIOLET<br /> I'm glad I know you, George Bailey.<br /><br /> She reaches up and kisses him on the cheek, leaving lipstick. <br /> George opens the door for her.<br /><br /> INT. OUTER OFFICE – DAY<br /><br /> CLOSE SHOT<br /><br /> As George and Violet come through the door, they are being <br /> watched by Cousin Tilly, Cousin Eustace and the bank examiner, <br /> who is still waiting to go to work on the books.<br /><br /> GEORGE<br /> Say hello to New York for me.<br /><br /> VIOLET<br /> Yeah – yeah... sure I will.<br /><br /> GEORGE<br /> Now, let's hear from you...<br /><br /> Violet sees the lipstick on George's cheek, and dabs at it <br /> with her handkerchief.<br /><br /> GEORGE<br /> What's the matter? Merry Christmas, <br /> Vi.<br /><br /> VIOLET<br /> Merry Christmas, George.<br /><br /> She exits.<br /><br /> MR. CARTER<br /> Mr. Bailey...<br /><br /> GEORGE<br /> Oh, Mr. Carter, I'm sorry. I'll be <br /> right with you.<br /> (to Cousin Tilly)<br /> Uncle Billy in?<br /><br /> COUSIN TILLY<br /> Yeah, he's in his office.<br /><br /> INT. DOORWAY TO UNCLE BILLY'S OFFICE – DAY<br /><br /> CLOSE SHOT<br /><br /> As George opens the door he sees Uncle Billy frantically <br /> looking for the missing envelope. The office is in a mess, <br /> drawers are opened, and papers scattered on the floor and on <br /> the desk.<br /><br /> GEORGE<br /> Unc... What's going on? The bank <br /> examiner's here, and I...<br /><br /> UNCLE BILLY<br /> (in dismay)<br /> He's here?<br /><br /> GEORGE<br /> Yeah, yeah. He wants the accounts <br /> payable...<br /><br /> George stops short, suddenly aware of the tragic old eyes <br /> looking up at him.<br /><br /> GEORGE<br /> What's the matter with you?<br /><br /> Uncle Billy gestures nervously for George to come in. He <br /> does so and closes the door.<br /><br /> INT. OUTER OFFICE – DAY<br /><br /> MEDIUM SHOT<br /><br /> Cousin Tilly is at her switchboard, and Cousin Eustace <br /> standing beside her. Carter is still waiting in the doorway <br /> to his office. Suddenly the door opens and George comes <br /> striding out. He goes directly to the safe and starts <br /> searching, but doesn't find the money. Then he goes to the <br /> cash drawer in the counter, and looks through it.<br /><br /> GEORGE<br /> Eustace...<br /><br /> EUSTACE<br /> Yeah?<br /><br /> GEORGE<br /> Come here a minute.<br /><br /> Cousin Eustace runs over to George.<br /><br /> GEORGE<br /> Did you see Uncle Billy with any <br /> cash last night?<br /><br /> COUSIN EUSTACE<br /> He had it on his desk counting it <br /> before he closed up.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – DAY<br /><br /> MEDIUM SHOT<br /><br /> Uncle Billy and George are retracing the former's steps <br /> through the snow, looking everywhere for the missing money. <br /> They pause for a moment on the sidewalk.<br /><br /> GEORGE<br /> Now look, did you buy anything?<br /><br /> UNCLE BILLY<br /> Nothing. Not even a stick of gum.<br /><br /> GEORGE<br /> All right. All right. Now we'll go <br /> over every step you took since you <br /> left the house.<br /><br /> UNCLE BILLY<br /> This way.<br /><br /> They continue on down the street on their search.<br /><br /> EXT. WINDOW OF POTTER'S OFFICE IN BANK – DAY<br /><br /> CLOSE SHOT<br /><br /> Potter is peering through the slats of the Venetian blind, <br /> watching them as they go.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – DAY<br /><br /> MOVING SHOT<br /><br /> George and Uncle Billy continue their search.<br /><br /> WIPE TO:<br /><br /> INT. UNCLE BILLY'S LIVING ROOM<br /><br /> CLOSE SHOT<br /><br /> A shabby, old-fashioned, gas-lit room which has been turned <br /> almost inside out and upside down in an effort to locate the <br /> missing money. Drawers of an old secretary have been pulled <br /> out and are on the floor. Every conceivable place which might <br /> have been used by Uncle Billy to put the money has been <br /> searched. George, his hair rumpled, is feverishly pursuing <br /> the search. Uncle Billy is seated behind the desk, his head <br /> on his hands.<br /><br /> GEORGE<br /> And did you put the envelope in your <br /> pocket?<br /><br /> UNCLE BILLY<br /> Yeah... yeah... maybe... maybe...<br /><br /> GEORGE<br /> (shouts)<br /> Maybe – maybe! I don't want any maybe. <br /> Uncle Billy, we've got to find that <br /> money!<br /><br /> UNCLE BILLY<br /> (piteously)<br /> I'm no good to you, George. I...<br /><br /> GEORGE<br /> Listen to me. Do you have any secret <br /> hiding place here in the house? <br /> Someplace you could have put it? <br /> Someplace to hide the money?<br /><br /> UNCLE BILLY<br /> (exhausted)<br /> I've been over the whole house, even <br /> in rooms that have been locked ever <br /> since I lost Laura.<br /><br /> Uncle Billy starts sobbing hysterically. George grabs him by <br /> the lapels and shakes him.<br /><br /> GEORGE<br /> (harshly)<br /> Listen to me! Listen to me! Think! <br /> Think!<br /><br /> UNCLE BILLY<br /> (sobbing)<br /> I can't think any more, George. I <br /> can't think any more. It hurts...<br /><br /> George jerks him to his feet and shakes him. Uncle Billy <br /> stands before him like a frisked criminal, all his pockets <br /> hanging out, empty. George's eyes and manner are almost <br /> maniacal.<br /><br /> GEORGE<br /> (screaming at him)<br /> Where's that money, you stupid, silly <br /> old fool? Where's the money? Do you <br /> realize what this means? It means <br /> bankruptcy and scandal, and prison!<br /><br /> He throws Uncle Billy down into his chair, and still shouts <br /> at him:<br /><br /> GEORGE<br /> That's what it means! One of us is <br /> going to jail! Well, it's not going <br /> to be me!<br /><br /> George turns and heads for the door, kicking viciously at a <br /> waste basket on the floor as he goes. Uncle Billy remains <br /> sobbing at the table, his head in his arms.<br /><br /> WIPE TO:<br /><br /> INT. GEORGE'S LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Janie (aged eight) is seated at the piano playing "Hark, the <br /> Herald Angels Sing," which she practices during the remainder <br /> of this scene. There is a Christmas tree all decorated near <br /> the fireplace. At a large table Mary is busy putting <br /> cellophane bows and decorations on gift packages. At a small <br /> table Pete (aged nine) is seated with pad and pencil in the <br /> throes of composition. On the floor Tommy (aged three) is <br /> playing with a toy vacuum cleaner. We hear the SOUND of a <br /> door open and close. Mary turns and sees George enter the <br /> hall, a slight powdering of snow on his head and shoulders.<br /><br /> INT. HALL – NIGHT<br /><br /> CLOSE SHOT<br /><br /> As George comes into the house.<br /><br /> MARY<br /> Hello darling.<br /><br /> CHILDREN<br /> Hello Daddy, hello daddy.<br /><br /> MARY<br /> (indicating tree)<br /> How do you like it?<br /><br /> George sneezes violently.<br /><br /> MARY AND CHILDREN<br /> Bless you!<br /><br /> MARY<br /> Did you bring the wreath?<br /><br /> PETE<br /> Did you bring the Christmas wreath?<br /><br /> GEORGE<br /> What? What wreath?<br /><br /> MARY<br /> The Merry Christmas wreath for the <br /> window.<br /><br /> GEORGE<br /> (gruffly)<br /> No. I left it at the office.<br /><br /> MARY<br /> Is it snowing?<br /><br /> GEORGE<br /> Yeah, just started.<br /><br /> MARY<br /> Where's your coat and hat?<br /><br /> GEORGE<br /> Left them at the office.<br /><br /> Mary stares at him, aware that something unusual has happened.<br /><br /> MARY<br /> What's the matter?<br /><br /> GEORGE<br /> (bitterly)<br /> Nothing's the matter. Everything's <br /> all right.<br /><br /> INT. LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George slumps into an armchair and lifts Tommy onto his lap. <br /> Mary is helping Pete decorate the Christmas tree.<br /><br /> MARY<br /> Go on, Pete, you're a big boy. You <br /> can put the star up. Way up at the <br /> top. That's it. Fill in that little <br /> bare spot right there. That's it.<br /> (to George)<br /> Isn't it wonderful about Harry? <br /> We're famous, George. I'll bet I had <br /> fifty calls today about the parade, <br /> the banquet. Your mother's so excited, <br /> she...<br /><br /> During this scene, George has been sitting in the chair, <br /> hugging Tommy to him, and crying quietly. Mary realizes that <br /> something is seriously wrong, and breaks off. Janie is <br /> thumping away at the piano.<br /><br /> GEORGE<br /> Must she keep playing that?<br /><br /> JANIE<br /> (hurt)<br /> I have to practice for the party <br /> tonight, Daddy.<br /><br /> PETE<br /> Mommy says we can stay up till <br /> midnight and sing Christmas carols.<br /><br /> TOMMY<br /> Can you sing, Daddy?<br /><br /> MARY<br /> (to George)<br /> Better hurry and shave. The families <br /> will be here soon.<br /><br /> GEORGE<br /> (rising from chair)<br /> Families! I don't want the families <br /> over here!<br /><br /> Mary leads him out toward the kitchen.<br /><br /> MARY<br /> Come on out in the kitchen with me <br /> while I finish dinner.<br /><br /> They exit with Tommy hanging onto George's coat-tails, and <br /> pulling at him. CAMERA PANS WITH them.<br /><br /> TOMMY<br /> Excuse me... excuse me...<br /><br /> INT. HALL – NIGHT<br /><br /> CLOSE SHOT<br /><br /> As they go toward kitchen.<br /><br /> MARY<br /> Have a hectic day?<br /><br /> GEORGE<br /> (bitterly)<br /> Oh, yeah, another big red letter day <br /> for the Baileys.<br /><br /> PETE<br /> Daddy, the Browns next door have a <br /> new car. You should see it.<br /><br /> GEORGE<br /> (turns on him)<br /> Well, what's the matter with our <br /> car? Isn't it good enough for you?<br /><br /> PETE<br /> Yes, Daddy.<br /><br /> TOMMY<br /> (tugging at coat)<br /> Excuse me, excuse me...<br /><br /> INT. KITCHEN – NIGHT<br /><br /> CLOSE SHOT<br /><br /> They come through the door.<br /><br /> GEORGE<br /> (annoyed)<br /> Excuse you for what?<br /><br /> TOMMY<br /> I burped!<br /><br /> MARY<br /> All right, darling, you're excused. <br /> Now go upstairs and see what little <br /> Zuzu wants.<br /><br /> Tommy leaves, and Mary turns to the stove.<br /><br /> GEORGE<br /> Zuzu! What's the matter with Zuzu?<br /><br /> MARY<br /> Oh, she's got a cold. She's in bed. <br /> Caught it coming home from school. <br /> They gave her a flower for a prize <br /> and she didn't want to crush it so <br /> she didn't button up her coat.<br /><br /> GEORGE<br /> What is it, a sore throat or what?<br /><br /> MARY<br /> Just a cold. The doctor says it's <br /> nothing serious.<br /><br /> GEORGE<br /> The doctor? Was the doctor here?<br /><br /> MARY<br /> Yes, I called him right away. He <br /> says it's nothing to worry about.<br /><br /> GEORGE<br /> Is she running a temperature? What <br /> is it?<br /><br /> MARY<br /> Just a teensie one – ninety-nine, <br /> six. She'll be all right.<br /><br /> George paces about the kitchen, worried.<br /><br /> GEORGE<br /> Gosh, it's this old house. I don't <br /> know why we don't all have pneumonia. <br /> This drafty old barn! Might as well <br /> be living in a refrigerator. Why did <br /> we have to live here in the first <br /> place and stay around this measly, <br /> crummy old town?<br /><br /> MARY<br /> (worried)<br /> George, what's wrong?<br /><br /> GEORGE<br /> Wrong? Everything's wrong! You call <br /> this a happy family? Why did we have <br /> to have all these kids?<br /><br /> PETE<br /> (coming in)<br /> Dad, how do you spell "frankincense"?<br /><br /> GEORGE<br /> (shouts)<br /> I don't know. Ask your mother.<br /><br /> George goes toward doorway.<br /><br /> MARY<br /> Where're you going?<br /><br /> GEORGE<br /> Going up to see Zuzu.<br /><br /> We hear his footsteps as he leaves. Mary looks after him, <br /> puzzled and concerned, then comes over to Pete.<br /><br /> PETE<br /> He told me to write a play for <br /> tonight.<br /><br /> MARY<br /> F-R-A-N-K-I-N...<br /><br /> INT. HALL – NIGHT<br /><br /> MEDIUM CLOSE SHOT – GEORGE STARTS UP THE STAIRS<br /><br /> The knob on the banister comes off in his hand, and for a <br /> moment he has an impulse to hurl it into the living room. <br /> Then, he replaces the knob, and goes on up the stairs.<br /><br /> INT. ZUZU'S BEDROOM – NIGHT<br /><br /> FULL SHOT<br /><br /> The SOUND of Janie at the piano can be heard, the same <br /> monotonous rhythm over and over. Zuzu (aged six) is sitting <br /> up in her bed, the lamp burning beside her. She is holding <br /> her prize flower. George tiptoes in. Then, as he sees she's <br /> awake, he comes over, sitting on the edge of her bed.<br /><br /> ZUZU<br /> Hi, Daddy.<br /><br /> GEORGE<br /> Well, what happened to you?<br /><br /> ZUZU<br /> I won a flower.<br /><br /> She starts to get out of bed.<br /><br /> GEORGE<br /> Wait now. Where do you think you're <br /> going?<br /><br /> ZUZU<br /> Want to give my flower a drink.<br /><br /> GEORGE<br /> All right, all right. Here, give <br /> Daddy the flower. I'll give it a <br /> drink.<br /><br /> She shakes her head and presses the flower to her. A few <br /> petals fall off. She picks them up.<br /><br /> ZUZU<br /> Look, Daddy... paste it.<br /><br /> GEORGE<br /> Yeah, all right. Now, I'll paste <br /> this together.<br /><br /> She hands him the fallen petals and the flower. He turns his <br /> back to Zuzu, pretending to be tinkering with the flower. He <br /> sticks the fallen petals in his watch pocket, rearranges the <br /> flower, and then turns back to Zuzu.<br /><br /> GEORGE<br /> There it is, good as new.<br /><br /> ZUZU<br /> Give the flower a drink.<br /><br /> George puts the flower in a glass of water on the table beside <br /> her bed.<br /><br /> GEORGE<br /> Now, will you do something for me?<br /><br /> CLOSEUP – GEORGE AND ZUZU<br /><br /> They whisper.<br /><br /> ZUZU<br /> What?<br /><br /> GEORGE<br /> Will you try to get some sleep?<br /><br /> ZUZU<br /> I'm not sleepy. I want to look at my <br /> flower.<br /><br /> GEORGE<br /> I know – I know, but you just go to <br /> sleep, and then you can dream about <br /> it, and it'll be a whole garden.<br /><br /> ZUZU<br /> It will?<br /><br /> GEORGE<br /> Uh-huh.<br /><br /> She closes her eyes and relaxes on the bed. George pulls the <br /> covers over her. He bends down and his lips touch a tendril <br /> of the child's hair. Then he gets up and tiptoes out of the <br /> room.<br /><br /> INT. LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Janie is still pounding with grim determination at the piano. <br /> Pete is seated at the table writing. Tommy is playing with <br /> his toy vacuum cleaner. The telephone rings.<br /><br /> JANIE AND PETE<br /> Telephone.<br /><br /> INT. LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Mary comes in and picks up the phone.<br /><br /> MARY<br /> I'll get it.<br /> (on phone)<br /> Hello. Yes, this is Mrs. Bailey.<br /><br /> George enters shot, and stands listening to her.<br /><br /> MARY<br /> Oh, thank you, Mrs. Welch. I'm sure <br /> she'll be all right. The doctor says <br /> that she ought to be out of bed in <br /> time to have her Christmas dinner.<br /><br /> GEORGE<br /> Is that Zuzu's teacher?<br /><br /> MARY<br /> (hand over receiver)<br /> Yes.<br /><br /> GEORGE<br /> Let me speak to her.<br /><br /> He snatches the phone from Mary.<br /><br /> GEORGE<br /> (on phone)<br /> Hello. Hello, Mrs. Welch? This is <br /> George Bailey. I'm Zuzu's father. <br /> Say, what kind of a teacher are you <br /> anyway? What do you mean sending <br /> her home like that, halfnaked? Do <br /> you realize she'll probably end up <br /> with pneumonia on account of you?<br /><br /> MARY<br /> (shocked)<br /> George!<br /><br /> She puts a restraining hand on his arm. He shakes it off. <br /> She cannot know that George's tirade against Mrs. Welch is <br /> really a tirade against the world, against life itself, <br /> against God. Over the phone we hear Mrs. Welch's voice <br /> sputtering with protest.<br /><br /> GEORGE<br /> Is this the sort of thing we pay <br /> taxes for – to have teachers like <br /> you? Silly, stupid, careless people <br /> who send our kids home without any <br /> clothes on? You know, maybe my kids <br /> aren't the best-dressed kids; maybe <br /> they don't have any decent clothes...<br /><br /> Mary succeeds in wresting the phone from George's hand.<br /><br /> GEORGE<br /> Aw, that stupid...<br /><br /> Mary speaks quickly in to the phone.<br /><br /> MARY<br /> Hello, Mrs. Welch. I want to <br /> apologize... hello... hello...<br /> (to George)<br /> She's hung up.<br /><br /> GEORGE<br /> (savagely)<br /> I'll hang her up!<br /><br /> But the telephone is suddenly alive with a powerful male <br /> voice calling:<br /><br /> MR. WELCH'S VOICE<br /> Now, who do you think you are?<br /><br /> George hears this and grabs the receiver from Mary.<br /><br /> GEORGE<br /> (to Mary)<br /> Wait a minute.<br /> (on phone)<br /> Hello? Who is this? Oh, Mr. Welch? <br /> Okay, that's fine, Mr. Welch. Gives <br /> me a chance to tell you what I really <br /> think of your wife.<br /><br /> Mary once more tries to take the phone from him.<br /><br /> MARY<br /> George...<br /><br /> GEORGE<br /> (raving at her)<br /> Will you get out and let me handle <br /> this?<br /> (into phone – shouting)<br /> Hello? Hello? What? Oh, you will, <br /> huh? Okay, Mr. Welch, any time you <br /> think you're man enough... Hello? <br /> Any...<br /><br /> But before he can think of an insult to top Welch's, we hear <br /> a click on the phone.<br /><br /> GEORGE<br /> Oh...<br /><br /> He hangs up the receiver, and turns toward the living room. <br /> His face is flushed and wet.<br /><br /> PETE<br /> Daddy, how do you spell "Hallelujah"?<br /><br /> GEORGE<br /> (shouts)<br /> How should I know? What do you think <br /> I am, a dictionary?<br /><br /> He yells at Tommy, noisily playing with his vacuum cleaner.<br /><br /> GEORGE<br /> Tommy, stop that! Stop it!<br /><br /> Janie is still practicing at the piano, monotonously.<br /><br /> GEORGE<br /> (savagely)<br /> Janie, haven't you learned that silly <br /> tune yet? You've played it over and <br /> over again. Now stop it! Stop it!<br /><br /> INT. LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> The room has suddenly become ominously quiet, the only SOUND <br /> being George's labored breathing. George goes over to a corner <br /> of the room where his workshop is set up – a drawing table, <br /> several models of modern buildings, bridges, etc. Savagely <br /> he kicks over the models, picks up some books and hurls them <br /> into the corner. Mary and the children watch, horrified. <br /> George looks around and sees them staring at him as if he <br /> were some unknown wild animal. The three children are crying.<br /><br /> GEORGE<br /> (gasping for breath)<br /> I'm sorry, Mary, Janie. I'm sorry. I <br /> didn't mean... you go on and practice. <br /> Pete, I owe you an apology, too. I'm <br /> sorry. What do you want to know?<br /><br /> PETE<br /> (holding back his <br /> tears)<br /> Nothing, Daddy.<br /><br /> Mary and the children stare at him, stunned by his furious <br /> outburst. There is silence in the room.<br /><br /> GEORGE<br /> What's the matter with everybody? <br /> Janie, go on. I told you to practice.<br /> (shouts)<br /> Now, go on, play!<br /><br /> Janie breaks into sobs.<br /><br /> JANIE<br /> Oh, Daddy...<br /><br /> MARY<br /> (in an outburst)<br /> George, why must you torture the <br /> children? Why don't you...<br /><br /> The sight of Mary and the children suffering is too much for <br /> George.<br /><br /> GEORGE<br /> Mary...<br /><br /> He looks around him, then quickly goes out the front door of <br /> the house. Mary goes to the phone, picks it up.<br /><br /> MARY<br /> Bedford, two-four-seven, please.<br /><br /> PETE<br /> Is Daddy in trouble?<br /><br /> JANIE<br /> Shall I pray for him?<br /><br /> MARY<br /> Yes, Janie, pray very hard.<br /><br /> TOMMY<br /> Me, too?<br /><br /> MARY<br /> You too, Tommy.<br /> (on phone)<br /> Hello, Uncle Billy?<br /><br /> WIPE TO:<br /><br /> INT. POTTER'S OFFICE IN BANK – NIGHT – 8:00 P.M.<br /><br /> MEDIUM CLOSEUP<br /><br /> Potter is seated at his desk, his goon beside him. He is <br /> signing some papers. George is seated in a chair before the <br /> desk, without a hat or coat, covered lightly with snow.<br /><br /> GEORGE<br /> I'm in trouble, Mr. Potter. I need <br /> help. Through some sort of an <br /> accident my company's short in their <br /> accounts. The bank examiner's up <br /> there today. I've got to raise eight <br /> thousand dollars immediately.<br /><br /> POTTER<br /> (casually)<br /> Oh, so that's what the reporters <br /> wanted to talk to you about?<br /><br /> GEORGE<br /> (incredulous)<br /> The reporters?<br /><br /> POTTER<br /> Yes. They called me up from your <br /> Building and Loan. Oh, there's a man <br /> over there from the D.A.'s office, <br /> too. He's looking for you.<br /><br /> GEORGE<br /> (desperate)<br /> Please help me, Mr. Potter. Help me, <br /> won't you please? Can't you see what <br /> it means to my family? I'll pay you <br /> any sort of a bonus on the loan... <br /> any interest. If you still want the <br /> Building and Loan, why I...<br /><br /> POTTER<br /> (interrupting)<br /> George, could it possibly be there's <br /> a slight discrepancy in the books?<br /><br /> GEORGE<br /> No, sir. There's nothing wrong with <br /> the books. I've just misplaced eight <br /> thousand dollars. I can't find it <br /> anywhere.<br /><br /> POTTER<br /> (looking up)<br /> You misplaced eight thousand dollars?<br /><br /> GEORGE<br /> Yes, sir.<br /><br /> POTTER<br /> Have you notified the police?<br /><br /> GEORGE<br /> No, sir. I didn't want the publicity. <br /> Harry's homecoming tomorrow...<br /><br /> POTTER<br /> (snorts)<br /> They're going to believe that one. <br /> What've you been doing, George? <br /> Playing the market with the company's <br /> money?<br /><br /> GEORGE<br /> No, sir. No, sir. I haven't.<br /><br /> POTTER<br /> What is it – a woman, then? You know, <br /> it's all over town that you've been <br /> giving money to Violet Bick.<br /><br /> GEORGE<br /> (incredulous)<br /> What?<br /><br /> POTTER<br /> Not that it makes any difference to <br /> me, but why did you come to me? Why <br /> don't you go to Sam Wainwright and <br /> ask him for the money?<br /><br /> GEORGE<br /> I can't get hold of him. He's in <br /> Europe.<br /><br /> POTTER<br /> Well, what about all your other <br /> friends?<br /><br /> GEORGE<br /> They don't have that kind of money, <br /> Mr. Potter. You know that. You're <br /> the only one in town that can help <br /> me.<br /><br /> POTTER<br /> I see. I've suddenly become quite <br /> important. What kind of security <br /> would I have, George? Have you got <br /> any stocks?<br /><br /> GEORGE<br /> (shaking his head)<br /> No, sir.<br /><br /> POTTER<br /> Bonds? Real estate? Collateral of <br /> any kind?<br /><br /> GEORGE<br /> (pulls out policy)<br /> I have some life insurance, a fifteen <br /> thousand dollar policy.<br /><br /> POTTER<br /> Yes... how much is your equity in <br /> it?<br /><br /> GEORGE<br /> Five hundred dollars.<br /><br /> POTTER<br /> (sarcastically)<br /> Look at you. You used to be so cocky! <br /> You were going to go out and conquer <br /> the world! You once called me a <br /> warped, frustrated old man. What are <br /> you but a warped, frustrated young <br /> man? A miserable little clerk crawling <br /> in here on your hands and knees and <br /> begging for help. No securities – no <br /> stocks – no bonds – nothing but a <br /> miserable little five hundred dollar <br /> equity in a life insurance policy. <br /> You're worth more dead than alive. <br /> Why don't you go to the riff-raff <br /> you love so much and ask them to let <br /> you have eight thousand dollar? You <br /> know why? Because they'd run you out <br /> of town on a rail... But I'll tell <br /> you what I'm going to do for you, <br /> George. Since the state examiner is <br /> still here, as a stockholder of the <br /> Building and Loan, I'm going to swear <br /> out a warrant for your arrest. <br /> Misappropriation of funds – <br /> manipulation – malfeasance...<br /><br /> George turns and starts out of the office as Potter picks up <br /> the phone and dials.<br /><br /> POTTER<br /> All right, George, go ahead. You <br /> can't hide in a little town like <br /> this.<br /><br /> George is out of the door by now. CAMERA MOVES CLOSER to <br /> Potter.<br /><br /> POTTER<br /> (on phone)<br /> Bill? This is Potter.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George comes out of the bank into the falling snow. He crosses <br /> the street, tugs at the door of his old car, finally steps <br /> over the door, and drives off.<br /><br /> EXT. MARTINI'S BAR – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> An attractive little roadside tavern, with the name <br /> "Martini's" in neon lights on the front wall.<br /><br /> INT. MARTINI'S BAR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> The place is an Italian restaurant with bar. The bottles <br /> sparkle. There are Christmas greens and holly decorating <br /> the place. It has a warm, welcoming spirit, like Martini <br /> himself, who is welcoming new arrivals. The booths and the <br /> checkered-cloth-covered tables are full. There is an air of <br /> festivity and friendliness, and more like a party than a <br /> public drinking place. George is seated at the bar – he has <br /> had a great deal to drink, far more than he's accustomed to.<br /><br /> MARTINI'S VOICE<br /> (greeting new customers)<br /> Merry Christmas. Glad you came.<br /><br /> MAN'S VOICE<br /> How about some of that good spaghetti?<br /><br /> MARTINI'S VOICE<br /> We got everything.<br /><br /> During this, CAMERA MOVES CLOSER to George. Nick, the <br /> bartender, is watching him solicitously. Seated on the other <br /> side of George is a burly individual, drinking a glass of <br /> beer. George is mumbling:<br /><br /> GEORGE<br /> God... God... Dear Father in Heaven, <br /> I'm not a praying man, but if you're <br /> up there and you can hear me, show <br /> me the way. I'm at the end of my <br /> rope. Show me the way, God.<br /><br /> NICK<br /> (friendly)<br /> Are you all right, George? Want <br /> someone to take you home?<br /><br /> George shakes his head. Martini comes over to his side.<br /><br /> MARTINI<br /> (worried)<br /> Why you drink so much, my friend? <br /> Please go home, Mr. Bailey. This is <br /> Christmas Eve.<br /><br /> The ugly man next to George, who has been listening, reacts <br /> sharply to the name "Bailey."<br /><br /> MAN<br /> Bailey? Which Bailey?<br /><br /> NICK<br /> This is Mr. George Bailey.<br /><br /> Without any warning, the burly man throws a vicious punch at <br /> George, who goes down and out. Martini, Nick and several <br /> others rush to pick him up.<br /><br /> MAN<br /> (to George)<br /> And the next time you talk to my <br /> wife like that you'll get worse. She <br /> cried for an hour. It isn't enough <br /> she slaves teaching your stupid kids <br /> how to read and write, and you have <br /> to bawl her out...<br /><br /> MARTINI<br /> (furious)<br /> You get out of here, Mr. Welch!<br /><br /> Mr. Welch reaches in his pocket for money.<br /><br /> WELCH<br /> Now wait... I want to pay for my <br /> drink.<br /><br /> MARTINI<br /> Never mind the money. You get out of <br /> here quick.<br /><br /> WELCH<br /> All right.<br /><br /> MARTINI<br /> You hit my best friend. Get out!<br /><br /> Nick and Martini shove Welch out the door, then run back to <br /> help George to his feet. George's mouth is cut and bleeding.<br /><br /> NICK<br /> You all right, George?<br /><br /> GEORGE<br /> (stunned)<br /> Who was that?<br /><br /> MARTINI<br /> He's gone. Don't worry. His name is <br /> Welch. He don't come in to my place <br /> no more.<br /><br /> GEORGE<br /> Oh – Welch. That's what I get for <br /> praying.<br /><br /> MARTINI<br /> The last time he come in here. You <br /> hear that, Nick?<br /><br /> NICK<br /> Yes, you bet.<br /><br /> GEORGE<br /> Where's my insurance policy?<br /> (finds it in pocket)<br /> Oh, here...<br /><br /> He starts for the door.<br /><br /> MARTINI<br /> Oh, no, Please, don't go out this <br /> way, Mr. Bailey.<br /><br /> GEORGE<br /> I'm all right.<br /><br /> Nick and Martini try to stop him, but he shrugs them off.<br /><br /> MARTINI<br /> Oh, no – you don't feel so good.<br /><br /> GEORGE<br /> I'm all right.<br /><br /> MARTINI<br /> Please don't go away – please!<br /><br /> George opens the door and exits to the street.<br /><br /> WIPE TO:<br /><br /> EXT. RESIDENTIAL STREET – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> George's car comes along the empty street, through the falling <br /> snow, suddenly swerves and crashes into a tree near the <br /> sidewalk of a house. George gets out to look at the damage, <br /> and savagely kicks at the open door of the car, trying to <br /> shut it. The noise brings the owner of the house running <br /> out.<br /><br /> OWNER<br /> What do you think you're doing?<br /><br /> CLOSE SHOT<br /><br /> George stands unsteadily near the car, shaken by the accident. <br /> The front lights are broken and the fender is ripped. George <br /> stands dully looking at the damage. The owner comes up, <br /> looking at his tree. He leans over to examine the damages.<br /><br /> OWNER<br /> (with indignation)<br /> Now look what you did. My <br /> greatgrandfather planted this tree.<br /><br /> George staggers off down the street, paying no attention to <br /> the man.<br /><br /> OWNER<br /> Hey, you... Hey, you! Come back here, <br /> you drunken fool! Get this car out <br /> of here!<br /><br /> EXT. BRIDGE OVER RIVER – NIGHT<br /><br /> MEDIUM LONG SHOT<br /><br /> George is crossing the approach to the bridge when a truck <br /> swings around the corner and nearly hits him.<br /><br /> DRIVER<br /> Hey, what's the matter with you? <br /> Look where you're going!<br /><br /> The truck turns onto the bridge, and George takes a narrow <br /> catwalk at the railing.<br /><br /> CLOSE SHOT<br /><br /> George has stopped by the railing at the center of the bridge. <br /> The snow is now falling hard.<br /><br /> EXT. RIVER – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> CAMERA SHOOTING DOWN from George's angle TO the water, dotted <br /> with floating ice, passing under the bridge.<br /><br /> EXT. BRIDGE AT RAILING – NIGHT<br /><br /> CLOSEUP – GEORGE<br /><br /> He stares down at the water, desperate, trying to make up <br /> his mind to act. He leans over looking at the water, <br /> fascinated, glances furtively around him, hunches himself as <br /> though about to jump.<br /><br /> MEDIUM CLOSE SHOT<br /><br /> From above George a body hurtles past and lands in the water <br /> with a loud splash. George looks down, horrified.<br /><br /> VOICE<br /> (from river)<br /> Help! Help!<br /><br /> George quickly takes off his coat and dives over the railing <br /> into the water.<br /><br /> CLOSER ANGLE<br /><br /> George comes up, sees the man flailing about in the water, <br /> and CAMERA PANS WITH him as he swims toward the man.<br /><br /> MAN<br /> Help! Help! Help!<br /><br /> EXT. TOLL HOUSE ON BRIDGE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> The toll house keeper, hearing the cries for help, comes <br /> running out on the bridge with a flashlight, which he shines <br /> on the two figures struggling in the water below.<br /><br /> EXT. RIVER – NIGHT<br /><br /> CLOSE SHOT<br /><br /> The man in the water is Clarence, the angel whose voice we <br /> have heard speaking from Heaven. George reaches him, grabs <br /> hold of him, and starts swimming for shore.<br /><br /> WIPE TO:<br /><br /> INT. TOLL HOUSE ON BRIDGE – NIGHT<br /><br /> MEDIUM SHOT – GEORGE, CLARENCE, AND THE TOLLKEEPER<br /><br /> George is seated before a wood-burning stove before which <br /> his clothes are drying on a line. He is in his long winter <br /> underwear. He is sipping a mug of hot coffee, staring at <br /> the stove, cold, gloomy and drunk, ignoring Clarence and the <br /> tollkeeper, preoccupied by his near suicide and his unsolved <br /> problems. Clarence is standing on the other side of the <br /> stove, putting on his undershirt. This is a ludicrous <br /> seventeenth century garment which looks like a baby's night <br /> shirt – with embroidered cuffs and collar, and gathered at <br /> the neck with a drawstring. It falls below his knees. The <br /> tollkeeper is seated against the wall eyeing them <br /> suspiciously. Throughout the scene he attempts to spit, but <br /> each time is stopped by some amazing thing Clarence does or <br /> says. Clarence becomes aware that his garment is amazing <br /> the tollkeeper.<br /><br /> CLARENCE<br /> I didn't have time to get some stylish <br /> underwear. My wife gave me this on <br /> my last birthday. I passed away in <br /> it.<br /><br /> The tollkeeper, about to spit, is stopped in the middle of <br /> it by this remark. Clarence, secretly trying to get George's <br /> attention, now picks up a copy of "Tom Sawyer" which is <br /> hanging on the line, drying. He shakes the book.<br /><br /> CLARENCE<br /> Oh, Tom Sawyer's drying out, too. <br /> You should read the new book Mark <br /> Twain's writing now.<br /><br /> The tollkeeper stares at him incredulously.<br /><br /> TOLLKEEPER<br /> How'd you happen to fall in?<br /><br /> CLARENCE<br /> I didn't fall in. I jumped in to <br /> save George.<br /><br /> George looks up, surprised.<br /><br /> GEORGE<br /> You what? To save me?<br /><br /> CLARENCE<br /> Well, I did, didn't I? You didn't go <br /> through with it, did you?<br /><br /> GEORGE<br /> Go through with what?<br /><br /> CLARENCE<br /> Suicide.<br /><br /> George and the tollkeeper react to this.<br /><br /> TOLLKEEPER<br /> It's against the law to commit suicide <br /> around here.<br /><br /> CLARENCE<br /> Yeah, it's against the law where I <br /> come from, too.<br /><br /> TOLLKEEPER<br /> Where do you come from?<br /><br /> He leans forward to spit, but is stopped by Clarence's next <br /> statement.<br /><br /> CLARENCE<br /> Heaven.<br /> (to George)<br /> I had to act quickly; that's why I <br /> jumped in. I knew if I were drowning <br /> you'd try to save me. And you see, <br /> you did, and that's how I saved you.<br /><br /> The tollkeeper becomes increasingly nervous. George casually <br /> looks at the strange smiling little man a second time.<br /><br /> GEORGE<br /> (offhand)<br /> Very funny.<br /><br /> CLARENCE<br /> Your lip's bleeding, George.<br /><br /> George's hand goes to his mouth.<br /><br /> GEORGE<br /> Yeah, I got a bust in the jaw in <br /> answer to a prayer a little bit ago.<br /><br /> CLARENCE<br /> (comes around to George)<br /> Oh, no – no – no. I'm the answer to <br /> your prayer. That's why I was sent <br /> down here.<br /><br /> GEORGE<br /> (casually interested)<br /> How do you know my name?<br /><br /> CLARENCE<br /> Oh, I know all about you. I've watched <br /> you grow up from a little boy.<br /><br /> GEORGE<br /> What are you, a mind reader or <br /> something?<br /><br /> CLARENCE<br /> Oh, no.<br /><br /> GEORGE<br /> Well, who are you, then?<br /><br /> CLARENCE<br /> Clarence Odbody, A-S-2.<br /><br /> GEORGE<br /> Odbody... A-S-2. What's that A-S-2?<br /><br /> CLARENCE<br /> Angel, Second Class.<br /><br /> The tollkeeper's chair slips out from under him with a crash. <br /> He has been leaning against the wall on it, tipped back on <br /> two legs. Tollkeeper rises and makes his way warily out the <br /> door. From his expression he looks like he'll call the nearest <br /> cop.<br /><br /> CLARENCE<br /> (to tollkeeper)<br /> Cheerio, my good man.<br /><br /> George rubs his head with his hand, to clear his mind.<br /><br /> GEORGE<br /> Oh, brother. I wonder what Martini <br /> put in those drinks?<br /><br /> He looks up at Clarence standing beside him.<br /><br /> GEORGE<br /> Hey, what's with you? What did you <br /> say just a minute ago? Why'd you <br /> want to save me?<br /><br /> CLARENCE<br /> That's what I was sent down for. I'm <br /> your guardian angel.<br /><br /> GEORGE<br /> I wouldn't be a bit surprised.<br /><br /> CLARENCE<br /> Ridiculous of you to think of killing <br /> yourself for money. Eight thousand <br /> dollars.<br /><br /> GEORGE<br /> (bewildered)<br /> Yeah... just things like that. Now <br /> how'd you know that?<br /><br /> CLARENCE<br /> I told you – I'm your guardian angel. <br /> I know everything about you.<br /><br /> GEORGE<br /> Well, you look about like the kind <br /> of an angel I'd get. Sort of a fallen <br /> angel, aren't you? What happened to <br /> your wings?<br /><br /> CLARENCE<br /> I haven't won my wings yet. That's <br /> why I'm an angel Second Class.<br /><br /> GEORGE<br /> I don't know whether I like it very <br /> much being seen around with an angel <br /> without any wings.<br /><br /> CLARENCE<br /> Oh, I've got to earn them, and you'll <br /> help me, won't you?<br /><br /> GEORGE<br /> (humoring him)<br /> Sure, sure. How?<br /><br /> CLARENCE<br /> By letting me help you.<br /><br /> GEORGE<br /> Only one way you can help me. You <br /> don't happen to have eight thousand <br /> bucks on you?<br /><br /> CLARENCE<br /> Oh, no, no. We don't use money in <br /> Heaven.<br /><br /> GEORGE<br /> Oh, that's right, I keep forgetting. <br /> Comes in pretty handy down here, <br /> bub.<br /><br /> CLARENCE<br /> Oh, tut, tut, tut.<br /><br /> GEORGE<br /> I found it out a little late. I'm <br /> worth more dead than alive.<br /><br /> CLARENCE<br /> Now look, you mustn't talk like that. <br /> I won't get my wings with that <br /> attitude. You just don't know all <br /> that you've done. If it hadn't been <br /> for you...<br /><br /> GEORGE<br /> (interrupts)<br /> Yeah, if it hadn't been for me, <br /> everybody'd be a lot better off. My <br /> wife, and my kids and my friends.<br /> (annoyed with Clarence)<br /> Look, little fellow, go off and haunt <br /> somebody else, will you?<br /><br /> CLARENCE<br /> No, you don't understand. I've got <br /> my job...<br /><br /> GEORGE<br /> (savagely)<br /> Aw, shut up, will you.<br /><br /> Clarence is not getting far with George. He glances up, paces <br /> across the room, thoughtfully.<br /><br /> CLARENCE<br /> (to himself)<br /> Hmmm, this isn't going to be so easy.<br /> (to George)<br /> So you still think killing yourself <br /> would make everyone feel happier, <br /> eh?<br /><br /> GEORGE<br /> (dejectedly)<br /> Oh, I don't know. I guess you're <br /> right. I suppose it would have been <br /> better if I'd never been born at <br /> all.<br /><br /> CLARENCE<br /> What'd you say?<br /><br /> GEORGE<br /> I said I wish I'd never been born.<br /><br /> CLARENCE<br /> Oh, you mustn't say things like that. <br /> You...<br /> (gets an idea)<br /> ...wait a minute. Wait a minute. <br /> That's an idea.<br /> (glances up toward <br /> Heaven)<br /> What do you think? Yeah, that'll do <br /> it. All right.<br /> (to George)<br /> You've got your wish. You've never <br /> been born.<br /><br /> As Clarence speaks this line, the snow stops falling outside <br /> the building, a strong wind springs up which blows open the <br /> door to the shack. Clarence runs to close the door.<br /><br /> CLARENCE<br /> (looking upward)<br /> You don't have to make all that fuss <br /> about it.<br /><br /> As Clarence speaks, George cocks his head curiously, favoring <br /> his deaf ear, more interested in his hearing than in what <br /> Clarence has said.<br /><br /> GEORGE<br /> What did you say?<br /><br /> CLARENCE<br /> You've never been born. You don't <br /> exist. You haven't a care in the <br /> world.<br /><br /> George feels his ear as Clarence talks.<br /><br /> CLARENCE<br /> No worries – no obligations – no <br /> eight thousand dollars to get – no <br /> Potter looking for you with the <br /> Sheriff.<br /><br /> CLOSEUP – GEORGE AND CLARENCE<br /><br /> George indicates his bad ear.<br /><br /> GEORGE<br /> Say something else in that ear.<br /><br /> CLARENCE<br /> (bending down)<br /> Sure. You can hear out of it.<br /><br /> GEORGE<br /> Well, that's the doggonedest thing... <br /> I haven't heard anything out of that <br /> ear since I was a kid. Must have <br /> been that jump in the cold water.<br /><br /> CLARENCE<br /> Your lip's stopped bleeding, too, <br /> George.<br /><br /> George feels his lip, which shows no sign of the recent cut <br /> he received from Welch. He is now thoroughly confused.<br /><br /> GEORGE<br /> What do you know about that... What's <br /> happened?<br /><br /> MEDIUM CLOSE SHOT<br /> George looks around, as though to <br /> get his bearings.<br /><br /> GEORGE<br /> It's stopped snowing out, hasn't it? <br /> What's happened here?<br /> (standing up)<br /> Come on, soon as these clothes of <br /> ours are dry...<br /><br /> CLARENCE<br /> Our clothes are dry.<br /><br /> George feels the clothes on the line.<br /><br /> GEORGE<br /> What do you know about that? Stove's <br /> hotter than I thought. Now, come on, <br /> get your clothes on, and we'll stroll <br /> up to my car and get...<br /><br /> They start dressing. George interrupts himself.<br /><br /> GEORGE<br /> Oh, I'm sorry. I'll stroll. You fly.<br /><br /> CLARENCE<br /> I can't fly. I haven't got any wings.<br /><br /> GEORGE<br /> You haven't got your wings. Yeah, <br /> that's right.<br /><br /> WIPE TO:<br /><br /> EXT. STREET – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> This is the same empty street where George's car swerved <br /> into the tree near the sidewalk. George and Clarence come <br /> into shot and up to the spot where George had left his car <br /> smashed against the tree. George looks around, but his car <br /> is nowhere to be seen, and the tree is undamaged.<br /><br /> CLARENCE<br /> What's the matter?<br /><br /> GEORGE<br /> (puzzled)<br /> Well, this is where I left my car <br /> and it isn't here.<br /><br /> CLARENCE<br /> You have no car.<br /><br /> GEORGE<br /> Well, I had a car, and it was right <br /> here. I guess somebody moved it.<br /><br /> CLOSE SHOT – AT CURB<br /><br /> The owner of the house passes with some Christmas packages <br /> under his arm.<br /><br /> OWNER<br /> (politely)<br /> Good evening.<br /><br /> GEORGE<br /> Oh, say... Hey... where's my car?<br /><br /> OWNER<br /> I beg your pardon?<br /><br /> GEORGE<br /> My car, my car. I'm the fellow that <br /> owns the car that ran into your tree.<br /><br /> OWNER<br /> What tree?<br /><br /> GEORGE<br /> What do you mean, what tree? This <br /> tree. Here, I ran into it. Cut a <br /> big gash in the side of it here.<br /><br /> The owner bends down to examine the trunk of the tree, then <br /> straightens up and smells George's breath. He backs away.<br /><br /> OWNER<br /> You must mean two other trees. You <br /> had me worried. One of the oldest <br /> trees in Pottersville.<br /><br /> GEORGE<br /> (blankly)<br /> Pottersville? Why, you mean Bedford <br /> Falls.<br /><br /> OWNER<br /> I mean Pottersville.<br /> (sharply)<br /> Don't you think I know where I live? <br /> What's the matter with you?<br /><br /> The owner proceeds toward his house. George is completely <br /> bewildered.<br /><br /> GEORGE<br /> Oh, I don't know. Either I'm off my <br /> nut, or he is...<br /> (to Clarence)<br /> ...or you are!<br /><br /> CLARENCE<br /> It isn't me!<br /><br /> GEORGE<br /> Well, maybe I left the car up at <br /> Martini's. Well, come on, Gabriel.<br /><br /> He puts his arm around Clarence, and they start off up the <br /> road.<br /><br /> CLARENCE<br /> (as they go)<br /> Clarence!<br /><br /> GEORGE<br /> Clarence! Clarence!<br /><br /> WIPE TO:<br /><br /> INT. NICK'S BAR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> It is Martini's place, but almost unrecognizable. The cheerful <br /> Italian feeling is gone. It is now more of a hard-drinking <br /> joint, a honky-tonk. Same bar, tables have no covers. People <br /> are lower down and tougher. Nick the bartender is behind the <br /> bar. George and Clarence come in. George does not notice the <br /> difference, but Clarence is all eyes and beaming. They go up <br /> to the bar.<br /><br /> GEORGE<br /> (as they come in)<br /> That's all right. Go on in. Martini's <br /> a good friend of mine.<br /><br /> Two people leave the bar as they approach.<br /><br /> GEORGE<br /> There's a place to sit down. Sit <br /> down.<br /><br /> MEDIUM CLOSEUP<br /> Nick is wiping off the bar as they <br /> sit down.<br /><br /> GEORGE<br /> Oh, hello, Nick. Hey, where's Martini?<br /><br /> NICK<br /> You want a martini?<br /><br /> GEORGE<br /> No, no, Martini. Your boss. Where is <br /> he?<br /><br /> NICK<br /> (impatient)<br /> Look, I'm the boss. You want a drink <br /> or don't you?<br /><br /> GEORGE<br /> Okay – all right. Double bourbon, <br /> quick, huh?<br /><br /> NICK<br /> Okay.<br /> (to Clarence)<br /> What's yours?<br /><br /> CLARENCE<br /> I was just thinking...<br /> (face puckers up with <br /> delicious anticipation)<br /> It's been so long since I...<br /><br /> NICK<br /> (impatient)<br /> Look, mister, I'm standing here <br /> waiting for you to make up your mind.<br /><br /> CLARENCE<br /> (appreciatively)<br /> That's a good man. I was just thinking <br /> of a flaming rum punch. No, it's not <br /> cold enough for that. Not nearly <br /> cold enough... Wait a minute... <br /> wait a minute... I got it. Mulled <br /> wine, heavy on the cinnamon and light <br /> on the cloves. Off with you, me lad, <br /> and be lively!<br /><br /> NICK<br /> Hey, look mister, we serve hard drinks <br /> in here for men who want to get drunk <br /> fast. And we don't need any <br /> characters around to give the joint <br /> atmosphere. Is that clear? Or do I <br /> have to slip you my left for a <br /> convincer?<br /><br /> As he says this, Nick leans over the counter and puts his <br /> left fist nearly in Clarence's eye. Clarence is puzzled by <br /> this conduct.<br /><br /> CLARENCE<br /> (to George)<br /> What's he talking about?<br /><br /> GEORGE<br /> (soothingly)<br /> Nick – Nick, just give him the same <br /> as mine. He's okay.<br /><br /> NICK<br /> Okay.<br /><br /> Nick turns away to get the drinks.<br /><br /> GEORGE<br /> What's the matter with him. I never <br /> saw Nick act like that before.<br /><br /> CLARENCE<br /> You'll see a lot of strange things <br /> from now on.<br /><br /> GEORGE<br /> Oh, yeah. Hey, little fellow – you <br /> worry me. You got someplace to sleep?<br /><br /> CLARENCE<br /> No.<br /><br /> GEORGE<br /> You don't huh? Well, you got any <br /> money?<br /><br /> Nick is listening suspiciously to this conversation.<br /><br /> CLARENCE<br /> No.<br /><br /> GEORGE<br /> No wonder you jumped in the river.<br /><br /> CLARENCE<br /> I jumped in the river to save you so <br /> I could get my wings.<br /><br /> Nick stops pouring the drinks, bottle poised in his hand.<br /><br /> GEORGE<br /> Oh, that's right.<br /><br /> A cash register bell rings off stage. Clarence reacts to the <br /> SOUND of the bell.<br /><br /> CLARENCE<br /> Oh-oh. Somebody's just made it.<br /><br /> GEORGE<br /> Made what?<br /><br /> CLARENCE<br /> Every time you hear a bell ring, it <br /> means that some angel's just got his <br /> wings.<br /><br /> George glances up at Nick.<br /><br /> GEORGE<br /> Look, I think maybe you better not <br /> mention getting your wings around <br /> here.<br /><br /> CLARENCE<br /> Why? Don't they believe in angels?<br /><br /> GEORGE<br /> (looking at Nick)<br /> A... Yeah, but... you know...<br /><br /> CLARENCE<br /> Then why should they be surprised <br /> when they see one?<br /><br /> GEORGE<br /> (to Nick)<br /> He never grew up. He's...<br /> (to Clarence)<br /> How old are you, anyway, Clarence?<br /><br /> CLARENCE<br /> Two hundred and ninety-three...<br /> (thinks)<br /> ...next May.<br /><br /> Nick slams the bottle down on the counter.<br /><br /> NICK<br /> That does it! Out you two pixies go, <br /> through the door or out the window!<br /><br /> GEORGE<br /> Look, Nick. What's wrong?<br /><br /> NICK<br /> (angrily)<br /> And that's another thing. Where do <br /> you come off calling me Nick?<br /><br /> GEORGE<br /> Well, Nick, that's your name, isn't <br /> it?<br /><br /> NICK<br /> What's that got to do with it? I <br /> don't know you from Adam's off ox.<br /> (sees someone come in)<br /> Hey, you! Rummy! Come here! Come <br /> here!<br /><br /> CLOSE SHOT<br /><br /> A small wreck of a man, with weak, watery eyes. Obviously a <br /> broken-down panhandler, his hat in his hand.<br /><br /> CLOSEUP – GEORGE<br /><br /> He can hardly believe his eyes. It is Gower the druggist.<br /><br /> BACK TO SHOT – NICK AT THE BAR<br /><br /> NICK<br /> (to Gower)<br /> Didn't I tell you never to come <br /> panhandling around here?<br /><br /> Nick picks up a seltzer bottle, and squirts Gower in the <br /> face with it. The crowd laugh brutally. Gower smiles weakly <br /> as the soda runs off his face.<br /><br /> CLOSE SHOT<br /><br /> George, horrified, leaps up and goes over to Gower.<br /><br /> GEORGE<br /> Mr. Gower! Mr. Gower! This is George <br /> Bailey! Don't you know me?<br /><br /> GOWER<br /> No. No.<br /><br /> NICK<br /> (to his bouncers)<br /> Throw him out. Throw him out.<br /><br /> The bouncers throw Gower out the front door. George rushes <br /> back to the bar.<br /><br /> GEORGE<br /> (bewildered)<br /> Hey, what is... Hey, Nick, Nick... <br /> Isn't that Mr. Gower, the druggist?<br /><br /> NICK<br /> You know, that's another reason for <br /> me not to like you. That rumhead <br /> spent twenty years in jail for <br /> poisoning a kid. If you know him, <br /> you must be a jailbird yourself.<br /> (to his bouncers)<br /> Would you show these gentlemen to <br /> the door.<br /><br /> BOUNCER<br /> Sure. This way, gentlemen.<br /><br /> EXT. NICK'S BAR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George and Clarence come flying through the door and land in <br /> the snow.<br /><br /> INT. NICK'S BAR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Nick at the cash register, busily ringing the bell.<br /><br /> NICK<br /> Hey! Get me! I'm giving out wings!<br /><br /> EXT. NICK'S BAR – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George and Clarence lying in the snow. George has a strange, <br /> puzzled look on his face. They remain for a moment as they <br /> landed, looking at each other.<br /><br /> CLARENCE<br /> You see, George, you were not there <br /> to stop Gower from putting that poison <br /> into the...<br /><br /> GEORGE<br /> What do you mean, I wasn't there? I <br /> remember distinctly...<br /><br /> George catches a glimpse of the front of the building with <br /> the neon sign over the door. It now reads "NICK'S PLACE" <br /> instead of "MARTINI'S."<br /><br /> George and Clarence get to their feet.<br /><br /> GEORGE<br /> (exasperated)<br /> What the... hey, what's going on <br /> around here? Why, this ought to be <br /> Martini's place.<br /><br /> He points to the sign, and looks at Clarence. Clarence sort <br /> of hangs his head. George fixes him with a very interested <br /> look.<br /><br /> GEORGE<br /> Look, who are you?<br /><br /> CLARENCE<br /> (patiently)<br /> I told you, George. I'm your guardian <br /> angel.<br /><br /> George, still looking at him, goes up to him and pokes his <br /> arm. It's flesh.<br /><br /> GEORGE<br /> Yeah, yeah, I know. You told me that. <br /> What else are you? What... are you a <br /> hypnotist?<br /><br /> CLARENCE<br /> No, of course not.<br /><br /> GEORGE<br /> Well then, why am I seeing all these <br /> strange things?<br /><br /> CLARENCE<br /> Don't you understand, George? It's <br /> because you were not born.<br /><br /> GEORGE<br /> Then if I wasn't born, who am I?<br /><br /> CLARENCE<br /> You're nobody. You have no identity.<br /><br /> George rapidly searches his pockets for identification, but <br /> without success.<br /><br /> GEORGE<br /> What do you mean, no identity? My <br /> name's George Bailey.<br /><br /> CLARENCE<br /> There is no George Bailey. You have <br /> no papers, no cards, no driver's <br /> license, no 4-F card, no insurance <br /> policy...<br /> (he says these things <br /> as George searches <br /> for them)<br /> George looks in his watch pocket.<br /><br /> CLARENCE<br /> They're not there, either.<br /><br /> GEORGE<br /> What?<br /><br /> CLARENCE<br /> Zuzu's petals.<br /><br /> George feverishly continues to turn his pockets inside out.<br /><br /> CLARENCE<br /> You've been given a great gift, <br /> George. A chance to see what the <br /> world would be like without you.<br /><br /> George is completely befuddled.<br /><br /> GEORGE<br /> (shaking his head)<br /> Now wait a minute, here. Wait a minute <br /> here. As, this is some sort of a <br /> funny dream I'm having here. So long, <br /> mister, I'm going home.<br /><br /> He starts off. Clarence rises.<br /><br /> CLARENCE<br /> Home? What home?<br /><br /> GEORGE<br /> (furious)<br /> Now shut up! Cut it out! You're... <br /> you're... you're crazy! That's what <br /> I think... you're screwy, and you're <br /> driving me crazy, too! I'm seeing <br /> things. I'm going home and see my <br /> wife and family. Do you understand <br /> that? And I'm going home alone!<br /><br /> George strides off hurriedly. Clarence slowly follows him, <br /> glancing up toward Heaven as he goes.<br /><br /> CLARENCE<br /> How'm I doing, Joseph. Thanks.<br /> (pause)<br /> No, I didn't have a drink!<br /><br /> WIPE TO:<br /><br /> EXT. STREET – NIGHT<br /><br /> MEDIUM SHOT – GEORGE MOVES INTO THE SCENE<br /><br /> The sign bearing the name of the town reads: "Pottersville." <br /> George looks at it in surprise, then starts up the street <br /> toward the main part of town. As he goes, CAMERA MOVES WITH <br /> him. The character of the place has completely changed. Where <br /> before it was a quiet, orderly small town, it has now become <br /> in nature like a frontier village. We see a SERIES OF SHOTS <br /> of night clubs, cafes, bars, liquor stores, pool halls and <br /> the like, with blaring jazz MUSIC issuing from the majority <br /> of them. The motion picture theatre has become a burlesque <br /> house. Gower's drugstore is now a pawnbroker's establishment, <br /> and so on.<br /><br /> CLOSE SHOT<br /><br /> George stops before what used to be the offices of the <br /> Building and Loan. There is a garish electric sign over the <br /> entrance reading: "Welcome Jitterbugs." A crowd of people <br /> are watching the police, who are raiding the place, and <br /> dragging out a number of screaming women, whom they throw <br /> into a patrol wagon. George talks to one of the cops:<br /><br /> GEORGE<br /> Hey... hey. Where did the Building <br /> and Loan move to?<br /><br /> COP<br /> The Building and what?<br /><br /> GEORGE<br /> The Bailey Building and Loan. It was <br /> up there.<br /><br /> COP<br /> They went out of business years ago.<br /><br /> MEDIUM CLOSEUP<br /><br /> George sees the struggling figure of Violet Bick, arrayed as <br /> a tart, being dragged into the patrol wagon.<br /><br /> GEORGE<br /> Hey, Violet!<br /> (to the cop)<br /> Hey, listen – that's Violet Bick!<br /><br /> COP<br /> I know. I know.<br /><br /> GEORGE<br /> I know that girl!<br /><br /> The cop shoves George to one side. He looks around and sees <br /> Ernie's taxi cruising slowly by.<br /><br /> GEORGE<br /> Hey, Ernie – Ernie!<br /><br /> EXT. STREET – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Ernie stops the cab, and George enters it.<br /><br /> GEORGE<br /> Ernie, take me home. I'm off my nut!<br /><br /> ERNIE<br /> (a much harder Ernie)<br /> Where do you live?<br /><br /> GEORGE<br /> Aw, now, doggone it, Ernie, don't <br /> you start pulling that stuff. You <br /> know where I live. Three-twenty <br /> Sycamore. Now hurry up.<br /><br /> ERNIE<br /> Okay. Three-twenty Sycamore?...<br /><br /> GEORGE<br /> Yeah – yeah – hurry up. Zuzu's sick.<br /><br /> ERNIE<br /> All right. He pulls down the flag <br /> on the meter and starts the cab.<br /><br /> INT. CAB – NIGHT<br /><br /> MEDIUM CLOSEUP – GEORGE AND ERNIE<br /><br /> Ernie is puzzled by the stranger.<br /><br /> GEORGE<br /> Look here, Ernie, straighten me out <br /> here. I've got some bad liquor or <br /> something. Listen to me now. Now, <br /> you are Ernie Bishop, and you live <br /> in Bailey Park with your wife and <br /> kid? That's right, isn't it?<br /><br /> ERNIE<br /> (suspiciously)<br /> You seen my wife?<br /><br /> GEORGE<br /> (exasperated)<br /> Seen your wife? I've been to your <br /> house a hundred times.<br /><br /> ERNIE<br /> Look, bud, what's the idea? I live <br /> in a shack in Potter's Field and my <br /> wife ran away three years ago and <br /> took the kid... And I ain't never <br /> seen you before in my life.<br /><br /> GEORGE<br /> Okay. Just step on it. Just get me <br /> home.<br /><br /> Ernie turns to driving, but he's worried about his passenger. <br /> As he passes the burlesque house he sees Bert the cop standing <br /> beside his police car. Attracting his attention, he motions <br /> to Bert to follow him, indicating he has a nut in the back. <br /> Bert gets into his car and follows.<br /><br /> WIPE TO:<br /><br /> EXT. GEORGE'S HOUSE – NIGHT<br /><br /> MEDIUM LONG SHOT<br /><br /> The taxi pulls up to the curb and stops.<br /><br /> MEDIUM CLOSE SHOT<br /><br /> The cab is parked. George gets out and looks at the house.<br /><br /> ERNIE<br /> Is this the place?<br /><br /> GEORGE<br /> Of course it's the place.<br /><br /> ERNIE<br /> Well, this house ain't been lived in <br /> for twenty years.<br /><br /> EXT. HOUSE – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> George is stopped momentarily by the appearance of the house. <br /> Windows are broken, the porch sags, one section of the roof <br /> has fallen, doors and shutters hang askew on their hinges. <br /> Like a doomed man, George approaches the house.<br /><br /> EXT. CAB – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> The police car has pulled up beside the cab, and Bert and <br /> Ernie stand watching George's actions.<br /><br /> BERT<br /> What's up, Ernie?<br /><br /> ERNIE<br /> I don't know, but we better keep an <br /> eye on this guy. He's bats.<br /><br /> Ernie switches on the spotlight on his cab, and turns the <br /> beam toward the old house.<br /><br /> INT. HALLWAY GEORGE'S HOUSE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> The interior of the house is lit up here and there, ghostlike, <br /> by Ernie's spotlight. No furniture, cobwebs, wallpaper hanging <br /> and swinging – stairs are broken and collapsed. In a voice <br /> that sounds like a cry for help, George yells out:<br /><br /> GEORGE<br /> Mary! Mary! Tommy! Pete! Janie! Zuzu! <br /> Where are you?<br /><br /> Clarence suddenly appears leaning against a wall.<br /><br /> CLARENCE<br /> They're not here, George. You have <br /> no children.<br /><br /> GEORGE<br /> (ignoring him)<br /> Where are you?<br /> (then, to Clarence)<br /> What have you done with them?<br /><br /> INT. DOORWAY – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Bert is standing in the entrance, with his gun in his hand. <br /> Ernie is a few feet behind him, ready to run.<br /><br /> BERT<br /> All right, put up your hands. No <br /> fast moves. Come on out here, both <br /> of you.<br /><br /> GEORGE<br /> Bert! Thank heaven you're here!<br /><br /> He rushes toward Bert.<br /><br /> BERT<br /> Stand back.<br /><br /> GEORGE<br /> Bert, what's happened to this house? <br /> Where's Mary? Where's my kids?<br /><br /> ERNIE<br /> (warningly)<br /> Watch him, Bert.<br /><br /> BERT<br /> Come on, come on.<br /><br /> GEORGE<br /> (bewildered)<br /> Bert – Ernie! What's the matter with <br /> you two guys? You were here on my <br /> wedding night. You, both of you, <br /> stood out here on the porch and sung <br /> to us, don't you remember?<br /><br /> ERNIE<br /> (nervously)<br /> Think I'd better be going.<br /><br /> BERT<br /> Look, now why don't you be a good <br /> kid and we'll take you in to a doctor. <br /> Everything's going to be all right.<br /><br /> Bert tries to lead George away by the arm, but George <br /> struggles with him, trying to explain.<br /><br /> GEORGE<br /> Bert, now listen to me. Ernie, will <br /> you take me over to my mother's house? <br /> Bert, listen!<br /> (gesturing to Clarence)<br /> It's that fellow there – he says <br /> he's an angel – he's tried to <br /> hypnotize me.<br /><br /> BERT<br /> I hate to do this, fella.<br /><br /> Bert raises his gun to hit George on the head. As he does <br /> so, Clarence darts in and fixes his teeth in Bert's wrist, <br /> forcing him to let George go.<br /><br /> CLARENCE<br /> Run... George! Run, George!<br /><br /> George dashes out of the house and down the street, as Bert <br /> grapples with Clarence, and they fall to the ground, <br /> wrestling. We see Bert kneeling, trying to put handcuffs on <br /> Clarence.<br /><br /> CLARENCE<br /> Help! Joseph, help!<br /><br /> BERT<br /> Oh, shut up!<br /><br /> CLARENCE<br /> Help, oh Joseph, help! Joseph!<br /><br /> Suddenly Clarence disappears from under Bert's hands. Bert <br /> gets up, amazed by his vanishing.<br /><br /> BERT<br /> Where'd he go? Where'd he go? I had <br /> him right here.<br /><br /> Ernie's hair is now standing on end with fright.<br /><br /> ERNIE<br /> (stammering)<br /> I need a drink.<br /><br /> He runs out of the scene.<br /><br /> BERT<br /> Well, which way'd they go? Help me <br /> find 'em.<br /><br /> EXT. BAILEY HOME – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> George runs up the path to the front door of the house and <br /> raps on the door. He rings the bell and taps on the glass, <br /> when his attention is caught by a sign on the wall reading: <br /> "Ma Bailey's Boarding House."<br /><br /> MEDIUM CLOSEUP – GEORGE AT THE DOOR<br /><br /> The door opens and a woman appears. It is Mrs. Bailey, but <br /> she has changed amazingly. Her face is harsh and tired. In <br /> her eyes, once kindly and understanding, there is now cold <br /> suspicion. She gives no sign that she knows him.<br /><br /> MA BAILEY<br /> Well?<br /><br /> GEORGE<br /> Mother...<br /><br /> MA BAILEY<br /> Mother? What do you want?<br /><br /> It is a cruel blow to George.<br /><br /> GEORGE<br /> Mother, this is George. I thought <br /> sure you'd remember me.<br /><br /> MA BAILEY<br /> (coldly)<br /> George who? If you're looking for a <br /> room there's no vacancy.<br /><br /> She starts to close the door, but George stops her.<br /><br /> GEORGE<br /> Oh, Mother, Mother, please help me. <br /> Something terrible's happened to me. <br /> I don't know what it is. Something's <br /> happened to everybody. Please let me <br /> come in. Keep me here until I get <br /> over it.<br /><br /> MA BAILEY<br /> Get over what? I don't take in <br /> strangers unless they're sent here <br /> by somebody I know.<br /><br /> GEORGE<br /> (desperate)<br /> Well, I know everybody you know. <br /> Your brother-in-law, Uncle Billy.<br /><br /> MA BAILEY<br /> (suspiciously)<br /> You know him?<br /><br /> GEORGE<br /> Well, sure I do.<br /><br /> MA BAILEY<br /> When'd you see him last?<br /><br /> GEORGE<br /> Today, over at the house.<br /><br /> MA BAILEY<br /> That's a lie. He's been in the insane <br /> asylum ever since he lost his <br /> business. And if you ask me, that's <br /> where you belong.<br /><br /> She slams the door shut in George's face.<br /><br /> EXT. HOUSE – NIGHT<br /><br /> MEDIUM CLOSE SHOT<br /><br /> George stands a moment, stunned. Then he turns and runs out <br /> to the sidewalk, until his face fills the screen. His features <br /> are distorted by the emotional chaos within him. We see <br /> Clarence leaning on the mail box at the curb, holding his <br /> volume of "Tom Sawyer" in his hand.<br /><br /> CLARENCE<br /> Strange, isn't it? Each man's life <br /> touches so many other lives, and <br /> when he isn't around he leaves an <br /> awful hole, doesn't he?<br /><br /> GEORGE<br /> (quietly, trying to <br /> use logic)<br /> I've heard of things like this. You've <br /> got me in some kind of a spell, or <br /> something. Well, I'm going to get <br /> out of it. I'll get out of it. I <br /> know how, too. I... the last man I <br /> talked to before all this stuff <br /> started happening to me was Martini.<br /><br /> CLARENCE<br /> You know where he lives?<br /><br /> GEORGE<br /> Sure I know where he lives. He lives <br /> in Bailey Park.<br /><br /> They walk out of scene.<br /><br /> WIPE TO:<br /><br /> EXT. CEMETERY – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> George and Clarence approach the tree from which the "Bailey <br /> Park" sign once hung. Now it is just outside a cemetery, <br /> with graves where the houses used to be.<br /><br /> CLARENCE<br /> Are you sure this is Bailey Park?<br /><br /> GEORGE<br /> Oh, I'm not sure of anything anymore. <br /> All I know is this should be Bailey <br /> Park. But where are the houses?<br /><br /> The two walk into the cemetery.<br /><br /> CLARENCE<br /> (as they go)<br /> You weren't here to build them.<br /><br /> CLOSE MOVING SHOT<br /><br /> George wandering like a lost soul among the tombstones, <br /> Clarence trotting at his heels. Again George stops to stare <br /> with frightened eyes at:<br /><br /> CLOSE SHOT – A TOMBSTONE<br /><br /> Upon it is engraved a name, Harry Bailey. Feverishly George <br /> scrapes away the snow covering the rest of the inscription, <br /> and we read: "IN MEMORY OF OUR BELOVED SON – HARRY BAILEY – <br /> 1911-1919"<br /><br /> CLOSE SHOT – GEORGE AND CLARENCE<br /><br /> CLARENCE<br /> Your brother, Harry Bailey, broke <br /> through the ice and was drowned at <br /> the age of nine.<br /><br /> George jumps up.<br /><br /> GEORGE<br /> That's a lie! Harry Bailey went to <br /> war! He got the Congressional Medal <br /> of Honor! He saved the lives of every <br /> man on that transport.<br /><br /> CLARENCE<br /> (sadly)<br /> Every man on that transport died. <br /> Harry wasn't there to save them <br /> because you weren't there to save <br /> Harry. You see, George, you really <br /> had a wonderful life. Don't you see <br /> what a mistake it would be to throw <br /> it away?<br /><br /> CLOSEUP – GEORGE AND CLARENCE<br /><br /> GEORGE<br /> Clarence...<br /><br /> CLARENCE<br /> Yes, George?<br /><br /> GEORGE<br /> Where's Mary?<br /><br /> CLARENCE<br /> Oh, well, I can't...<br /><br /> GEORGE<br /> I don't know how you know these <br /> things, but tell me – where is she?<br /><br /> George grabs Clarence by the coat collar and shakes him.<br /><br /> CLARENCE<br /> I...<br /><br /> GEORGE<br /> If you know where she is, tell me <br /> where my wife is.<br /><br /> CLARENCE<br /> I'm not supposed to tell.<br /><br /> GEORGE<br /> (becoming violent)<br /> Please, Clarence, tell me where she <br /> is.<br /><br /> CLARENCE<br /> You're not going to like it, George.<br /><br /> GEORGE<br /> (shouting)<br /> Where is she?<br /><br /> CLARENCE<br /> She's an old maid. She never married.<br /><br /> GEORGE<br /> (choking him)<br /> Where's Mary? Where is she?<br /><br /> CLARENCE<br /> She's...<br /><br /> GEORGE<br /> Where is she?<br /><br /> CLARENCE<br /> (in self-defense)<br /> She's just about to close up the <br /> library!<br /><br /> George lets Clarence go, and runs off. Clarence falls to the <br /> ground, where he rubs his neck.<br /><br /> CLARENCE<br /> (to himself)<br /> There must be some easier way for me <br /> to get my wings.<br /><br /> WIPE TO:<br /><br /> EXT. LIBRARY – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Mary comes out the door, then turns and locks it. We see <br /> George watching her from the sidewalk. Mary is very different <br /> – no buoyancy in her walk, none of Mary's abandon and love <br /> of life. Glasses, no make-up, lips compressed, elbows close <br /> to body. She looks flat and dried up, and extremely self-<br /> satisfied and efficient.<br /><br /> CLOSEUP<br /><br /> George, as he watches her.<br /><br /> CLOSE SHOT<br /><br /> George and Mary, on the sidewalk.<br /><br /> GEORGE<br /> Mary!<br /><br /> She looks up, surprised, but, not recognizing him, continues <br /> on.<br /><br /> GEORGE<br /> Mary!<br /><br /> Mary starts to run away from him, and he follows, desperately.<br /><br /> GEORGE<br /> Mary! Mary!<br /><br /> He catches up to her, grabs her by the arms, and keeps a <br /> tight grip on her. She struggles to free herself.<br /><br /> GEORGE<br /> Mary, it's George! Don't you know <br /> me? What's happened to us?<br /><br /> MARY<br /> (struggling)<br /> I don't know you! Let me go!<br /><br /> GEORGE<br /> Mary, please! Oh, don't do this to <br /> me. Please, Mary, help me. Where's <br /> our kids? I need you, Mary! Help me, <br /> Mary!<br /><br /> Mary breaks away from him, and dashes into the first door <br /> she comes to, the Blue Moon Bar.<br /><br /> INT. BLUE MOON – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Small tables, booths, perhaps a counter. It is crowded. Many <br /> of the people are the same who were present during the run <br /> on the Building and Loan. Mary comes running in, screaming. <br /> The place goes into an uproar. George comes in, practically <br /> insane. Some of the men grab and hold on to him.<br /><br /> GEORGE<br /> (shouting)<br /> Mary...<br /> (to men holding him)<br /> Let me go! Mary, don't run away!<br /><br /> MAN<br /> Somebody call the police!<br /><br /> ANOTHER MAN<br /> Hit him with a bottle!<br /><br /> ANOTHER MAN<br /> He needs a strait jacket!<br /><br /> MARY<br /> (from back of room)<br /> That man – stop him!<br /><br /> GEORGE<br /> (recognizing some of <br /> them)<br /> Tom! Ed! Charlie! That's my wife!<br /><br /> Mary lets out a final scream, then faints into the arms of a <br /> couple of women at the bar.<br /><br /> GEORGE<br /> Mary!<br /><br /> MAN<br /> Oh, no you don't!<br /><br /> GEORGE<br /> (screaming)<br /> Mary!<br /><br /> George can't fight through the men holding him. Desperately <br /> he thinks of Clarence, and heads for the door.<br /><br /> GEORGE<br /> Clarence! Clarence! Where are you?<br /><br /> EXT. SIDEWALK – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Just as George breaks through the door, Bert arrives in his <br /> police car. He gets out and heads for the door, to run into <br /> George as he comes out.<br /><br /> BERT<br /> Oh, it's you!<br /><br /> He grabs for George, who lets him have one square on the <br /> button, knocking him down, then continues running down the <br /> street yelling for Clarence. Bert gets up, takes out his gun <br /> and fires several shots after the fleeing figure.<br /><br /> BERT<br /> (to crowd)<br /> Stand back!<br /><br /> Bert gets into the police car, and, siren screaming, sets <br /> off in pursuit of George.<br /><br /> WIPE TO:<br /><br /> EXT. BRIDGE OVER RIVER – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> The same part of the bridge where George was standing before <br /> Clarence jumped in. The wind is blowing as it has all through <br /> this sequence. George comes running into shot. He is <br /> frantically looking for Clarence.<br /><br /> GEORGE<br /> Clarence! Clarence! Help me, Clarence. <br /> Get me back. Get me back. I don't <br /> care what happens to me. Only get me <br /> back to my wife and kids. Help me, <br /> Clarence, please! Please! I want to <br /> live again!<br /><br /> CLOSEUP<br /><br /> George leaning on the bridge railing, praying.<br /><br /> GEORGE<br /> I want to live again. I want to live <br /> again. Please, God, let me live again.<br /><br /> George sobs. Suddenly, toward the end of the above, the wind <br /> dies down. A soft, gentle snow begins to fall.<br /><br /> CLOSE SHOT – GEORGE SOBBING AT THE RAILING<br /><br /> The police car pulls up on the roadway behind him, and Bert <br /> comes into scene.<br /><br /> BERT<br /> Hey, George! George! You all right?<br /><br /> George backs away and gets set to hit Bert again.<br /><br /> BERT<br /> Hey, what's the matter?<br /><br /> GEORGE<br /> (warningly)<br /> Now get out of here, Bert, or I'll <br /> hit you again! Get out!<br /><br /> BERT<br /> What the Sam Hill you yelling for, <br /> George?<br /><br /> GEORGE<br /> Don't... George?<br /><br /> George talks hopefully – George touches Bert unbelievingly – <br /> George's mouth is bleeding again.<br /><br /> GEORGE<br /> Bert, do you know me?<br /><br /> BERT<br /> Know you? Are you kiddin'? I've been <br /> looking all over town trying to find <br /> you. I saw your car piled into that <br /> tree down there, and I thought <br /> maybe... Hey, your mouth's bleeding; <br /> are you sure you're all right?<br /><br /> GEORGE<br /> What did...<br /><br /> George touches his lips with his tongue, wipes his mouth <br /> with his hand, laughs happily. His rapture knows no bounds.<br /><br /> GEORGE<br /> (joyously)<br /> My mouth's bleeding, Bert! My mouth's <br /> bleed...<br /> (feeling in watch <br /> pocket)<br /> Zuzu's petals! Zuzu's... they're... <br /> they're here, Bert! What do you know <br /> about that? Merry Christmas!<br /><br /> He practically embraces the astonished Bert, then runs at <br /> top speed toward town.<br /><br /> LONG SHOT<br /> George runs away from camera yelling<br /><br /> GEORGE<br /> Mary! Mary!<br /><br /> WIPE TO:<br /><br /> EXT. RESIDENTIAL STREET – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George's wrecked car is smashed against the tree. He comes <br /> running into shot, sees the car, lets out a triumphant yell, <br /> pats the car, and dashes on.<br /><br /> EXT. MAIN STREET BEDFORD FALLS – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George sees that the "POTTERSVILLE" sign is now replaced by <br /> the original "YOU ARE NOW IN BEDFORD FALLS" sign.<br /><br /> GEORGE<br /> Hello, Bedford Falls!<br /><br /> He turns and runs through the falling snow up the main street <br /> of the town. As he runs, he notices that the town is back in <br /> its original appearance. He passes some late shoppers on the <br /> street<br /><br /> GEORGE<br /> Merry Christmas!<br /><br /> PEOPLE<br /> (ad lib)<br /> Merry Christmas! Merry Christmas, <br /> George!<br /><br /> EXT. THEATRE – NIGHT<br /><br /> PAN SHOT – AS GEORGE RUNS BY:<br /><br /> GEORGE<br /> Merry Christmas, movie house!<br /><br /> EXT. BEDFORD FALLS EMPORIUM – NIGHT<br /><br /> PAN SHOT – AS GEORGE RUNS BY:<br /><br /> GEORGE<br /> Merry Christmas, emporium!<br /><br /> EXT. BUILDING AND LOAN OFICES – NIGHT<br /><br /> PAN SHOT – AS GEORGE RUNS BY:<br /><br /> GEORGE<br /> Merry Christmas, you wonderful old <br /> Building and Loan!<br /><br /> EXT. BANK – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George notices a light in Potter's office window, and races <br /> across the street.<br /><br /> INT. POTTER'S OFFICE – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Potter is seated working at his desk, his goon by his side. <br /> George pounds on the window.<br /><br /> GEORGE<br /> (from outside)<br /> Merry Christmas, Mr. Potter!<br /><br /> George runs off as Potter looks up from his work.<br /><br /> POTTER<br /> Happy New Year to you – in jail! Go <br /> on home – they're waiting for you!<br /><br /> INT. GEORGE'S HOME – NIGHT<br /><br /> The lights are on. There is a fire in the fireplace. The <br /> Christmas tree is fully decorated with presents stacked <br /> around.<br /><br /> INT. ENTRANCE HALL – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Carter, the bank examiner, a newspaper reporter and <br /> photographer, and a sheriff, are waiting in the hall for <br /> George. George comes dashing in the front door.<br /><br /> GEORGE<br /> (excitedly)<br /> Mary...<br /> (sees the men)<br /> Well, hello, Mr. Bank Examiner!<br /><br /> He grabs his hand and shakes it.<br /><br /> CARTER<br /> (surprised)<br /> Mr. Bailey, there's a deficit!<br /><br /> GEORGE<br /> I know. Eight thousand dollars.<br /><br /> SHERIFF<br /> (reaching into pocket)<br /> George, I've got a little paper here.<br /><br /> GEORGE<br /> (happily)<br /> I'll bet it's a warrant for my arrest. <br /> Isn't it wonderful? Merry Christmas!<br /><br /> The photographer sets off a flash bulb.<br /><br /> GEORGE<br /> Reporters? Where's Mary?<br /> (calling)<br /> Mary!<br /><br /> George runs to the kitchen. He gets no answer. As he goes:<br /><br /> GEORGE<br /> Oh, look at this wonderful old drafty <br /> house! Mary! Mary!<br /><br /> He comes running back to the hall.<br /><br /> GEORGE<br /> Have you seen my wife?<br /><br /> CHILDREN'S VOICES<br /> Merry Christmas, Daddy! Merry <br /> Christmas, Daddy!<br /><br /> INT. STAIRS – NIGHT<br /><br /> MEDIUM SHOT<br /><br /> The three children are at the top of the stairs. They are in <br /> their pajamas.<br /><br /> GEORGE<br /> Kids!<br /><br /> George starts to run up the stairs, and the old familiar <br /> knob on the banister comes off in his hand. He kisses it <br /> lovingly and puts it back, then continues up the stairs.<br /><br /> GEORGE<br /> Pete – kids – Janie – Tommy.<br /> (takes them in his <br /> arms)<br /> I could eat you up!<br /><br /> INT. TOP OF STAIRS – NIGHT<br /><br /> CLOSE SHOT<br /><br /> George and the kids. He is hugging them.<br /><br /> GEORGE<br /> Where's your mother?<br /><br /> JANIE<br /> She went looking for you with Uncle <br /> Billy.<br /><br /> Zuzu comes running out of her bedroom. George crushes her to <br /> him.<br /><br /> ZUZU<br /> Daddy!<br /><br /> GEORGE<br /> Zuzu – Zuzu. My little gingersnap! <br /> How do you feel?<br /><br /> ZUZU<br /> Fine.<br /><br /> JANIE<br /> And not a smitch of temperature.<br /><br /> GEORGE<br /> (laughing)<br /> Not a smitch of temp...<br /><br /> INT. HALL – NIGHT<br /><br /> CLOSE SHOT<br /><br /> As Mary comes through the door, breathless and excited. The <br /> four men are watching with open mouths.<br /><br /> GEORGE'S VOICE<br /> Hallelujah!<br /><br /> MARY<br /> (to the men)<br /> Hello.<br /> (sees George)<br /> George! Darling!<br /><br /> INT. STAIRS – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Mary races up the stairs, where George meets her in a fierce <br /> embrace.<br /><br /> GEORGE<br /> Mary! Mary!<br /><br /> MARY<br /> George, darling! Where have you been?<br /><br /> George and Mary embrace tearfully.<br /><br /> MARY<br /> Oh, George, George, George.<br /><br /> GEORGE<br /> Mary! Let me touch you! Oh, you're <br /> real!<br /><br /> MARY<br /> Oh, George, George!<br /><br /> GEORGE<br /> You have no idea what's happened to <br /> me.<br /><br /> MARY<br /> You have no idea what happened...<br /><br /> He stops her with a kiss. She leads him excitedly down the <br /> stairs.<br /><br /> MARY<br /> Well, come on, George, come on <br /> downstairs quick. They're on their <br /> way.<br /><br /> GEORGE<br /> All right.<br /><br /> INT. LIVING ROOM – NIGHT<br /><br /> CLOSE SHOT<br /><br /> Mary leads George, who is carrying a couple of the kids on <br /> his back, to a position in front of the Christmas tree.<br /><br /> MARY<br /> Come on in here now. Now, you stand <br /> right over here, by the tree. Right <br /> there, and don't move, don't move. I <br /> hear 'em now, George, it's a miracle! <br /> It's a miracle!<br /><br /> She runs toward front door and flings it open. Ad lib SOUNDS <br /> of an excited crowd can be heard. Uncle Billy, face flushed, <br /> covered with snow, and carrying a clothes basket filled with <br /> money, bursts in. He is followed by Ernie, and about twenty <br /> more townspeople.<br /><br /> MARY<br /> Come in, Uncle Billy! Everybody! In <br /> here!<br /><br /> Uncle Billy Mary and the crowd come into the living room. A <br /> table stands in front of George. George picks up Zuzu to <br /> protect her from the mob. Uncle Billy dumps the basketful of <br /> money out onto the table – the money overflows and falls all <br /> over.<br /><br /> UNCLE BILLY<br /> Isn't it wonderful?<br /><br /> The rest of the crowd all greet George with greetings and <br /> smiles. Each one comes forward with money. In their pockets, <br /> in shoe boxes, in coffee pots. Money pours onto the table – <br /> pennies, dimes, quarters, dollar bills – small money, but <br /> lots of it. Mrs. Bailey and Mrs. Hatch push toward George. <br /> More people come in. The place becomes a bedlam. Shouts of <br /> "Gangway – gangway" as a new bunch comes in and pours out <br /> its money. Mary stands next to George, watching him. George <br /> stands there overcome and speechless as he holds Zuzu. As he <br /> sees the familiar faces, he gives them sick grins. Tears <br /> course down his face. His lips frame their names as he greets <br /> them.<br /><br /> UNCLE BILLY<br /> (emotionally at the <br /> breaking point)<br /> Mary did it, George! Mary did it! <br /> She told a few people you were in <br /> trouble and they scattered all over <br /> town collecting money. They didn't <br /> ask any questions – just said: "If <br /> George is in trouble – count on me." <br /> You never saw anything like it.<br /><br /> Tom comes in, digging in his purse as he comes.<br /><br /> TOM<br /> What is this, George? Another run on <br /> the bank?<br /><br /> Charlie adds his money to the pile.<br /><br /> CHARLIE<br /> Here you are, George. Merry Christmas.<br /><br /> Ernie is trying to get some system into the chaos.<br /><br /> ERNIE<br /> The line forms on the right.<br /><br /> Mr. Martini comes in bearing a mixing bowl overflowing with <br /> cash.<br /><br /> ERNIE<br /> Mr. Martini! Merry Christmas! Step <br /> right up here.<br /><br /> Martini dumps his money on the table.<br /><br /> MARTINI<br /> I busted the juke-box, too!<br /><br /> Mr. Gower enters with a large glass jar jammed full of notes.<br /><br /> ERNIE<br /> Mr. Gower!<br /><br /> GOWER<br /> (to George)<br /> I made the rounds of my charge <br /> accounts.<br /><br /> Violet Bick arrives, and takes out the money George had given <br /> her for her trip to New York.<br /><br /> GEORGE<br /> Violet Bick!<br /><br /> VIOLET<br /> I'm not going to go, George. I changed <br /> my mind.<br /><br /> Annie, the colored maid, enters, digging money out of a long <br /> black stocking.<br /><br /> ANNIE<br /> I've been saving this money for a <br /> divorce, if ever I get a husband.<br /><br /> Mr. Partridge, the high school principal, is the next donor.<br /><br /> PARTRIDGE<br /> There you are, George. I got the <br /> faculty all up out of bed.<br /> (hands his watch to <br /> Zuzu)<br /> And here's something for you to play <br /> with.<br /><br /> MAN<br /> (giving money)<br /> I wouldn't have a roof over my head <br /> if it wasn't for you, George.<br /><br /> Ernie is reading a telegram he has just received.<br /><br /> ERNIE<br /> Just a minute. Quiet, everybody. <br /> Quiet – quiet. Now, this is from <br /> London.<br /> (reading)<br /> Mr. Gower cables you need cash. Stop. <br /> My office instructed to advance you <br /> up to twenty-five thousand dollars. <br /> Stop. Heehaw and Merry Christmas. <br /> Sam Wainwright.<br /><br /> The crowd breaks into a cheer as Ernie drops the telegram on <br /> top of the pile of money on the table.<br /><br /> MARY<br /> (calling out)<br /> Mr. Martini. How about some wine?<br /><br /> As various members of the family bring out a punch bowl and <br /> glasses, Janie sits down at the piano and strikes a chord. <br /> She starts playing "Hark! The Herald Angels Sing," and the <br /> entire crowd joins in the singing. We see a SERIES OF SHOTS <br /> of the various groups singing the hymn, and some people are <br /> still coming in and dropping their money on the table. Carter, <br /> the bank examiner, makes a donation; the sheriff sheepishly <br /> looks at George and tears his warrant in small pieces. In <br /> the midst of this scene, Harry, in Naval uniform, enters, <br /> accompanied by Bert, the cop.<br /><br /> HARRY<br /> Hello, George, how are you?<br /><br /> GEORGE<br /> Harry... Harry...<br /><br /> HARRY<br /> (as he sees the money)<br /> Mary – looks like I got here too <br /> late.<br /><br /> BERT<br /> Mary, I got him here from the airport <br /> as quickly as I could. The fool flew <br /> all the way up here in a blizzard.<br /><br /> Mrs. Bailey enters scene.<br /><br /> MRS. BAILEY<br /> Harry, how about your banquet in New <br /> York?<br /><br /> HARRY<br /> Oh, I left right in the middle of it <br /> as soon as I got Mary's telegram.<br /><br /> Ernie hands Harry a glass of wine.<br /><br /> HARRY<br /> Good idea, Ernie. A toast... to my <br /> big brother, George. The richest man <br /> in town!<br /><br /> Once more the crowd breaks into cheering and applause. Janie <br /> at the piano and Bert on his accordion start playing "Auld <br /> Lang syne," and everyone joins in.<br /><br /> CLOSE SHOT<br /><br /> George, still holding Zuzu in his arms, glances down at the <br /> pile of money on the table. His eye catches something on top <br /> of the pile, and he reaches down for it. It is Clarence's <br /> copy of "Tom Sawyer." George opens it and finds an inscription <br /> written in it: "Dear George, remember no man is a failure <br /> who has friends. Thanks for the wings, Love Clarence."<br /><br /> MARY<br /> (looking at book)<br /> What's that?<br /><br /> GEORGE<br /> That's a Christmas present from a <br /> very dear friend of mine.<br /><br /> At this moment, perhaps because of the jostling of some of <br /> the people on the other side of the tree, a little silver <br /> bell on the Christmas tree swings to and fro with a silvery <br /> tinkle. Zuzu closes the cover of the book, and points to the <br /> bell.<br /><br /> ZUZU<br /> Look, Daddy. Teacher says, every <br /> time a bell rings an angel gets his <br /> wings.<br /><br /> GEORGE<br /> (smiling)<br /> That's right, that's right.<br /><br /> He looks up toward the ceiling and winks.<br /><br /> GEORGE<br /> Attaboy, Clarence.<br /><br /> The voices of the people singing swell into a final crescendo <br /> for the<br /><br /> FADE OUT<br /><br /> THE ENDEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.com0