It's A Wonderful Life Script - Screenplay
Swing on back to Drew's
Script-O-Rama afterwards for more free
movie scripts!
It's a Wonderful Life
Final Script
Opening sequence/George saves Harry
FADE IN –– NIGHT SEQUENCE
Series of shots of various streets and buildings in the town of
Bedford Falls, somewhere in New York State. The streets are
deserted, and snow is falling.
It is Christmas Eve. Over the above scenes we hear voices
praying:
GOWER'S VOICE
I owe everything to George Bailey. Help him, dear Father.
MARTINI'S VOICE
Joseph, Jesus and Mary. Help my friend Mr. Bailey.
MRS. BAILEY'S VOICE
Help my son George tonight.
BERT'S VOICE
He never thinks about himself, God; that's why he's in trouble.
ERNIE'S VOICE
George is a good guy. Give him a break, God.
MARY'S VOICE
I love him, dear Lord. Watch over him tonight.
JANIE'S VOICE
Please, God. Something's the matter with Daddy.
ZUZU'S VOICE
Please bring Daddy back.
CAMERA PULLS UP from the Bailey home and travels up through the
sky until it is above the falling snow and moving slowly toward a
firmament full of stars. As the camera stops we hear the
following heavenly voices talking, and as each voice is heard,
one of the stars twinkles brightly:
FRANKLIN'S VOICE
Hello, Joseph, trouble?
JOSEPH'S VOICE
Looks like we'll have to send someone down –– a lot of people are
asking for help for a man named George Bailey.
FRANKLIN'S VOICE
George Bailey. Yes, tonight's his crucial night. You're right,
we'll have to send someone down immediately. Whose turn is it?
JOSEPH'S VOICE
That's why I came to see you, sir. It's that clock-maker's turn
again.
FRANKLIN'S VOICE
Oh –– Clarence. Hasn't got his wings yet, has he? We've passed
him up right along.
JOSEPH'S VOICE
Because, you know, sir, he's got the I.Q. of a rabbit.
FRANKLIN'S VOICE
Yes, but he's got the faith of a child –– simple. Joseph, send
for Clarence.
A small star flies in from left of screen and stops. It twinkles
as Clarence speaks:
CLARENCE'S VOICE
You sent for me, sir?
FRANKLIN'S VOICE
Yes, Clarence. A man down on earth needs our help.
CLARENCE'S VOICE
Splendid! Is he sick?
FRANKLIN'S VOICE
No, worse. He's discouraged. At exactly ten-forty-five PM
tonight, Earth time, that man will be thinking seriously of
throwing away God's
greatest gift.
CLARENCE'S VOICE
Oh, dear, dear! His life! Then I've only got an hour to dress.
What are they wearing now?
FRANKLIN'S VOICE
You will spend that hour getting acquainted with George Bailey.
CLARENCE'S VOICE
Sir . . . If I should accomplish this mission –– I mean –– might
I perhaps win my wings? I've been waiting for over two hundred
years
now, sir –– and people are beginning to talk.
FRANKLIN'S VOICE
What's that book you've got there?
CLARENCE'S VOICE
The Adventures of Tom Sawyer.
FRANKLIN'S VOICE
Clarence, you do a good job with George Bailey, and you'll get
your wings.
CLARENCE'S VOICE
Oh, thank you, sir. Thank you.
JOSEPH'S VOICE
Poor George . . . Sit down.
CLARENCE'S VOICE
Sit down? What are . . .
JOSEPH'S VOICE
If you're going to help a man, you want to know something about
him, don't you?
CLARENCE'S VOICE
Well, naturally. Of course.
JOSEPH'S VOICE
Well, keep your eyes open. See the town?
The stars fade out from the screen, and a light,
indistinguishable blur is seen.
CLARENCE'S VOICE
Where? I don't see a thing.
JOSEPH'S VOICE
Oh, I forgot. You haven't got your wings yet. Now look, I'll help
you out. Concentrate. Begin to see something?
The blur on the screen slowly begins to take form. We see a group
of young boys on top of a snow-covered hill.
CLARENCE'S VOICE
Why, yes. This is amazing.
JOSEPH'S VOICE
If you ever get your wings, you'll see all by yourself.
CLARENCE'S VOICE
Oh, wonderful!
EXTERIOR FROZEN RIVER AND HILL –– DAY –– 1919
CLOSE SHOT –– group of boys. They are preparing to slide down the
hill on large shovels. One of them makes the slide and shoots out
onto the ice of a
frozen river at the bottom of the hill.
BOY (as he slides)
Yippee!!
CLARENCE'S VOICE
Hey, who's that?
JOSEPH'S VOICE
That's your problem, George Bailey.
CLARENCE'S VOICE
A boy?
JOSEPH'S VOICE
That's him when he was twelve, back in 1919. Something happens
here you'll have to remember later on.
Series of shots as four or five boys make the slide down the hill
and out onto the ice. As each boy comes down the others applaud.
CLOSE SHOT –– George Bailey at bottom of slide.
GEORGE (through megaphone)
And here comes the scare-baby, my kid brother, Harry Bailey.
CLOSE SHOT –– Harry, on top of hill, preparing to make his slide.
HARRY
I'm not scared.
BOYS (ad lib)
Come on, Harry! Attaboy, Harry!
MEDIUM SHOT –– Harry makes his slide very fast. He passes the
marks made by the other boys, and his shovel takes him onto the
thin ice at the bend of
the river. The ice breaks, and Harry disappears into the water.
CLOSE SHOT –– George.
GEORGE
I'm coming, Harry.
MEDIUM SHOT –– George jumps into the water and grabs Harry. As he
starts to pull him out he yells:
GEORGE
Make a chain, gang! A chain!
WIDER ANGLE –– the other boys lie flat on the ice, forming a
human chain. When George reaches the edge with Harry in his arms,
they pull them both
to safety.
JOSEPH'S VOICE
George saved his brother's life that day. But he caught a bad
cold which infected his left ear. Cost him his hearing in that
ear. It was weeks
before he could return to his after-school job at old man Gower's
drugstore.
DISSOLVE
Drugstore
EXTERIOR MAIN STREET –– BEDFORD FALLS –– SPRING AFTERNOON
MEDIUM SHOT –– Five or six boys are coming toward camera, arm in
arm, whistling. Their attention is drawn to an elaborate
horsedrawn carriage
proceeding down the other side of the street.
MEDIUM PAN SHOT –– The carriage driving by. We catch a glimpse of
an elderly man riding in it.
CLOSE SHOT –– the boys watching the carriage.
GEORGE
Mr. Potter!
CLARENCE'S VOICE
Who's that –– a king?
JOSEPH'S VOICE
That's Henry F. Potter, the richest and meanest man in the
county.
The boys continue until they reach Gower's drugstore. The
drugstore is old-fashioned and dignified, with jars of colored
water in the windows and little
else. As the kids stop:
GEORGE
So long!
BOYS (ad lib)
Got to work, slave. Hee-haw. Hee-haw.
INTERIOR DRUGSTORE —– DAY
MEDIUM SHOT –– George comes in and crosses to an old-fashioned
cigar lighter on the counter. He shuts his eyes and makes a wish:
GEORGE
Wish I had a million dollars.
He clicks the lighter and the flame springs up.
GEORGE (cont'd)
Hot dog!
WIDER ANGLE –– George crosses over to the soda fountain, at which
Mary Hatch, a small girl, is seated, watching him. George goes on
to get his
apron from behind the fountain.
GEORGE (calling toward back room)
It's me, Mr. Gower. George Bailey.
CLOSE SHOT –– Mr. Gower, the druggist, peering from a window in
back room. We see him take a drink from a bottle.
GOWER
You're late.
MEDIUM SHOT –– George behind soda fountain. He is putting on his
apron.
GEORGE
Yes, sir.
WIDER ANGLE –– Violet Bick enters the drugstore and sits on one
of the stools at the fountain. She is the same height as Mary and
the same age, but
she is infinitely older in her approach to people.
VIOLET (with warm friendliness)
Hello, George.
(then, flatly, as she sees Mary)
VIOLET
'Lo, Mary.
MARY (primly)
Hello, Violet.
George regards the two of them with manly disgust. They are two
kids to him, and a nuisance. He starts over for the candy
counter.
GEORGE
Two cents worth of shoelaces?
VIOLET
She was here first.
MARY
I'm still thinking.
GEORGE (to Violet)
Shoelaces?
VIOLET
Please, Georgie.
George goes over to the candy counter.
VIOLET (to Mary)
I like him.
MARY
You like every boy.
VIOLET (happily)
What's wrong with that?
GEORGE
Here you are.
George gives Violet a paper sack containing licorice shoelaces.
Violet gives him the money.
VIOLET (the vamp)
Help me down?
GEORGE (disgusted)
Help you down!
Violet jumps down off her stool and exits. Mary, watching, sticks
out her tongue as she passes.
CLOSE SHOT –– George and Mary at fountain.
GEORGE
Made up your mind yet?
MARY
I'll take chocolate.
George puts some chocolate ice cream in a dish.
GEORGE
With coconuts?
MARY
I don't like coconuts.
GEORGE
You don't like coconuts! Say, brainless, don't you know where
coconuts come from? Lookit here –– from Tahiti –– Fiji Islands,
the Coral Sea!
He pulls a magazine from his pocket and shows it to her.
MARY
A new magazine! I never saw it before.
GEORGE
Of course you never. Only us explorers can get it. I've been
nominated for membership in the National Geographic Society.
He leans down to finish scooping out the ice cream, his deaf ear
toward her. She leans over, speaking softly.
CLOSE SHOT –– Mary, whispering.
MARY
Is this the ear you can't hear on? George Bailey, I'll love you
till the day I die.
She draws back quickly and looks down, terrified at what she has
said.
CLOSE SHOT –– George and Mary.
GEORGE
I'm going out exploring some day, you watch. And I'm going to
have a couple of harems, and maybe three or four wives. Wait and
see.
He turns back to the cash register, whistling.
ANOTHER ANGLE –– taking in entrance to prescription room at end
of fountain. Gower comes to the entrance. He is bleary-eyed,
unshaven, chewing
an old unlit cigar. His manner is gruff and mean. It is evident
he has been drinking.
GOWER
George! George!
GEORGE
Yes, sir.
GOWER
You're not paid to be a canary.
GEORGE
No, sir.
He turns back to the cash register when he notices an open
telegram on the shelf. He is about to toss it aside when he
starts to read it.
INSERT
THE TELEGRAM. It reads:
"We regret to inform you that your son, Robert, died very
suddenly this morning of influenza stop. Everything possible was
done for his comfort stop. We await
instructions from you."
Pres. HAMMERTON COLLEGE."
BACK TO SHOT. George puts the telegram down. A goodness of heart
expresses itself in a desire to do something for Gower. He gives
the ice cream to
Mary without comment and sidles back toward Gower.
INTERIOR PRESCRIPTION ROOM OF DRUGSTORE –– DAY
CLOSE SHOT –– Gower, drunk, is intent on putting some capsules
into a box.
GEORGE
Mr. Gower, do you want something . . . Anything?
GOWER
No.
GEORGE
Anything I can do back here?
GOWER
No.
George looks curiously at Gower, realizing that he is quite
drunk. Gower fumbles and drops some of the capsules to the floor.
CLOSE SHOT –– capsules spilling on floor at their feet.
BACK TO SHOT –– George and Gower.
GEORGE
I'll get them, sir.
He picks up the capsules and puts them in the box. Gower waves
George aside, takes his old wet cigar, shoves it in his mouth and
sits in an old Morris
chair in the background. George turns a bottle around from which
Gower has taken the powder for the capsules. Its label reads
"POISON." George
stands still, horrified.
GOWER
Take these capsules over to Mrs. Blaine's. She's waiting for
them.
George picks up the capsule box, not knowing what to do or say.
His eyes go, harassed, to the bottle labeled poison. George's
fingers fumble.
GEORGE
Yes, sir. They have the diphtheria there, haven't they, sir?
GOWER
Ummmm . . .
Gower stares moodily ahead, sucking his cigar. George turns to
him, the box in his hand.
GEORGE
Is it a charge, sir?
GOWER
Yes –– charge.
GEORGE
Mr. Gower, I think . . .
GOWER
Aw, get going!
GEORGE
Yes, sir.
INTERIOR DRUGSTORE –– DAY
MEDIUM SHOT –– George comes out into main room. As he puts on his
cap he sees a Sweet Caporals ad which says:
INSERT
"ASK DAD HE KNOWS" –– SWEET CAPORAL
BACK TO SHOT
With an inspiration, George dashes out the door and down the
street. Mary follows him with her eyes.
George visits Pop's office
EXTERIOR STREET –– DAY
MEDIUM SHOT –– George runs down the street until he comes
opposite a two-story building with a sign on it reading
"Bailey Building and Loan
Association." He stops. Potter's carriage is waiting at the
entrance. Suddenly he runs up the stairs.
INTERIOR OUTER OFFICE BLDG. AND LOAN –– DAY
FULL SHOT –– The offices are ancient and a bit on the rickety
side. There is a counter with a grill, something like a bank.
Before a door marked:
PETER BAILEY, PRIVATE, George's Uncle Billy stands, obviously
trying to hear what is going on inside. He is a very good-humored
man of about fifty,
in shirt-sleeves. With him at the door, also listening, are
Cousin Tilly Bailey, a waspish-looking woman, who is the
telephone operator, and Cousin
Eustace Bailey, the clerk. The office vibrates with an aura of
crisis as George enters and proceeds directly toward his father's
office.
CLOSE SHOT –– Uncle Billy listening at the door. As George is
about to enter his father's office, uncle Billy grabs him by the
arm.
UNCLE BILLY
Avast, there, Captain Cook! Where you headin'?
GEORGE
Got to see Pop, Uncle Billy.
UNCLE BILLY
Some other time, George.
GEORGE
It's important.
UNCLE BILLY
There's a squall in there that's shapin' up into a storm.
During the foregoing, Cousin Tilly has answered the telephone,
and now she calls out:
COUSIN TILLY
Uncle Billy . . . telephone.
UNCLE BILLY
Who is it?
COUSIN TILLY
Bank examiner.
INSERT
CLOSE UP Uncle Billy's left hand. There are pieces of string tied
around two of the fingers, obviously to remind him of things he
has to do.
BACK TO SHOT –– Uncle Billy looking at his hand.
UNCLE BILLY
Bank examiner! I should have called him yesterday. Switch it
inside.
He enters a door marked
WILLIAM BAILEY, PRIVATE. George stands irresolute a moment, aware
of crisis in the affairs of the Bailey Building and Loan
Association, but aware more keenly of his personal crisis. He
opens the door of his father's office and enters.
INTERIOR BAILEY'S PRIVATE OFFICE –– DAY
MEDIUM SHOT –– George's father is seated behind his desk,
nervously drawing swirls on a pad. He looks tired and worried. He
is a gentle man in his
forties, an idealist, stubborn only for other people's rights.
Nearby, in a throne-like wheelchair, behind which stands the goon
who furnishes the motive
power, sits Henry F. Potter, his squarish derby hat on his head.
The following dialogue is fast and heated, as though the argument
had been in process for
some time.
BAILEY
I'm not crying, Mr. Potter.
POTTER
Well, you're begging, and that's a whole lot worse.
BAILEY
All I'm asking is thirty days more . . .
GEORGE (interrupting)
Pop!
BAILEY
Just a minute, son.
(to Potter)
Just thirty short days. I'll dig up that five thousand somehow.
POTTER (to his goon)
Shove me up . . .
Goon pushes his wheelchair closer to the desk.
GEORGE
Pop!
POTTER
Have you put any real pressure on those people of yours to pay
those mortgages?
BAILEY
Times are bad, Mr. Potter. A lot of these people are out of work.
POTTER
Then foreclose!
BAILEY
I can't do that. These families have children.
MEDIUM CLOSE SHOT –– Potter and Bailey.
GEORGE
Pop!
POTTER
They're not my children.
BAILEY
But they're somebody's children.
POTTER
Are you running a business or a charity ward?
BAILEY
Well, all right . . .
POTTER (interrupting)
Not with my money!
CLOSE SHOT –– Potter and Bailey.
BAILEY
Mr. Potter, what makes you such a hard-skulled character? You
have no family –– no children. You can't begin to spend all the
money you've got.
POTTER
So I suppose I should give it to miserable failures like you and
that idiot brother of yours to spend for me.
George cannot listen any longer to such libel about his father.
He comes around in front of the desk.
GEORGE
He's not a failure! You can't say that about my father!
BAILEY
George, George . . .
GEORGE
You're not! You're the biggest man in town!
BAILEY
Run along.
He pushes George toward the door.
GEORGE
Bigger'n him!
As George passes Potter's wheelchair he pushes the old man's
shoulder. The goon puts out a restraining hand.
GEORGE
Bigger'n everybody.
George proceeds toward the door, with his father's hand on his
shoulder. As they go:
POTTER
Gives you an idea of the Baileys.
INTERIOR OUTER OFFICE BLDG. AND LOAN –– DAY
CLOSE SHOT –– George and his father at the door.
GEORGE
Don't let him say that about you, Pop.
BAILEY
All right, son, thanks. I'll talk to you tonight.
Bailey closes the door on George and turns back to Potter. George
stands outside the door with the capsules in his hand.
Back to drugstore
INTERIOR BACK ROOM –– GOWER'S DRUGSTORE –– DAY
CLOSE SHOT –– Gower talking on the telephone. George stands in
the doorway.
GOWER (drunkenly)
Why, that medicine should have been there an hour ago. It'll be
over in five minutes, Mrs. Blaine.
He hangs up the phone and turns to George.
GOWER (cont'd)
Where's Mrs. Blaine's box of capsules?
He grabs George by the shirt and drags him into the back room.
GEORGE
Capsules . . .
GOWER (shaking him)
Did you hear what I said?
GEORGE (frightened)
Yes, sir, I . . .
Gower starts hitting George about the head with his open hands.
George tries to protect himself as best he can.
GOWER
What kind of tricks are you playing, anyway? Why didn't you
deliver them right away? Don't you know that boy's very sick?
GEORGE (in tears)
You're hurting my sore ear.
INTERIOR FRONT ROOM DRUGSTORE –– DAY
CLOSE SHOT –– Mary is still seated at the soda fountain. Each
time she hears George being slapped, she winces.
INTERIOR BACK ROOM DRUGSTORE –– DAY
CLOSE SHOT –– George and Gower.
GOWER
You lazy loafer!
GEORGE (sobbing)
Mr. Gower, you don't know what you're doing. You put something
wrong in those capsules. I know you're unhappy. You got that
telegram,
and you're upset. You put something bad in those capsules. It
wasn't your fault, Mr. Gower . . .
George pulls the little box out of his pocket. Gower savagely
rips it away from him, breathing heavily, staring at the boy
venomously.
GEORGE (cont'd)
Just look and see what you did. Look at the bottle you took the
powder from. It's poison! I tell you, it's poison! I know you
feel bad . . . and .
. .
George falters off, cupping his aching ear with a hand. Gower
looks at the large brown bottle which has not been replaced on
the shelf. He tears open the
package, shakes the powder out of one of the capsules, cautiously
tastes it, then abruptly throws the whole mess to the table and
turns to look at George
again. The boy is whimpering, hurt, frightened. Gower steps
toward him.
GEORGE (cont'd)
Don't hurt my sore ear again.
But this time Gower sweeps the boy to him in a hug and, sobbing
hoarsely, crushes the boy in his embrace. George is crying too.
GOWER
No . . . No . . . No. . .
GEORGE
Don't hurt my ear again!
GOWER (sobbing)
Oh, George, George . . .
GEORGE
Mr. Gower, I won't ever tell anyone. I know what you're feeling.
I won't ever tell a soul. Hope to die, I won't.
GOWER
Oh, George.
Luggage shop/ With Mr. Gower/Bert and Ernie
INTERIOR LUGGAGE SHOP –– DAY –– (1928)
MEDIUM SHOT –– It is late afternoon. A young man is looking over
an assortment of luggage. Across the counter stands Joe Hepner,
the proprietor of
the store –– he is showing a suitcase.
JOE
An overnight bag –– genuine English cowhide, combination lock,
fitted up with brushes, combs . . .
CUSTOMER
Nope.
As CAMERA MOVES UP CLOSER to him, he turns and we get our first
glimpse of George as a young man. CAMERA HAS MOVED UP to a
CLOSEUP
by now.
GEORGE
Nope. Nope. Nope. Nope. Now, look, Joe. Now, look, I . . . I want
a big one.
Suddenly, in action, as George stands with his arms outstretched
in illustration, the picture freezes and becomes a still. Over
this hold-frame shot we hear
the voices from Heaven:
CLARENCE'S VOICE
What did you stop it for?
JOSEPH'S VOICE
I want you to take a good look at that face.
CLARENCE'S VOICE
Who is it?
JOSEPH'S VOICE
George Bailey.
CLARENCE'S VOICE
Oh, you mean the kid that had his ears slapped back by the
druggist.
JOSEPH'S VOICE
That's the kid.
CLARENCE'S VOICE
It's a good face. I like it. I like George Bailey. Tell me, did
he ever tell anyone about the pills?
JOSEPH'S VOICE
Not a soul.
CLARENCE'S VOICE
Did he ever marry the girl? Did he ever go exploring?
JOSEPH'S VOICE
Well, wait and see.
CLOSE SHOT –– the screen. The arrested CLOSEUP of George springs
to life again.
GEORGE
Big –– see! I don't want one for one night. I want something for
a thousand and one nights, with plenty of room for labels from
Italy and Baghdad,
Samarkand . . . a great big one.
JOE
I see, a flying carpet, huh? I don't suppose you'd like this old
second-hand job, would you?
He brings a large suitcase up from under the counter.
GEORGE
Now you're talkin'. Gee whiz, I could use this as a raft in case
the boat sunk. How much does this cost?
JOE
No charge.
GEORGE
That's my trick ear, Joe. It sounded as if you said no charge.
JOE (indicating name on suitcase)
That's right.
GEORGE (as he sees his name)
What's my name doing on it?
JOE
A little present from old man Gower. Came down and picked it out
himself.
GEORGE (admiring the bag)
He did? Whatta you know about that –– my old boss . . .
JOE
What boat you sailing on?
GEORGE
I'm working across on a cattle boat.
JOE
A cattle boat?
GEORGE (as he exits)
Okay, I like cows.
INTERIOR GOWER'S DRUGSTORE –– DAY
MEDIUM SHOT –– The place is practically the same except that it
is now full of school kids having sodas, etc. A juke box and many
little tables have
been added. It has become the hangout of the local small fry.
There are now three kids jerking sodas.
Gower is a different man now –– sober, shaven and good-humored.
He is behind the counter when George comes in. Gower's face
lights up when he sees
George.
GEORGE
Mr. Gower . . . Mr. Gower . . . thanks ever so much for the bag.
It's just exactly what I wanted.
GOWER
Aw, forget it.
GEORGE
Oh, it's wonderful.
GOWER
Hope you enjoy it.
George suddenly sees the old cigar lighter on the counter. He
closes his eyes and makes a wish.
GEORGE
Oh . . . Oh. Wish I had a million dollars.
As he snaps the lighter the flame springs up.
GEORGE (cont'd)
Hot dog!
George shakes Gower's hand vigorously and exits.
EXTERIOR MAIN STREET BEDFORD FALLS –– DAY
PAN SHOT –– as George crosses the street, Uncle Billy, cousin
Tilly and Cousin Eustace are leaning out of the second floor
window of the Building and
Loan offices.
UNCLE BILLY
Avast there, Captain Cook. You got your sea legs yet?
COUSIN EUSTACE
Parlez-vous francais? Hey, send us some of them picture
postcards, will you, George?
UNCLE BILLY
Hey, George, don't take any plugged nickels.
COUSIN TILLY
Hey, George, your suitcase is leaking.
George waves up at them and continues on across the street.
EXTERIOR MAIN STREET –– DAY
MEDIUM SHOT –– as George crosses the street. He spots Ernie and
his cab, and Bert the motor cop, parked alongside.
GEORGE
Hey, Ernie!
ERNIE
Hiya, George!
GEORGE
Hi, Bert.
BERT
George . . .
GEORGE
Ernie, I'm a rich tourist today. How about driving me home in
style?
Bert opens the door of the cab and puts George's suitcase inside.
ERNIE
Sure, your highness, hop in. And, for the carriage trade, I puts
on my hat.
As George is about to enter the cab, he stops suddenly as he sees
Violet (now obviously a little sex machine) come toward him. Her
walk and figure would
stop anybody. She gives him a sultry look.
REVERSE ANGLE –– The three men by the cab, but including Violet.
VIOLET
Good afternoon, Mr. Bailey.
GEORGE
Hello, Violet. Hey, you look good. That's some dress you got on
there.
CLOSE SHOT –– Violet. She reacts to this.
VIOLET
Oh, this old thing? Why, I only wear it when I don't care how I
look.
CAMERA PANS WITH her as Violet swings on down the sidewalk.
REVERSE SHOT –– cab. As Violet goes by, George and Bert raise
their heads above the top of the cab.
MEDIUM SHOT –– on Violet's back as she goes. As she crosses the
street, an elderly man turns to look at her and is almost hit by
a car that pulls up with
screeching brakes.
CLOSE SHOT –– George and Bert at cab. Ernie sticks his head out
form the driver's seat.
ERNIE
How would you like . . .
GEORGE (as he enters cab)
Yes . . .
ERNIE
Want to come along, Bert? We'll show you the town!
Bert looks at his watch, then takes another look at Violet's
retreating figure.
BERT
No, thanks. Think I'll go home and see what the wife's doing.
ERNIE
Family man.
Dinner at the Bailey home
INTERIOR BAILEY DINING ROOM –– NIGHT
MEDIUM SHOT –– Pop Bailey is seated at the dinner table. Mrs.
Bailey and Annie, the cook, look up toward the vibrating ceiling.
There are SOUNDS of
terrific banging and scuffling upstairs. Annie pounds on the
ceiling with a broom.
MOTHER (calling out)
George! Harry! You're shaking the house down! Stop it!
POP
Oh, let 'em alone. I wish I was up there with them.
MOTHER
Harry'll tear his dinner suit. George!
ANOTHER ANGLE –– Mrs. Bailey is calling up the stairs.
ANNIE
That's why all children should be girls.
MOTHER
But if they were all girls, there wouldn't be any . . . Oh, never
mind. (calling upstairs)
George! Harry! Come down to dinner this minute. Everything's
getting cold and you know we've been waiting for you.
GEORGE'S VOICE
Okay, Mom.
She goes up the stairs.
Pop is smiling and poking his plate. A commotion is heard on the
stairs, the boys imitating fanfare MUSIC. Down they come, holding
their mother high
between them on their hands. They bring her into the dining room
and deposit her gracefully into Pop's lap.
BOYS
Here's a present for you, Pop.
Pop kisses her. Mother gives Pop a quick hug, then turns with all
the wrath she can muster on the two boys.
MOTHER
Oh, you two idiots! George, sit down and have dinner.
HARRY
I've eaten.
MOTHER
Well, aren't you going to finish dressing for your graduation
party? Look at you.
HARRY
I don't care. It's George's tux.
Annie crosses the room, holding her broom. Harry reaches out for
her.
ANNIE
If you lay a hand on me, I'll hit you with this broom.
HARRY
Annie, I'm in love with you. There's a moon out tonight.
As he pushes her through the kitchen door, he slaps her fanny.
She screams. The noise is cut off by the swinging door. George
and his mother sit down at the table.
GEORGE
Boy, oh, boy, oh, boy –– my last meal at the old Bailey boarding
house.
MOTHER
Oh, my lands, my blood pressure!
CLOSE SHOT –– Harry, as he sticks his head through the kitchen
door.
HARRY
Pop, can I have the car? I'm going to take over a lot of plates
and things.
MOTHER
What plates?
HARRY
Oh, Mom –– I'm chairman of the eats committee and we only need a
couple of dozen.
MOTHER
Oh, no you don't. Harry, now, not my best Haviland.
She follows Harry into the kitchen, leaving Pop and George. As
she goes:
GEORGE
Oh, let him have the plates, Mother.
CLOSE SHOT –– George and his father, eating at the table. There
is a great similarity and a great understanding between them.
POP
Hope you have a good trip, George. Uncle Billy and I are going to
miss you.
GEORGE
I'm going to miss you, too, Pop. What's the matter? You look
tired.
POP
Oh, I had another tussle with Potter today.
GEORGE
Oh . . .
POP
I thought when we put him on the Board of Directors, he'd ease up
on us a little bit.
GEORGE
I wonder what's eating that old money-grubbing buzzard anyway?
POP
Oh, he's a sick man. Frustrated and sick. Sick in his mind, sick
in his soul, if he has one. Hates everybody that has anything
that he can't have. Hates us mostly, I guess.
MEDIUM SHOT –– the dining room. Harry and his mother come out of
the kitchen, Harry carrying a pie in each hand and balancing one
on his head.
CAMERA PANS WITH them as they cross.
HARRY
Gangway! Gangway! So long, Pop.
POP
So long, son.
GEORGE
Got a match?
HARRY
Very funny. Very funny.
MOTHER
Put those things in the car and I'll get your tie and studs
together.
HARRY
Okay, Mom. You coming later? You coming later, George?
GEORGE
What do you mean, and be bored to death?
HARRY
Couldn't want a better death. Lots of pretty girls, and we're
going to use that new floor of yours tonight, too.
GEORGE
I hope it works.
POP
No gin tonight, son.
HARRY
Aw, Pop, just a little.
POP
No, son, not one drop.
CLOSE SHOT –– George and Pop at the table. Annie comes in with
some dishes.
ANNIE
Boys and girls and music. Why do they need gin?
She exits.
GEORGE
Father, did I act like that when I graduated from high school?
POP
Pretty much. You know, George, wish we could send Harry to
college with you. Your mother and I talked it over half the
night.
GEORGE
We have that all figured out. You see, Harry'll take my job at
the Building and Loan, work there four years, then he'll go.
POP
He's pretty young for that job.
GEORGE
Well, no younger than I was.
POP
Maybe you were born older, George.
GEORGE
How's that?
POP
I say, maybe you were born older. I suppose you've decided what
you're going to do when you get out of college.
GEORGE
Oh, well, you know what I've always talked about –– build things
. . . design new buildings –– plan modern cities –– all that
stuff I was talking about.
POP
Still after that first million before you're thirty.
GEORGE
No, I'll settle for half that in cash.
Annie comes in again from the kitchen.
POP
Of course, it's just a hope, but you wouldn't consider coming
back to the Building and Loan, would you?
Annie stops serving to hear his answer.
GEORGE
Well, I . . . (to Annie)
Annie, why don't you draw up a chair? Then you'd be more
comfortable and you could hear everything that's going on.
ANNIE
I would if I thought I'd hear anything worth listening to.
GEORGE
You would, huh?
She gives George a look, and goes on out into the kitchen. Bailey
smiles and turns to George.
POP
I know it's soon to talk about it.
GEORGE
Oh, now, Pop, I couldn't. I couldn't face being cooped up for the
rest of my life in a shabby little office.
He stops, realizing that he has hurt his father.
GEORGE (cont'd)
Oh, I'm sorry, Pop. I didn't mean that remark, but this business
of nickels and dimes and spending all your life trying to figure
out how to save
three cents on a length of pipe . . . I'd go crazy. I want to do
something big and something important.
POP (quietly)
You know, George, I feel that in a small way we are doing
something important. Satisfying a fundamental urge. It's deep in
the race for a man to
want his own roof and walls and fireplace, and we're helping him
get those things in our shabby little office.
GEORGE (unhappily)
I know, Dad. I wish I felt . . . But I've been hoarding pennies
like a miser in order to . . . Most of my friends have already
finished college. I
just feel like if I don't get away, I'd bust.
POP
Yes . . . Yes . . . You're right, son.
GEORGE
You see what I mean, don't you, Pop?
POP
This town is no place for any man unless he's willing to crawl to
Potter. You've got talent, son. You get yourself an education.
Then get out of here.
GEORGE
Pop, do you want a shock? I think you're a great guy.
To cover his embarrassment, he looks toward the kitchen door and
calls:
GEORGE (cont'd)
Oh, did you hear that, Annie?
CLOSE SHOT –– Annie listening through glass in door.
ANNIE
I heard it. About time one of you lunkheads said it.
CLOSE SHOT –– George and his father at the table.
GEORGE
I'm going to miss old Annie. Pop, I think I'll get dressed and go
over to Harry's party.
POP
Have a good time, son.
WIPE TO:
High school gymnasium dance
INTERIOR HIGH SCHOOL GYM –– NIGHT
MEDIUM CLOSE SHOT –– At one end of the room an orchestra is
playing. George wends his way through the dancing couples toward
a supper table.
He and Harry are carrying plates and pies.
GEORGE
Here you are.
Several of the boys take the plates from him. George looks at
them, feeling very grown up and out of place.
HARRY (introducing George)
You know my kid brother, George. I'm going to put him through
college.
Sam Wainwright comes in behind Harry, waggles his hands at his
ears as he talks.
SAM
Here comes George. Hello, hee-haw!
George swings around, delighted to hear a familiar voice.
WIDER ANGLE –– including Sam and Marty Hatch. Sam is assured and
breezy, wearing very collegiate clothes.
GEORGE
Oh, oh. Sam Wainwright! How are you? When did you get here?
SAM
Oh, this afternoon. I thought I'd give the kids a treat.
GEORGE
Old college graduate now, huh?
SAM
Yeah –– old Joe College Wainwright, they call me. Well, freshman,
looks like you're going to make it after all.
GEORGE
Yep.
Sam sees Harry and leaves George in the middle of a gesture.
SAM (to Harry)
Harry! You're the guy I want to see. Coach has heard all about
you.
HARRY
He has?
SAM
Yeah. He's followed every game and his mouth's watering. He wants
me to find out if you're going to come along with us.
HARRY
Well, I gotta make some dough first.
SAM
Well, you better make it fast. We need great ends like you –– not
broken down old guys like this one.
George and Sam wiggle their fingers at their ears, saluting each
other.
GEORGE
Hee-haw!
SAM
Hee-haw!
An elderly, fussy school principal comes over to George.
PRINCIPAL
George, welcome back.
GEORGE
Hello, Mr. Partridge, how are you?
PRINCIPAL
Putting a pool under this floor was a great idea. Saved us
another building. Now, Harry, Sam, have a lot of fun. There's
lots of stuff to eat and drink.
Lots of pretty girls around.
Violet Bick comes into the scene and turns to face George. She is
waving her dance program at him.
VIOLET
Hey, George . . .
GEORGE
Hello, Violet.
VIOLET
Hello, what am I bid?
Marty Hatch enters scene.
MARTY
George.
GEORGE
Hiya, Marty. Well, it's old home week.
MARTY
Do me a favor, will you, George?
GEORGE
What's that?
MARTY
Well, you remember my kid sister, Mary?
GEORGE
Oh, yeah, yeah.
SAM
"Momma wants you, Marty." "Momma wants you, Marty." Remember?
MARTY
Dance with her, will you?
GEORGE
Oh . . . me? Oh, well, I feel funny enough already, with all
these kids.
MARTY
Aw, come on. Be a sport. Just dance with her one time and you'll
give her the thrill of her life.
SAM
Aw, go on.
MARTY (calling off)
Hey, sis.
GEORGE
Well, excuse me, Violet. Don't be long, Marty. I don't want to be
a wet nurse for . . .
He stops suddenly as he sees Mary, staring at her.
CLOSEUP –– Mary Hatch. She is standing talking to one of the
boys, Freddie, a glass of punch in her hand. For the first time,
she is wearing an evening
gown and she has gained assurance from the admiration of the boy
with her. She turns around and for the first time she sees
George. For a second she
loses her poise, staring at him.
FREDDIE'S VOICE
And the next thing I know, some guy came up and tripped me.
That's the reason why I came in fourth. If it hadn't been for
that . . .
CLOSE SHOT –– George, staring at Mary.
FREDDIE'S VOICE (cont'd)
. . . that race would have been a cinch. I tried to find out who
it was later . . .
CLOSEUP –– Mary, still staring at George, and smiling.
FREDDIE'S VOICE (cont'd)
. . . but I couldn't find out. Nobody'd ever tell you whoever it
was because they'd be scared. They know . . .
MEDIUM CLOSEUP –– Mary and Freddie. Marty comes into scene,
followed by George.
FREDDIE (cont'd)
. . . what kind of . . .
MARTY (interrupting)
You remember George? This is Mary. Well, I'll be seeing you.
GEORGE
Well . . . Well . . . Well . . .
FREDDIE
Now, to get back to my story, see . . .
Mary hands her punch cup to Freddie, and she and George start
dancing.
FREDDIE (cont'd)
Hey, this is my dance!
GEORGE
Oh, why don't you stop annoying people?
FREDDIE
Well, I'm sorry. Hey!
MOVING SHOT –– following George and Mary as they dance.
GEORGE
Well, hello.
MARY
Hello. You look at me as if you didn't know me.
GEORGE
Well, I don't.
MARY
You've passed me on the street almost every day.
GEORGE
Me?
MARY
Uh-huh.
GEORGE
Uh-uh. That was a little girl named Mary Hatch. That wasn't you.
A WHISTLE is heard offscreen, and the MUSIC stops.
CLOSE SHOT –– Harry on the orchestra platform, whistle in hand.
HARRY
Oyez –– oyez –– oyez . . . The big Charleston contest. The prize?
A genuine loving cup. Those not tapped by the judges will remain
on the floor. Let's
go!
CLOSEUP –– George and Mary. As the MUSIC starts and couples begin
dancing once more, they look at each other.
GEORGE
I'm not very good at this.
MARY
Neither am I.
GEORGE
Okay –– what can we lose?
They start their Charleston. We see a SERIES OF SHOTS of various
couples doing their routines, some good, some bad.
CLOSEUP –– Freddie leaning against the railing around the dance
floor, looking daggers at George. Mickey, a young punk who has
had one too many,
is beside him.
MICKEY
What's the matter, Othello –– jealous? Did you know there's a
swimming pool under this floor? And did you know that button
behind you causes this
floor to open up? And did you further know that George Bailey is
dancing right over that crack? And I've got the key?
Freddie needs no more. He takes the key from Mickey and turns the
switch. The floor begins to part in the middle, each half sliding
under the bleacher
seats. Pandemonium starts. Dancers begin to scream as they try to
get off. Some are so engrossed in dancing they continue at top
speed. Teachers and
elders start to scurry off. As the floor opens, it reveals an
attractive, lighted swimming pool.
George and Mary are so busy dancing they don't notice the floor
opening. Spotlights concentrate on them. They mistake the screams
for cheers.
CLOSE SHOT –– George and Mary dancing.
GEORGE
They're cheering us. We must be good.
MEDIUM CLOSE SHOT –– the crowd watching George and Mary dancing.
They move backwards until finally they reach the edge of the
floor and fall
into the pool below.
SERIES OF SHOTS –– George and Mary still trying to dance in the
water –– the crowd on the edge cheering them –– some of the crowd
leap into the
pool –– the principal trying to restore order, finally clasps his
hands like a diver and leaps in himself.
FADE OUT
George and Mary's moonlight walk
FADE IN
EXTERIOR TREE-LINED RESIDENTIAL STREET –– NIGHT
MEDIUM CLOSE SHOT –– George and Mary. The night is warm with a
bright moon. George is dressed in jersey sweater and oversize
football pants
that keep wanting to come down. Mary is in an old white bath
robe. Each is carrying their wet clothes tied into a bundle that
leaves a trail of dripping
water. As they near the camera we hear them singing:
GEORGE AND MARY (singing)
Buffalo Gals can't you come out tonight. Can't you come out
tonight. Can't you come out tonight. Buffalo Gals can't you come
out tonight and dance by the light of the moon.
GEORGE
Hot dog! Just like an organ.
MARY
Beautiful.
CAMERA MOVES WITH them as they proceed down the street.
GEORGE
And I told Harry I thought I'd be bored to death. You should have
seen the commotion in that locker room. I had to knock down three
people to get
this stuff we're wearing here. Here, let me hold that old wet
dress of yours.
He takes the bundle of clothes from Mary. They stop and look at
each other.
MARY
Do I look as funny as you do?
GEORGE
I guess I'm not quite the football type. You . . . look
wonderful. You know, if it wasn't me talking I'd say you were the
prettiest girl in town.
MARY
Well, why don't you say it?
GEORGE
I don't know. Maybe I will say it. How old are you anyway?
MARY
Eighteen.
GEORGE
Eighteen? Why, it was only last year you were seventeen.
MARY
Too young or too old?
GEORGE
Oh, no. Just right. Your age fits you. Yes, sir, you look a
little older without your clothes on.
Mary stops. George, to cover his embarrassment, talks quickly on:
GEORGE
I mean, without a dress. You look older . . . I mean, younger.
You look just . . .
In his confusion George steps on the end of the belt of Mary's
bath robe, which is trailing along behind her. She gathers the
robe around her.
GEORGE
Oh-oh . . .
MARY (holding out her hand)
Sir, my train, please.
GEORGE
A pox upon me for a clumsy lout.
He picks up the belt and throws it over her arm.
GEORGE
Your . . . your caboose, my lady.
MARY
You may kiss my hand.
GEORGE
Ummmmm . . .
Holding her hand, George moves in closer to Mary.
GEORGE (cont'd)
Hey –– hey, Mary.
Mary turns away from him, singing "Buffalo Gals":
MARY (singing)
As I was lumbering down the street . . .
George looks after her; then picks up a rock from the street.
GEORGE
Okay, then, I'll throw a rock at the old Granville house.
MARY
Oh, no, don't. I love that old house.
MEDIUM LONG SHOT –– old house. It is a weather-beaten, old-
fashioned two-storied house that once was no doubt resplendent.
GEORGE
No. You see, you make a wish and then try and break some glass.
You got to be a pretty good shot nowadays, too.
MEDIUM CLOSEUP –– George and Mary.
MARY
Oh, no, George, don't. It's full of romance, that old place. I'd
like to live in it.
GEORGE
In that place?
MARY
Uh-huh.
GEORGE
I wouldn't live in it as a ghost. Now watch . . . right on the
second floor there.
MEDIUM LONG SHOT –– old house. George hurls the rock at the
house. We hear the SOUND of a window breaking.
EXTERIOR FRONT PORCH OF HOUSE –– Night
CLOSE SHOT –– We see a grumpy old man in shirt sleeves in a
rocking chair on the porch. He looks up as he hears the breaking
glass.
EXTERIOR STREET –– NIGHT
CLOSEUP –– George and Mary.
MARY
What'd you wish, George?
GEORGE
Well, not just one wish. A whole hatful, Mary. I know what I'm
going to do tomorrow and the next day and the next year and the
year after that. I'm
shaking the dust of this crummy little town off my feet and I'm
going to see the world. Italy, Greece, the Parthenon, the
Colosseum. Then I'm coming back here and
go to college and see what they know . . . and then I'm going to
build things. I'm gonna build air fields. I'm gonna build
skyscrapers a hundred stories high. I'm gonna
build bridges a mile long . . .
As he talks, Mary has been listening intently. She finally stoops
down and picks up a rock, weighting it in her hand.
GEORGE (cont'd)
Are you gonna throw a rock?
MEDIUM LONG SHOT –– the old deserted house. Mary throws her rock,
and once more we hear the SOUND of breaking glass.
GEORGE (cont'd)
Hey, that's pretty good. What'd you wish, Mary?
Mary looks at him provocatively, then turns and shuffles off down
the street, singing as she goes. George hurries after her.
MARY (singing)
Buffalo Gals, can't you come out tonight . . .
George joins her in the singing as they proceed down the street.
MARY AND GEORGE (singing)
. . . can't you come out tonight, can't you come out tonight.
Buffalo Gals can't you come out tonight and dance by the light of
the moon.
GEORGE
What'd you wish when you threw that rock?
CLOSE SHOT –– man on the porch of house, listening to George and
Mary.
MEDIUM CLOSEUP –– George and Mary have stopped walking and now
face one another.
MARY
Oh, no.
GEORGE
Come on, tell me.
MARY
If I told you it might not come true.
GEORGE
What is it you want, Mary? What do you want? You want the moon?
Just say . . .
LONG SHOT –– full moon shining through the trees.
BACK TO SHOT –– George and Mary.
GEORGE (cont'd)
. . . the word and I'll throw a lasso around it and pull it down.
Hey, that's a pretty good idea. I'll give you the moon, Mary.
MARY
I'll take it. And then what?
GEORGE
Well, then you could swallow it and it'd all dissolve, see? And
the moonbeams'd shoot out of your fingers and your toes, and the
ends of your hair.
(pauses) Am I talking too much?
MEDIUM CLOSEUP –– Man on porch of house. As George finishes
talking, he jumps up out of his chair:
MAN
Yes!! Why don't you kiss her instead of talking her to death?
CLOSE SHOT –– George and Mary.
GEORGE
How's that?
MEDIUM CLOSEUP –– man on porch.
MAN
Why don't you kiss her instead of talking her to death?
CLOSE SHOT –– George and Mary.
GEORGE
Want me to kiss her, huh?
CLOSE SHOT –– porch of house.
MAN
Aw, youth is wasted on the wrong people.
As he speaks, the man leaves the porch and goes into his house,
slamming the front door.
CLOSE SHOT –– George and Mary.
GEORGE
Hey, hey, hold on. Hey, mister, come on back out here, and I'll
show you some kissing that'll put hair back on your head. What
are you . . .
Mary runs off scene. George has been once more standing on the
belt of her bath robe, so as she goes, her robe comes off.
GEORGE (looking around)
Mary . . .
He drops his bundle of clothes and picks up Mary's robe. He
cannot se her anywhere.
GEORGE (cont'd)
Okay, I give up. Where are you?
CLOSEUP –– bush at edge of sidewalk. We see Mary's face peering
out from the leaves.
MARY
Over here in the hydrangea bushes.
MEDIUM CLOSE SHOT –– George and Mary. George walks toward the
bush.
GEORGE
Here you are. Catch.
He is about to throw her the robe, when a thought strikes him.
GEORGE (cont'd)
Wait a minute. What am I doing? This is a very interesting
situation.
MARY (from the bushes)
Please give me my robe.
GEORGE
Hmm . . . A man doesn't get in a situation like this every day.
MARY (impatiently)
I'd like to have my robe.
GEORGE
Not in Bedford Falls, anyway.
Mary thrashes around in the bushes. We hear her say:
MARY
Ouch!
GEORGE
Gesundheit. This requires a little thought here.
MARY (getting mad)
George Bailey! Give me my robe!
GEORGE
I've heard about things like this, but I've never . . .
MARY (interrupting)
Shame on you. I'm going to tell your mother on you.
GEORGE
Oh, my mother's way up the corner there.
MARY (desperate)
I'll call the police.
GEORGE
They're way downtown. They'd be on my side, too.
MARY
I'm going to scream!
GEORGE (thoughtfully)
Maybe I could sell tickets. Let's see. No, the point is, in order
to get this robe . . . I've got it! I'll make a deal with you,
Mary.
Headlights flash into the scene, and the old Bailey automobile
drives in, with Harry at the wheel, and Uncle Billy beside him.
UNCLE BILLY
George! George! Come on home, quick! Your father's had a stroke!
George throws Mary's robe over the bush and gets into the car.
GEORGE
Mary . . . Mary, I'm sorry. I've got to go.
HARRY
Come on, George, let's hurry.
GEORGE
Did you get a doctor?
UNCLE BILLY
Yes, Campbell's there now.
CLOSEUP –– the hydrangea bush. As the car drives off, Mary, now
wearing the robe, rises up from the bush and follows the car with
her eyes.
FADE OUT
Board of directors meeting
FADE IN
EXTERIOR BAILEY BUILDING AND LOAN SIGN OVER ENTRANCE
INTERIOR BAILEY BUILDING AND LOAN OFFICE –– DAY
CLOSE SHOT –– Directors Meeting. There are about twelve directors
seated around a long table. They are the substantial citizens of
Bedford Falls
Dr.
Campbell, a lawyer, an insurance agent, a real estate salesman,
etc. Prominently seated among them is Henry F. Potter, his goon
beside his wheelchair.
Uncle Billy and George are seated among the directors. The
Chairman of the Board is Dr. Campbell. They have folders and
papers before them, on which
they have been reporting. Before each of the directors there are
individual reports for them to study.
DR. CAMPBELL
I think that's all we'll need you for, George. I know you're
anxious to make a train.
GEORGE (rising)
I have a taxi waiting downstairs.
DR. CAMPBELL
I want the Board to know that George gave up his trip to Europe
to help straighten things out here these past few months. Good
luck to you at
school, George.
GEORGE
Thanks.
DR. CAMPBELL
Now we come to the real purpose of this meeting –– to appoint a
successor to our dear friend, Peter Bailey.
POTTER
Mr. Chairman, I'd like to get to my real purpose.
MAN
Wait just a minute now.
POTTER
Wait for what? I claim this institution is not necessary to this
town. Therefore, Mr. Chairman, I make a motion to dissolve this
institution and turn its
assets and liabilities over to the receiver.
UNCLE BILLY (angrily)
George, you hear what that buzzard . . .
LAWYER
Mr. Chairman, it's too soon after Peter Bailey's death to discuss
chloroforming the Building and Loan.
MAN
Peter Bailey died three months ago. I second Mr. Potter's motion.
DR. CAMPBELL
Very well. In that case I'll ask the two executive officers to
withdraw.
Dr. Campbell rises from his seat. George and Uncle Billy start to
collect their papers and leave the table.
DR. CAMPBELL (continued)
But before you go, I'm sure the whole board wishes to express its
deep sorrow at the passing of Peter Bailey.
GEORGE
Thank you very much.
DR. CAMPBELL
It was his faith and devotion that are responsible for this
organization.
POTTER
I'll go further than that. I'll say that to the public Peter
Bailey was the Building and Loan.
Everyone looks at him surprised.
UNCLE BILLY (trying to control himself)
Oh, that's fine, Potter, coming from you, considering that you
probably drove him to his grave.
POTTER
Peter Bailey was not a business man. That's what killed him. Oh,
I don't mean any disrespect to him, God rest his soul. He was a
man of high ideals,
so-called, but ideals without common sense can ruin this town.
(picking up papers from table)
Now, you take this loan here to Ernie Bishop . . . You know, that
fellow that sits around all day on his brains in his taxi. You
know . . . I happen to know the bank
turned down this loan, but he comes here and we're building him a
house worth five thousand dollars. Why?
George is at the door of the office, holding his coat and papers,
ready to leave.
GEORGE
Well, I handled that, Mr. Potter. You have all the papers there.
His salary, insurance. I can personally vouch for his character.
POTTER (sarcastically)
A friend of yours?
GEORGE
Yes, sir.
POTTER
You see, if you shoot pool with some employee here, you can come
and borrow money. What does that get us? A discontented, lazy
rabble instead of a
thrifty working class. And all because a few starry-eyed dreamers
like Peter Bailey stir them up and fill their heads with a lot of
impossible ideas. Now, I say . . .
George puts down his coat and comes around to the table, incensed
by what Potter is saying about his father.
GEORGE
Just a minute –– just a minute. Now, hold on, Mr. Potter. You're
right when you say my father was no business man. I know that.
Why he ever started
this cheap, penny-ante Building and Loan, I'll never know. But
neither you nor anybody else can say anything against his
character, because his whole life was . . .
Why, in the twenty-five years since he and Uncle Billy started
this thing, he never once thought of himself. Isn't that right,
Uncle Billy? He didn't save enough money
to send Harry to school, let alone me. But he did help a few
people get out of your slums, Mr. Potter. And what's wrong with
that? Why . . . Here, you're all
businessmen here. Doesn't it make them better citizens? Doesn't
it make them better customers? You . . . you said . . . What'd
you say just a minute ago? . . . They
had to wait and save their money before they even ought to think
of a decent home. Wait! Wait for what? Until their children grow
up and leave them? Until they're
so old and broken-down that they . . . Do you know how long it
takes a working man to save five thousand dollars? Just remember
this, Mr. Potter, that this rabble
you're talking about . . . they do most of the working and paying
and living and dying in this community. Well, is it too much to
have them work and pay and live and
die in a couple of decent rooms and a bath? Anyway, my father
didn't think so. People were human beings to him, but to you, a
warped, frustrated old man, they're
cattle. Well, in my book he died a much richer man than you'll
ever be!
POTTER
I'm not interested in your book. I'm talking about the Building
and Loan.
GEORGE
I know very well what you're talking about. You're talking about
something you can't get your fingers on, and it's galling you.
That's what you're talking
about, I know.
(to the Board)
Well, I've said too much. I . . . You're the Board here. You do
what you want with this thing. Just one thing more, though. This
town needs this measly one-horse
institution if only to have some place where people can come
without crawling to Potter. Come on, Uncle Billy!
George leaves the room, followed by the jubilant Uncle Billy.
Potter's face is grim with hatred. The "frustrated old man"
remark was gall in his veins.
POTTER
Sentimental hogwash! I want my motion . . .
He is interrupted by a babble of talk, as the directors take up
the argument.
INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY
MEDIUM CLOSE SHOT –– George, visibly shaken, is busy with his
bag, his papers. He is worried about the outcome of the meeting.
Dissolving the
Building and Loan will alter his plans. Uncle Billy follows him
around, chattering.
UNCLE BILLY
Boy, oh, boy, that was telling him, George, old boy. You shut his
big mouth.
(to Cousin Tilly and Cousin Eustace)
You should have heard him.
COUSIN EUSTACE
What happened? We heard a lot of yelling.
UNCLE BILLY
Well, we're being voted out of business after twenty-five years.
Easy come, easy go.
COUSIN TILLY (reading a newspaper)
Here it is, "Help Wanted –– Female."
MEDIUM CLOSE SHOT –– DOORWAY TO OFFICE. Ernie is in the doorway.
ERNIE
You still want me to hang around, George?
MEDIUM CLOSE SHOT –– George and the others.
GEORGE (looking at his watch)
Yeah, I'll be right down.
UNCLE BILLY
Hey, you'll miss your train. You're a week late for school
already. Go on.
GEORGE (indicating Board room)
I wonder what's going on in there?
UNCLE BILLY
Oh, never mind. Don't worry about that. They're putting us out of
business. So what? I can get another job. I'm only fifty-five.
COUSIN TILLY
Fifty-six!
UNCLE BILLY
Go on –– go on. Hey, look, you gave up your boat trip, now you
don't want to miss college too, do you?
Dr. Campbell comes running out, all excited.
DR. CAMPBELL
George! George! They voted Potter down! They want to keep it
going!
Cousin Eustace, Cousin Tilly and Uncle Billy cheer wildly. Dr.
Campbell and George shake hands.
UNCLE BILLY
Whoopee!
DR. CAMPBELL
But they've got one condition –– only one condition.
GEORGE
What's that?
DR. CAMPBELL
That's the best part of it. They've appointed George here as
executive secretary to take his father's place.
GEORGE
Oh, no! But, Uncle Billy . . .
DR. CAMPBELL
You can keep him on. That's all right. As secretary you can hire
anyone you like.
GEORGE (emphatically)
Dr. Campbell, now let's get this thing straight. I'm leaving. I'm
leaving right now. I'm going to school. This is my last chance.
Uncle Billy
here, he's your man.
DR. CAMPBELL
But, George, they'll vote with Potter otherwise.
LAP DISSOLVE
Railroad station –– Harry's return
EXTERIOR SKY –– NIGHT
The same stars we saw in the opening sequence are once more
twinkling as we hear the voices form Heaven:
CLARENCE'S VOICE
I know. I know. He didn't go.
JOSEPH'S VOICE
That's right. Not only that, but he gave his school money to his
brother Harry, and sent him to college. Harry became a football
star –– made
second team All American.
CLARENCE'S VOICE
Yes, but what happened to George?
LAP DISSOLVE
EXTERIOR RAILROAD STATION –– DAY –– FOUR YEARS LATER
MEDIUM SHOT –– Characteristic activity; a number of people
waiting for the train. Uncle Billy is seated on a baggage wagon
eating peanuts as George
paces up and down in front of him.
JOSEPH'S VOICE
George got four years older, waiting for Harry to come back and
take over the Building and Loan.
GEORGE
Oh, there are plenty of jobs around for somebody that likes to
travel. Look at this.
(takes some folders from his pocket)
There . . . Venezuela oil fields –– wanted, man with construction
experience. Here's the Yukon, right here –– wanted, man with
engineering experience.
The WHISTLE of the approaching train is heard.
GEORGE (cont'd)
Thar she blows. You know what the three most exciting sounds in
the world are?
UNCLE BILLY
Uh-huh. Breakfast is served; lunch is served; dinner . . .
GEORGE
No, no, no, no! Anchor chains, plane motors, and train whistles.
UNCLE BILLY
Peanut?
WIPE TO:
EXTERIOR TRAIN –– DAY
MEDIUM SHOT –– The train comes to a stop, and Harry is among the
first to get off, followed by an attractive girl about the same
age as he is. George
rushes into the shot, and as the brothers embrace:
GEORGE (joyously)
There's the professor now! Old professor, Phi Beta Kappa Bailey!
All American!
HARRY
Well, if it isn't old George Geographic Explorer Bailey! What? No
husky dogs? No sled?
(to Uncle Billy)
Uncle Billy, you haven't changed a bit.
UNCLE BILLY
Nobody ever changes around here. You know that.
GEORGE
Oh, am I glad to see you.
HARRY
Say, where's Mother?
GEORGE
She's home cooking the fatted calf. Come on, let's go.
HARRY
Oh, wait. Wait . . . Wait a minute.
CLOSE SHOT –– the group, including Ruth Dakin. This is the young
lady who came off the train with Harry. In the excitement of
greetings she has been
momentarily forgotten. She stands, smiling, waiting.
GEORGE
Hello.
UNCLE BILLY
How do you do.
HARRY
Ruth Dakin.
RUTH
Ruth Dakin Bailey, if you don't mind.
George and Uncle Billy stare, astounded.
UNCLE BILLY
Huh?
HARRY
Well, I wired you I had a surprise. Here she is. Meet the wife.
George is thunderstruck. He takes Ruth's hand.
UNCLE BILLY
Well, what do you know –– wife.
GEORGE
Well, how do you do. Congratulations. Congratulations. What am I
doing?
He kisses Ruth. CAMERA MOVES WITH them down the platform.
GEORGE
Harry, why didn't you tell somebody?
(to Ruth)
What's a pretty girl like you doing marrying this two-headed
brother of mine?
RUTH (smiling)
Well, I'll tell you. It's purely mercenary. My father offered him
a job.
George stops, with a sinking feeling. Uncle Billy and Ruth
continue out of shot. Harry stops with George.
UNCLE BILLY (as he moves off)
Oh, he gets you and a job? Well, Harry's cup runneth over.
HARRY
George . . . about that job. Ruth spoke out of turn. I never said
I'd take it. You've been holding the bag here for four years, and
. . . well, I won't let you
down, George. I would like to . . . Oh, wait a minute. I forgot
the bags. I'll be right back.
He runs out of the shot, George watching him.
CLOSE SHOT –– George slowly moves after Uncle Billy and Ruth. He
is thinking deeply.
UNCLE BILLY'S VOICE
It was a surprise to me. This is the new Mrs. Bailey, my nephew's
wife. Old, old friend of the family.
RUTH'S VOICE
Oh, of course. I've heard him speak of you.
UNCLE BILLY'S VOICE
And I want to tell you, we're going to give the biggest party
this town ever saw.
CAMERA MOVES WITH George as he comes into the scene. Ruth
detaches herself from the group and offers George some popcorn.
RUTH (to George)
Here, have some popcorn. George, George, George . . . that's all
Harry ever talks about.
GEORGE (quietly)
Ruth, this . . . what about this job?
RUTH
Oh, well, my father owns a glass factory in Buffalo. He wants to
get Harry started in the research business.
GEORGE
Is it a good job?
RUTH
Oh, yes, very. Not much money, but a good future, you know.
Harry's a genius at research. My father fell in love with him.
GEORGE
And you did, too?
Ruth nods, smiling.
WIPE TO:
After Harry's wedding celebration/George and Violet
EXTERIOR FRONT PORCH –– BAILEY HOME –– NIGHT
MEDIUM CLOSE SHOT –– Cousin Eustace is taking a photograph of the
family group assembled on the porch. Flash bulbs go off, and the
group breaks
up. The crowd enters the front door of the house, leaving George
and Uncle Billy on the porch.
CLOSE SHOT –– George and Uncle Billy. The latter is tipsy. He
feels very high.
UNCLE BILLY
Oh, boy, oh boy, oh boy. I feel so good I could spit in Potter's
eye. I think I will. What did you say, huh? Oh, maybe I'd better
go home.
He looks around for his hat, which is on his head.
UNCLE BILLY (cont'd)
Where's my hat? Where's my . . .
George takes the hat from Uncle Billy's head and hands it to him.
UNCLE BILLY (cont'd)
Oh, thank you, George. Which one is mine?
GEORGE (laughing)
The middle one.
UNCLE BILLY
Oh, thank you, George, old boy, old boy. Now, look –– if you'll
point me in the right direction . . . would you do that? George?
GEORGE
Right down here.
They descend the porch steps, and George turns his uncle around
and heads him down the street.
UNCLE BILLY
Old Building and Loan pal, huh . . .
GEORGE
Now you just turn this way and go right straight down.
UNCLE BILLY
That way, huh?
He staggers out of the scene, and as George turns away, we hear
Uncle Billy singing "My Wild Irish Rose." There is a CRASH of
cans and bottles, then:
UNCLE BILLY'S VOICE
I'm all right. I'm all right. " . . . the sweetest flower that
grows . . . "
EXTERIOR HOUSE –– NIGHT
MEDIUM CLOSE SHOT –– George is standing at the garden gate. He
takes some travel folders from his pocket, looks at them and
throws them away.
He is obviously disturbed about the latest turn of events. His
mother comes out of the house and kisses him.
GEORGE
Hello, Mom.
MRS. BAILEY (as she kisses him)
That's for nothing. How do you like her?
She nods toward the house, where Harry and Ruth, among a crowd of
other couples, are dancing to the MUSIC of a phonograph, and can
be seen
through the front door.
GEORGE
She's swell.
MRS. BAILEY
Looks like she can keep Harry on his toes.
GEORGE
Keep him out of Bedford Falls, anyway.
MRS. BAILEY
Did you know that Mary Hatch is back from school?
GEORGE
Uh-huh.
MRS. BAILEY
Came back three days ago.
GEORGE
Hmmmm . . .
MRS. BAILEY
Nice girl, Mary.
GEORGE
Hmmmm . . .
MRS. BAILEY
Kind that will help you find the answers, George.
GEORGE
Hmmm . . .
MRS. BAILEY
Oh, stop that grunting.
GEORGE
Hmmm . . .
MRS. BAILEY
Can you give me one good reason why you shouldn't call on Mary?
GEORGE
Sure –– Sam Wainwright.
MRS. BAILEY
Hmmm?
GEORGE
Yes. Sam's crazy about Mary.
MRS. BAILEY
Well, she's not crazy about him.
GEORGE
Well, how do you know? Did she discuss it with you?
MRS. BAILEY
No.
GEORGE
Well then, how do you know?
MRS. BAILEY
Well, I've got eyes, haven't I? Why, she lights up like a firefly
whenever you're around.
GEORGE
Oh . . .
MRS. BAILEY
And besides, Sam Wainwright's away in New York, and you're here
in Bedford Falls.
GEORGE
And all's fair in love and war?
MRS. BAILEY (primly)
I don't know about war.
GEORGE
Mother, you know, I can see right through you –– right back to
your back collar
button . . . trying to get rid of me, huh?
MRS. BAILEY
Uh-huh.
They kiss. Mrs. Bailey puts George's hat on his head.
GEORGE
Well, here's your hat, what's your hurry? All right, Mother, old
Building and Loan pal, I think I'll go out and find a girl and do
a little passionate necking.
MRS. BAILEY
Oh, George!
GEORGE
Now, if you'll just point me in the right direction . . . This
direction?
(as he leaves)
Good night, Mrs. Bailey.
WIPE TO:
EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT
CLOSE SHOT –– George is standing in the middle of the street,
hands in his pockets. As a girl passes, he turns and watches her
for a moment. He is
obviously undecided as to what he wants to do.
EXTERIOR VIOLET BICK'S BEAUTY SHOP –– NIGHT
MEDIUM SHOT –– Violet is locking up for the night. A couple of
men are crowding around her, each one bent on taking her out.
There is laughter,
kidding and pawing. She looks up and sees George standing there.
VIOLET (to the two men)
Excuse me . . .
MAN
Now, wait a minute.
VIOLET
I think I got a date. But stick around, fellows, just in case,
huh?
MAN
We'll wait for you, baby.
CAMERA PANS WITH Violet as she crosses the street to George.
MEDIUM CLOSE SHOT –– George and Violet.
VIOLET
Hello, Georgie-Porgie.
GEORGE
Hello, Vi.
He looks her over. Violet takes her beauty shop seriously and
she's an eyeful. She senses the fact that George is far from
immune to her attractions. She
links her arm in his and continues on down the street with him.
CLOSE MOVING SHOT –– George and Violet.
VIOLET
What gives?
GEORGE
Nothing.
VIOLET
Where are you going?
GEORGE
Oh, I'll probably end up down at the library.
They stop walking and face one another.
VIOLET
George, don't you ever get tired of just reading about things?
Her eyes are seductive and guileful as she looks up at him. He is
silent for a moment, then blurts out:
GEORGE
Yes . . what are you doing tonight?
VIOLET (feigned surprise)
Not a thing.
GEORGE
Are you game, Vi? Let's make a night of it.
VIOLET (just what she wanted)
Oh, I'd love it, Georgie. What'll we do?
GEORGE
Let's go out in the fields and take off our shoes and walk
through the grass.
VIOLET
Huh?
GEORGE
Then we can go up to the falls. It's beautiful up there in the
moonlight, and there's a green pool up there, and we can swim in
it. Then we can climb Mt.
Bedford, and smell the pines, and watch the sunrise against the
peaks, and . . . we'll stay up there the whole night, and
everybody'll be talking and there'll be a terrific
scandal . . .
VIOLET (interrupting)
George, have you gone crazy? Walk in the grass in my bare feet?
Why, it's ten miles up to Mt. Bedford.
GEORGE
Shhh . . .
VIOLET (angrily)
You think just because you . . .
By this time a small crowd has collected to watch the above
scene. Violet is furious and talking in a loud voice, and George
is trying to quiet her. Finally:
GEORGE
Okay, just forget about the whole thing.
As George stalks off, the crowd breaks into laughter, and we:
WIPE TO:
George calls on Mary and their fate is sealed
EXTERIOR RESIDENTIAL STREET –– NIGHT
CLOSE SHOT –– George is walking slowly past the Hatch home. He
stares meditatively at the simple dwelling, then he starts
walking ahead. but after a
few steps he turns around and starts back. He walks past the
house a few yards, turns, and starts back again.
INTERIOR BEDROOM WINDOW –– HATCH HOME –– NIGHT
CLOSE SHOT –– Mary is looking out the window, watching George
walk back and forth.
MARY
What are you doing, picketing?
George stops, startled, and looks up.
GEORGE
Hello, Mary. I just happened to be passing by.
MARY
Yeah, so I noticed. Have you made up your mind?
GEORGE
How's that?
MARY
Have you made up your mind?
GEORGE
About what?
MARY
About coming in. Your mother just phoned and said you were on
your way over to pay me a visit.
EXTERIOR STREET –– NIGHT
MEDIUM LONG SHOT –– George looks surprised at this.
GEORGE
My mother just called you? Well, how did she know?
MARY
Didn't you tell her?
GEORGE
I didn't tell anybody. I just went for a walk and happened to be
passing by . . .
But Mary has disappeared from the window.
GEORGE (cont'd)
(to himself)
What do you . . . went for a walk, that's all.
INTERIOR HATCH HOME –– NIGHT
MEDIUM CLOSE SHOT –– Mary is running down the stairs.
MARY (calling off)
I'll be downstairs, mother.
MRS. HATCH'S VOICE
All right, dear.
Mary looks in a mirror at the bottom of the stairs and fixes her
hair. She is plainly excited at George's visit. She runs into the
parlor and puts a sketch on
an easel.
INSERT
THE SKETCH. It is a caricature of George throwing a lasso around
the moon. Lettering on the drawing says
"George Lassos The Moon."
BACK TO SHOT –– Mary runs into the hall, opens the phonograph and
puts on a record of "Buffalo Gals." Then she opens the front door
and stands
there waiting for George.
INTERIOR DOORWAY –– NIGHT
MEDIUM CLOSE SHOT –– George is struggling with the gate –– he
finally kicks it open and starts slowly up the path toward Mary.
MARY
Well, are you coming in or aren't you?
GEORGE
Well, I'll come in for a minute, but I didn't tell anybody I was
coming over here.
CLOSE SHOT –– Mary and George are in the entrance hall.
GEORGE
When did you get back?
MARY
Tuesday.
GEORGE
Where'd you get that dress?
MARY
Do you like it?
GEORGE
It's all right. I thought you'd go back to New York like Sam and
Ingie, and the rest of them.
MARY
Oh, I worked there for a couple of vacations, but I don't know .
. . I guess I was homesick.
GEORGE (shocked) Homesick? For Bedford Falls?
MARY
Yes, and my family and . . . oh, everything. Would you like to
sit down?
They go through the doorway into the parlor.
GEORGE
All right, for a minute. I still can't understand it though. You
know I didn't tell anybody I was coming here.
MARY
Would you rather leave?
GEORGE
No, I don't want to be rude.
MARY
Well, then, sit down.
George sees the cartoon on the easel and bends down for a close
look at it.
GEORGE (indicating cartoon)
Some joke, huh?
CLOSE SHOT –– George and Mary sitting on the divan. He is
uncomfortable, and she tries desperately to keep the conversation
alive.
GEORGE
Well, I see it still smells like pine needles in here.
MARY
Thank you.
There is silence for a moment, then Mary joins in singing with
the phonograph record which has been playing all through the
above scene:
MARY (singing)
"And dance by the light . . ."
GEORGE
What's the matter? Oh, yeah . . . yeah . . .
He looks at his watch, as though about to leave.
GEORGE (cont'd)
Well, I . . .
MARY (desperately)
It was nice about your brother Harry, and Ruth, wasn't it?
GEORGE
Oh . . . yeah, yeah. That's all right.
MARY
Don't you like her?
GEORGE
Well, of course I like her. She's a peach.
MARY
Oh, it's just marriage in general you're not enthusiastic about,
huh?
GEORGE
No, marriage is all right for Harry, and Marty, and Sam and you.
INTERIOR STAIRS
MEDIUM CLOSE SHOT –– Mrs. Hatch, in a bathrobe, and with her hair
in curlers, is leaning over the banister as she calls:
MRS. HATCH
Mary! Mary!
INTERIOR PARLOR –– NIGHT
CLOSE SHOT –– George and Mary seated on the divan.
MRS. HATCH'S VOICE
Who's down there with you?
MARY
It's George Bailey, Mother.
MRS. HATCH'S VOICE
George Bailey? What's he want?
MARY
I don't know.
(to George)
What do you want?
GEORGE (indignant)
Me? Not a thing. I just came in to get warm.
MARY (to mother)
He's making violent love to me, Mother.
George is aghast.
MRS. HATCH'S VOICE
You tell him to go right back home, and don't you leave the
house, either. Sam Wainwright promised to call you from New York
tonight.
GEORGE (heatedly)
But your mother needn't . . . you know I didn't come here to . .
. to . . .
to . . .
MARY (rising)
What did you come here for?
GEORGE
I don't know. You tell me. You're supposed to be the one that has
all the answers. You tell me.
MARY (terribly hurt)
Oh, why don't you go home?
GEORGE (almost shouting)
That's where I'm going. I don't know why I came here in the first
place! Good night!
As George leaves the room, the telephone in the hall starts
ringing.
MARY (to George)
Good night!
MRS. HATCH'S VOICE
Mary! Mary! The telephone! It's Sam!
INTERIOR HALL –– NIGHT
MEDIUM CLOSE SHOT –– Mary comes into the hall.
MARY (almost weeping)
I'll get it.
As Mary comes into the hall, she stops by the phonograph, which
is still playing "Buffalo Gals," takes off the record with a
jerk, and smashes it against
the machine. The phone is still ringing.
MRS. HATCH
Mary, he's waiting!
MARY
Hello.
As Mary picks up the phone, George comes in from the front porch.
GEORGE
I forgot my hat.
MARY (overly enthusiastic)
Hee-haw! Hello, Sam, how are you?
SAM'S VOICE
Aw, great. Gee, it's good to hear your voice again.
George has stopped, hat in hand, to hear the first greetings.
MARY
Oh, well, that's awfully sweet of you, Sam.
(glances toward door, sees George still there)
There's an old friend of yours here. George Bailey.
SAM
You mean old moss-back George?
MARY
Yes, old moss-back George.
SAM'S VOICE
Hee-haw! Put him on.
MARY
Wait a minute. I'll call him.
(calling)
George!
MRS. HATCH
He doesn't want to speak to George, you idiot!
MARY
He does so. He asked for him.
(calling)
Geo . . . George, Sam wants to speak to you.
She hands the instrument to George.
GEORGE
Hello, Sam.
INTERIOR SAM'S NEW YORK OFFICE –– NIGHT
MEDIUM CLOSE SHOT –– Sam is seated at his desk, while a couple of
his friends are nearby, with highballs in their hands.
SAM (into phone)
Well, George Baileyoffski! Hey, a fine pal you are. What're you
trying to do? Steal my girl?
INTERIOR HATCH HALL –– NIGHT
MEDIUM CLOSE SHOT –– George and Mary.
GEORGE (into phone)
What do you mean? Nobody's trying to steal your girl. Here . . .
here's Mary.
SAM'S VOICE
No, wait a minute. Wait a minute. I want to talk to both of you.
Tell Mary to get on the extension.
GEORGE (to Mary)
Here. You take it. You tell him.
MARY
Mother's on the extension.
INTERIOR UPPER HALLWAY –– NIGHT
CLOSE SHOT –– Mrs. Hatch. As she hears this, she hastily hangs up
the extension phone on which she has been listening.
BACK TO SHOT –– George and Mary.
MARY
We can both hear. Come here.
Mary takes the telephone from George and holds it so that of
necessity George's cheek is almost against hers. He is very
conscious of her proximity.
MARY (on phone)
We're listening, Sam.
SAM'S VOICE
I have a big deal coming up that's going to make us all rich.
George, you remember that night in Martini's bar when you told me
you read
someplace about making plastics out of soybeans?
GEORGE
Huh? Yeah-yeah-yeah . . . soybeans. Yeah.
SAM'S VOICE
Well, Dad's snapped up the idea. He's going to build a factory
outside of Rochester. How do you like that?
Mary is watching George interestedly. George is very conscious of
her, close to him.
GEORGE
Rochester? Well, why Rochester?
SAM'S VOICE
Well, why not? Can you think of anything better?
GEORGE
Oh, I don't know . . . why not right here? You remember that old
tool and machinery works? You tell your father he can get that
for a song. And all the
labor he wants, too. Half the town was thrown out of work when
they closed down.
SAM'S VOICE
That so? Well, I'll tell him. Hey, that sounds great! Oh, baby, I
knew you'd come through. Now, here's the point. Mary, Mary,
you're in on this
too. Now listen. Have you got any money?
GEORGE
Money? Yeah . . . well, a little.
SAM'S VOICE
Well, now listen. I want you to put every cent you've got into
our stock, you hear? And George, I may have a job for you; that
is, unless you're
still married to that broken-down Building and Loan. This is the
biggest thing since radio, and I'm letting you in on the ground
floor. Oh, Mary . . . Mary . . .
MARY (nervously)
I'm here.
SAM'S VOICE
Would you tell that guy I'm giving him the chance of a lifetime,
you hear? The chance of a lifetime.
As Mary listens, she turns to look at George, her lips almost on
his lips.
MARY (whispering)
He says it's the chance of a lifetime.
George can stand it no longer. He drops the phone with a crash,
grabs Mary by the shoulders and shakes her. Mary begins to cry.
GEORGE (fiercely)
Now you listen to me! I don't want any plastics! I don't want any
ground floors, and I don't want to get married –– ever –– to
anyone! You
understand that? I want to do what I want to do. And you're . . .
and you're . . .
He pulls her to him in a fierce embrace. Two meant for each other
find themselves in tearful ecstasy.
GEORGE (cont'd)
Oh, Mary . . . Mary . . .
MARY
George . . . George . . . George . . .
GEORGE
Mary . . .
CLOSE SHOT –– Mrs. Hatch is at the top of the stairs. She
practically faints at what she sees.
WIPE TO:
George and Mary tie the knot/Trouble at the Building and Loan
INTERIOR FRONT HALL BAILEY HOME –– DAY –– SEVERAL MONTHS LATER
CLOSEUP –– Cousin Tilly's face fills the screen as she cries:
COUSIN TILLY
Here they come!
CAMERA PULLS BACK, and we hear the SOUND of the Wedding March.
People are crowded into the rooms
family, friends, neighbors. There is a din
of conversation. Mary and George appear at the top of the stairs
in traveling clothes, with Mrs. Hatch, red-eyed, behind them.
Mary throws her bouquet,
which is caught by Violet Bick. As they come out onto the porch,
we see that it is raining. Nevertheless, Cousin Eustace has his
camera equipment set up
and is taking pictures of the group. George and Mary dodge
through the rain and a shower of rice and get into Ernie's
taxicab, which pulls away from
the curb.
EXTERIOR PORCH OF BAILEY HOUSE –– DAY
CLOSE SHOT –– Mrs. Bailey and Annie, the maid.
MRS. BAILEY
First Harry, now George. Annie, we're just two old maids now.
ANNIE
You speak for yourself, Mrs. B.
INTERIOR ERNIE'S CAB –– DAY
CLOSE SHOT –– George, Mary and Ernie. George and Mary are in each
other's arms.
ERNIE
If either of you two see a stranger around here, it's me.
GEORGE
Hey, look! Somebody's driving this cab.
Ernie reaches over and hands George a bottle of champagne done up
in gift wrappings.
ERNIE
Bert, the cop, sent this over. He said to float away to Happy
Land on the bubbles.
GEORGE
Oh, look at this. Champagne!
MARY
Good old Bert.
ERNIE
By the way, where are you two going on this here now honeymoon?
GEORGE
Where are we going?
(takes out a fat roll of bills)
Look at this. There's the kitty, Ernie. Here, come on, count it,
Mary.
MARY
I feel like a bootlegger's wife.
(holding up the money)
Look!
GEORGE
You know what we're going to do? We're going to shoot the works.
A whole week in New York. A whole week in Bermuda. The highest
hotels ––
the oldest champagne –– the richest caviar –– the hottest music,
and the prettiest wife!
ERNIE
That does it! Then what?
GEORGE (to Mary)
Then what, honey?
MARY
After that, who cares?
GEORGE
That does it –– come here.
The cab passes the bank, and Ernie sees a crowd of people around
the door. He stops the cab.
LONG SHOT –– scurrying people under umbrellas, swarming around
the bank doors. Panic is in the air. Attendants are trying to
close down. Several
people come running past the cab.
INTERIOR CAB
CLOSE SHOT –– George, Mary and Ernie.
ERNIE
Don't look now, but there's something funny going on over there
at the bank, George, I've never really seen one, but that's got
all the earmarks of a run.
PASSERBY
Hey, Ernie, if you got any money in the bank, you better hurry.
MARY
George, let's not stop. Let's go!
George gets out of the cab and looks down the street.
GEORGE
Just a minute, dear. Oh-oh . . .
MARY
Please, let's not stop, George.
GEORGE
I'll be back in a minute, Mary.
George runs off up the street, toward the Building and Loan.
EXTERIOR BUILDING AND LOAN –– DAY
CLOSE SHOT –– sidewalk. An iron grill blocks the street entrance
to the Building and Loan. It has been locked. A crowd of men and
women are waiting
around the grill. They are simply-dressed people, to whom their
savings are a matter of life and death.
George comes in with an assumed cheerful manner. The people look
at him silently, half shamefaced, but grimly determined on their
rights. In their
hearts there is panic and fear.
GEORGE
Hello, everybody. Mrs. Thompson, how are you? Charlie? What's the
matter here, can't you get in?
No one answers. He quickly unlocks the grill door and pushes it
open. Followed by the crowd, George runs upstairs and into the
outer offices of the
Building and Loan.
INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY
MEDIUM CLOSE SHOT –– George, followed by the still-silent people,
comes in. Uncle Billy is standing in the doorway to his private
office, taking a
drink from a bottle. He motions to George to join him.
GEORGE
What is this, Uncle Billy? A holiday?
UNCLE BILLY
George . . .
He points to George's office. George turns back cheerfully to the
crowd.
GEORGE
Come on in, everybody. That's right, just come in.
George vaults over the counter.
GEORGE (cont'd)
Now look, why don't you all sit down. There are a lot of seats
over there. Just make yourselves at home.
UNCLE BILLY
George, can I see you a minute?
The people ignore George and remain standing in front of the
teller's window. They all have their passbooks out. George
hurries into his office where
Uncle Billy is waiting for him.
INTERIOR GEORGE'S OFFICE –– DAY
CLOSE SHOT –– George and Uncle Billy.
GEORGE
Why didn't you call me?
UNCLE BILLY
I just did, but they said you left. This is a pickle, George,
this is a pickle.
GEORGE
All right now, what happened? How did it start?
UNCLE BILLY
How does anything like this ever start? All I know is the bank
called our loan.
GEORGE
When?
UNCLE BILLY
About an hour ago. I had to hand over all our cash.
GEORGE
All of it?
UNCLE BILLY
Every cent of it, and it still was less than we owe.
GEORGE
Holy mackerel!
UNCLE BILLY
And then I got scared, George, and closed the doors. I . . . I .
. . I . . .
GEORGE
The whole town's gone crazy.
The telephone rings. Uncle Billy picks it up.
UNCLE BILLY
Yes, hello? George . . . it's Potter.
GEORGE
Hello?
INTERIOR POTTER'S LIBRARY –– DAY
MEDIUM SHOT –– Potter seated behind his desk, his goon alongside
him. Standing in front of the desk is a distinguished-looking
man, obviously the
president of the bank. He is mopping his brow with his
handkerchief.
POTTER
George, there is a rumor around town that you've closed your
doors. Is that true? Oh, well, I'm very glad to hear that . . .
George, are you all right? Do
you need any police?
INTERIOR GEORGE'S OFFICE –– DAY
CLOSE SHOT –– George and Uncle Billy.
GEORGE (on phone)
Police? What for?
INTERIOR POTTER'S OFFICE –– DAY
MEDIUM CLOSE SHOT –– Potter talking on phone.
POTTER
Well, mobs get pretty ugly sometimes, you know. George, I'm going
all out to help in this crisis. I've just guaranteed the bank
sufficient funds to meet
their needs. They'll close up for a week, and then reopen.
INTERIOR GEORGE'S OFFICE –– DAY
CLOSE SHOT –– George and Uncle Billy.
GEORGE (to Uncle Billy)
He just took over the bank.
INTERIOR POTTER'S OFFICE –– DAY
CLOSE SHOT –– Potter on phone.
POTTER
I may lose a fortune, but I'm willing to guarantee your people
too. Just tell them to bring their shares over here and I will
pay them fifty cents on the
dollar.
INTERIOR GEORGE'S OFFICE –– DAY
CLOSE SHOT –– George and Uncle Billy.
GEORGE (furiously)
Aw, you never miss a trick, do you, Potter? Well, you're going to
miss this one.
George bangs the receiver down and turns to meet Uncle Billy's
anxious look.
INTERIOR POTTER'S OFFICE
CLOSEUP –– Potter on phone.
POTTER
If you close your doors before six P.M. you will never reopen.
He realizes George has hung up, and clicks the phone furiously.
INTERIOR GEORGE'S OFFICE –– DAY
CLOSE SHOT –– George and Uncle Billy
UNCLE BILLY
George, was it a nice wedding? Gosh, I wanted to be there.
GEORGE
Yeah . . .
(looks at string on Uncle Billy's finger)
. . . you can take this one off now.
An ominous SOUND of angry voices comes from the other room.
George and Uncle Billy exit from George's office.
INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY
MEDIUM CLOSE SHOT –– More people have crowded around the counter.
Their muttering stops and they stand silent and grim. There is
panic in their
faces.
GEORGE
Now, just remember that this thing isn't as black as it appears.
As George speaks, sirens are heard passing in the street below.
The crowd turn to the windows, then back to George.
GEORGE (cont'd)
I have some news for you, folks. I've just talked to old man
Potter, and he's guaranteed cash payments at the bank. The bank's
going to
reopen next week.
ED
But, George, I got my money here.
CHARLIE
Did he guarantee this place?
GEORGE
Well, no, Charlie. I didn't even ask him. We don't need Potter
over here.
Mary and Ernie have come into the room during this scene. Mary
stands watching silently.
CHARLIE
I'll take mine now.
GEORGE
No, but you . . . you . . . you're thinking of this place all
wrong. As if I had the money back in a safe. The money's not
here. Your money's in Joe's
house . . .
(to one of the men)
. . . right next to yours. And in the Kennedy house, and Mrs.
Macklin's house, and a hundred others. Why, you're lending them
the money to build, and then, they're
going to pay it back to you as best they can. Now what are you
going to do? Foreclose on them?
TOM
I got two hundred and forty-two dollars in here, and two hundred
and forty-two dollars isn't going to break anybody.
MEDIUM CLOSE SHOT –– ANOTHER ANGLE
GEORGE (handing him a slip)
Okay, Tom. All right. Here you are. You sign this. You'll get
your money in sixty days.
TOM
Sixty days?
GEORGE
Well, now that's what you agreed to when you bought your shares.
There is a commotion at the outer doors. A man (Randall) comes in
and makes his way up to Tom.
RANDALL
Tom . . . Tom, did you get your money?
TOM
No.
RANDALL
Well, I did. Old man Potter'll pay fifty cents on the dollar for
every share you got.
(shows bills)
CROWD (ad lib)
Fifty cents on the dollar!
RANDALL
Yes, cash!
TOM (to George)
Well, what do you say?
GEORGE
Now, Tom, you have to stick to your original agreement. Now give
us sixty days on this.
TOM (turning to Randall)
Okay, Randall.
He starts out.
MRS. THOMPSON
Are you going to go to Potter's?
TOM
Better to get half than nothing.
A few other people start for the door. CAMERA PANS WITH George as
he vaults over the counter quickly, speaking to the people.
GEORGE
Tom! Tom! Randall! Now wait . . . now listen . . . now listen to
me. I beg of you not to do this thing. If Potter gets hold of
this Building and Loan there'll
never be another decent house built in this town. He's already
got charge of the bank. He's got the bus line. He's got the
department stores. And now he's after us.
Why? Well, it's very simple. Because we're cutting in on his
business, that's why. And because he wants to keep you living in
his slums and paying the kind of rent he
decides.
The people are still trying to get out, but some of them have
stood still, listening to him. George has begun to make an
impression on them.
GEORGE (cont'd)
Joe, you lived in one of his houses, didn't you? Well, have you
forgotten? Have you forgotten what he charged you for that
broken-down
shack?
(to Ed)
Here, Ed. You know, you remember last year when things weren't
going so well, and you couldn't make your payments. You didn't
lose your house, did you? Do
you think Potter would have let you keep it?
(turns to address the room again)
Can't you understand what's happening here? Don't you see what's
happening? Potter isn't selling. Potter's buying! And why?
Because we're panicky and he's not.
That's why. He's picking up some bargains. Now, we can get
through this thing all right. We've got to stick together,
though. We've got to have faith in each other.
MRS. THOMPSON
But my husband hasn't worked in over a year, and I need money.
WOMAN
How am I going to live until the bank opens?
MAN
I got doctor bills to pay.
MAN
I need cash.
MAN
Can't feed my kids on faith.
During this scene Mary has come up behind the counter. Suddenly,
as the people once more start moving toward the door, she holds
up a roll of bills and
calls out:
MARY
How much do you need?
George jumps over the counter and takes the money from Mary.
GEORGE
Hey! I got two thousand dollars! Here's two thousand dollars.
This'll tide us over until the bank reopen.
(to Tom)
All right, Tom, how much do you need?
TOM (doggedly)
Two hundred and forty-two dollars!
GEORGE (pleading)
Aw, Tom, just enough to tide you over till the bank reopens.
TOM
I'll take two hundred and forty-two dollars.
George starts rapidly to count out the money. Tom throws his
passbook on the counter.
GEORGE
There you are.
TOM
That'll close my account.
GEORGE
Your account's still here. That's a loan.
Mary turns and slips out through the crowd, followed by Ernie.
George hands the two hundred and forty-two dollars to Tom, and
speaks to Ed, the next
in line.
GEORGE (cont'd)
Okay. All right, Ed?
ED
I got three hundred dollars here, George.
Uncle Billy takes out his wallet and takes out all the cash he's
got.
GEORGE
Aw, now, Ed . . . what'll it take till the bank reopens? What do
you need?
ED
Well, I suppose twenty dollars.
GEORGE
Twenty dollars. Now you're talking. Fine. Thanks, Ed.
(to Mrs. Thompson, next in line)
All right, now, Mrs. Thompson. How much do you want?
MRS. THOMPSON
But it's your own money, George.
GEORGE
Never mind about that. How much do you want?
MRS. THOMPSON
I can get along with twenty, all right.
GEORGE (counting it out)
Twenty dollars.
MRS. THOMPSON
And I'll sign a paper.
GEORGE
You don't have to sign anything. I know you'll pay it back when
you can. That's okay.
(to woman next in line)
All right, Mrs. Davis.
MRS. DAVIS
Could I have seventeen-fifty?
GEORGE
Seven . . .
(he kisses her)
Bless your heart, Of course you can have it. You got fifty cents?
(counting)
Seven . . .
WIPE TO:
INTERIOR OUTER OFFICE BUILDING AND LOAN –– NIGHT
CLOSE SHOT –– George, Uncle Billy and Cousin Tilly are behind the
counter, watching the minute hand of a clock on the wall as
George counts off the
seconds. Cousin Eustace is ready to close the door.
UNCLE BILLY (excitedly)
We're going to make it, George. They'll never close us up today!
GEORGE (counting)
Six . . . five . . . four . . . three . . . two . . . one . . .
Bingo!
Cousin Eustace slams and locks the door, and scurries around the
counter to join the others.
GEORGE (cont'd)
We made it! Look . . .
(holds up two bills)
. . . look, we're still in business! We've still got two bucks
left!
Uncle Billy is taking a drink out of his bottle.
GEORGE (cont'd)
Well, let's have some of that. Get some glasses, Cousin Tilly.
(to Uncle Billy)
We're a couple of financial wizards.
UNCLE BILLY
Those Rockefellers!
GEORGE
Get a tray for these great big important simoleons.
UNCLE BILLY
We'll save them for seed. A toast!
They raise their glasses.
GEORGE
A toast! A toast to Papa Dollar and to Mama Dollar, and if you
want the old Building and Loan to stay in business, you better
have a family real quick.
COUSIN TILLY
I wish they were rabbits.
GEORGE
I wish they were too. Okay, let's put them in the safe and see
what happens.
The four of them parade through the office; George puts the two
dollars in the safe.
CLOSE SHOT –– group around the safe door. As George comes out:
COUSIN EUSTACE (handing out cigars)
Wedding cigars!
GEORGE (startled)
Oh-oh . . wedding! Holy mackerel, I'm married! Where's Mary? Mary
. . .
(he runs around looking for her)
Poor Mary. Look, I've got a train to catch.
(looks at his watch)
Well, the train's gone. I wonder if Ernie's still here with his
taxicab?
George rushes into his office to look out the window.
COUSIN TILLY (on telephone)
George, there's a call for you.
GEORGE
Look, will you get my wife on the phone? She's probably over at
her mother's.
COUSIN TILLY
Mrs. Bailey is on the phone.
INTERIOR GEORGE'S OFFICE
MEDIUM CLOSEUP –– George is thoroughly rattled.
GEORGE
I don't want Mrs. Bailey. I want my wife. Mrs. Bailey! Oh, that's
my wife! Here, I'll take it in here.
(picks up phone)
Mary? Hello. Listen, dear, I'm sorry . . . What? Come home? What
home? Three-twenty Sycamore? Well, what . . . whose home is that?
The Waldorf Hotel, huh?
WIPE TO:
"Welcome home, Mr. Bailey"
EXTERIOR OLD GRANVILLE HOUSE –– NIGHT
MEDIUM LONG SHOT –– An old-fashioned, run-down house, unpainted
and warped by the weather. It once had class but has not been
lived in for
years. This is the house that George and Mary will live in from
now on. The rain is pouring down. A faint glow of light shines
out from bottom windows.
George hurries into scene. He stops to make sure it is the right
number before going up the steps.
EXTERIOR SIDE OF HOUSE –– NIGHT
CLOSE SHOT –– Bert and man working in rain, sorting through
travel posters.
MAN
Hey, this is the company's posters, and the company won't like
this.
BERT
How would you like to get a ticket next week? Haven't you any
romance in you?
MAN
Sure I have, but I got rid of it.
BERT (reading poster)
Liver pills! Who wants to see liver pills on their honeymoon?
What? They want romantic places, beautiful places . . . places
George wants
to go.
A sharp whistle is heard.
CLOSE SHOT –– window of house. Ernie is leaning from the window.
ERNIE
Hey, Bert, here he comes.
CLOSE SHOT –– Bert and man.
BERT
Come on, we got to get this up. He's coming.
MAN
Who?
BERT
The groom, idiot. Come on, get that ladder.
MAN (disgustedly)
What are they –– ducks?
CLOSE SHOT –– side porch of house. Bert and the man are putting
up travel posters to cover up the broken windows.
BERT
Get that ladder up here.
MAN
All right –– all right.
BERT
Hurry up . . . hurry up . . . hurry up.
MAN
I'm hurrying.
MEDIUM CLOSE SHOT –– George is approaching the front door of the
house, on which a sign is hanging
"Bridal Suite." Ernie looks out through the
curtain covering the broken glass of the front door.
ERNIE
Hiya . . . Good evening, sir.
Ernie opens the door, revealing himself as a homemade butler.
This has been accomplished by rolling up his pants and putting on
an old coachman's hat.
George enters.
ERNIE
Entray, monsieur, entray.
INTERIOR GRANVILLE HOUSE –– NIGHT
CLOSE SHOT –– George enters. The house is carpetless, empty ––
the rain and wind cause funny noises upstairs. A huge fire is
burning in the fireplace.
Near the fireplace a collection of packing boxes are heaped
together in the shape of a small table and covered with a
checkered oil cloth. It is set for two.
A bucket with ice and a champagne bottle sit on the table as well
as a bowl of caviar. Two small chickens are impaled on a spit
over the fire. A
phonograph is playing on a box, and a string from the phonograph
is turning the chickens on the spit. The phonograph is playing
"Song of the Islands."
Mary is standing near the fireplace looking as pretty as any
bride ever looked. She is smiling at George, who has been slowly
taking in the whole set-up.
Through a door he sees the end of a cheap bed, over the back of
which is a pair of pajamas and a nightie. Ernie exits and closes
the door.
MARY (tears in her eyes)
Welcome home, Mr. Bailey.
GEORGE (overcome)
Well, I'll be . . . Mary, Mary, where did you . . .
They rush into each other's arms and hold each other in ecstasy.
EXTERIOR SIDE OF HOUSE –– NIGHT
CLOSE SHOT –– Bert and Ernie, standing in the pouring rain, start
singing "I Love You Truly."
INTERIOR HOUSE –– NIGHT
CLOSE SHOT –– George and Mary. They remain embraced.
GEORGE
Oh, Mary . . .
MARY
Remember the night we broke the windows in this old house? This
is what I wished for.
GEORGE
Darling, you're wonderful.
EXTERIOR SIDE OF HOUSE –– NIGHT
CLOSE SHOT –– Bert and Ernie. They finish their song, and Ernie
kisses Bert on the forehead. Bert slams Ernie's hat on his head.
FADE OUT
Martini gets a home of his own/George is tempted by Potter/George
lassos stork
FADE IN
EXTERIOR SLUM STREET BEDFORD FALLS –– DAY –– TWO YEARS LATER
MEDIUM CLOSE SHOT –– In front of one of the miserable shacks that
line the street are two vehicles. One of them is George Bailey's
rickety car, and
the other is an even more rickety truck piled high with household
goods. The Martini family is moving. The family consists of
Martini, his wife and four
kid of various ages, from two to ten. George and Mary are helping
the Martinis move. About a dozen neighbors crowd around. Martini
and George,
assisted by three of the Martini children, are carrying out the
last of the furniture. As they emerge from the house, one of the
neighbors, Schultz, calls out:
SCHULTZ
Martini, you rented a new house?
MARTINI
Rent?
(to George)
You hear what he say, Mr. Bailey?
GEORGE
What's that?
MARTINI
I own the house. Me, Giuseppe Martini. I own my own house. No
more we live like pigs in thisa Potter's Field. Hurry, Maria.
MARIA
Yes . . .
GEORGE
Come on . . .
(to Mary)
Bring the baby.
(to Martini)
I'll bring the kids in the car.
MARTINI
Oh, thank you, Mr. Bailey.
Mary gets in the front seat of the car, with the baby in her
arms.
GEORGE
All right, kids –– here –– get in here. Now get right up on the
seat there. Get the . . . get the goat!
The family goat gets in the back seat with the three kids.
MARTINI
Goodbye, everybody!
GEORGE
All in . . .
The rickety caravan starts off down the street, to the cheers of
the neighbors.
WIPE TO:
EXTERIOR BAILEY PARK –– DAY
CLOSE SHOT –– Sign hanging from a tree
"Welcome to Bailey Park." CAMERA PANS TO follow George's car and
the old truck laden with furniture as
they pass –– we hear Martini's voice singing "O Sole Mio." Bailey
Park is a district of new small houses, not all alike, but each
individual. New lawns
here and there, and young trees. It has the promise when built up
of being a pleasant little middle class section.
WIPE TO:
EXTERIOR MARTINI'S NEW HOUSE –– DAY
MEDIUM CLOSE SHOT –– George and Mary are on the porch of the new
house, with the Martinis lined up before them.
GEORGE
Mr. and Mrs. Martini, welcome home.
The Martinis cross themselves.
EXTERIOR STREET –– BAILEY PARK –– DAY
CLOSE SHOT –– Sam Wainwright is standing in front of his big
black town car. Sam is the epitome of successful, up-and-coming
businessman. His wife,
in the car, is a very attractive, sophisticated-looking lady,
dripping with furs and jewels. Sam is watching George across the
street.
SAM
That old George . . . he's always making a speech.
(to George)
Hee-haw!
(wiggles his hands)
EXTERIOR NEW HOUSE –– DAY
CLOSE SHOT –– Mary and George on porch.
GEORGE (to Mary)
Sam Wainwright!
MARY
Oh, who cares.
(to Mrs. Martini, giving her loaf of bread)
Bread! That this house may never know hunger.
Mrs. Martini crosses herself.
MARY (giving her salt)
Salt! That life may always have flavor.
GEORGE (handing bottle to Martini)
And wine! That joy and prosperity may reign forever. Enter the
Martini castle!
The Martinis cross themselves, shaking hands all around. The kids
enter, with screams of delight. Mrs. Martini kisses Mary.
INTERIOR POTTER'S OFFICE IN BANK –– DAY
CLOSE SHOT –– Potter seated in his wheelchair at his desk, with
his goon beside him. His rent collector, Reineman, is talking,
pointing to maps spread
out on the desk.
REINEMAN
Look, Mr. Potter, it's no skin off my nose. I'm just your little
rent collector. But you can't laugh off this Bailey Park any
more. Look at it.
A buzzer is heard, and Potter snaps on the dictaphone on his
desk.
SECRETARY'S VOICE
Congressman Blatz is here to see you.
POTTER (to dictaphone)
Oh, tell the congressman to wait.
(to Reineman)
Go on.
REINEMAN
Fifteen years ago, a half-dozen houses stuck here and there.
(indicating map)
There's the old cemetery, squirrels, buttercups, daisies. Used to
hunt rabbits there myself. Look at it today. Dozens of the
prettiest little homes you ever saw. Ninety
per cent owned by suckers who used to pay rent to you. Your
Potter's Field, my dear Mr. Employer, is becoming just that. And
are the local yokels making with
those David and Goliath wisecracks!
POTTER
Oh, they are, are they? Even though they know the Baileys haven't
made a dime out of it.
REINEMAN
You know very well why. The Baileys were all chumps. Every one of
these homes is worth twice what it cost the Building and Loan to
build. If I
were you, Mr. Potter . . .
POTTER (interrupting)
Well, you are not me.
REINEMAN (as he leaves)
As I say, it's no skin off my nose. But one of these days this
bright young man is going to be asking George Bailey for a job.
Reineman exits.
POTTER
The Bailey family has been a boil on my neck long enough.
He flips the switch on the dictaphone.
SECRETARY'S VOICE
Yes, sir?
POTTER
Come in here.
EXTERIOR STREET IN BAILEY PARK –– DAY
CLOSE SHOT –– George and Mary are talking to Sam Wainwright in
front of the latter's car. Hs wife, Jane, is now out of the car.
SAM
We just stopped in town to take a look at the new factory, and
then we're going to drive on down to Florida.
GEORGE
Oh . . .
JANE
Why don't you have your friends join us?
SAM
Why, sure. Hey, why don't you kids drive down with us, huh?
GEORGE
Oh, I'm afraid I couldn't get away, Sam.
SAM
Still got the nose to the old grindstone, eh? Jane, I offered to
let George in on the ground floor in plastics, and he turned me
down cold.
GEORGE
Oh, now, don't rub it in.
SAM
I'm not rubbing it in. Well, I guess we better run along.
There is handshaking all around as Sam and Jane get into their
car.
JANE
Awfully glad to have met you, Mary.
MARY
Nice meeting you.
GEORGE
Goodbye.
JANE
Goodbye, George.
SAM
So long, George. See you in the funny papers.
GEORGE
Goodbye, Sam.
MARY
Have fun.
GEORGE
Thanks for dropping around.
SAM (to chauffeur)
To Florida!
(to George)
Hee-haw!
GEORGE
Hee-haw.
The big black limousine glides away, leaving George standing with
his arm around Mary, gazing broodingly after it. They slowly walk
over to George's
old car and look at it silently.
WIPE TO:
INTERIOR POTTER'S OFFICE –– DAY
CLOSE SHOT –– Potter is lighting a big cigar which he has just
given George. The goon is beside Potter's chair, as usual.
GEORGE
Thank you, sir. Quite a cigar, Mr. Potter.
POTTER
You like it? I'll send you a box.
GEORGE (nervously)
Well, I . . . I suppose I'll find out sooner or later, but just
what exactly did you want to see me about?
POTTER (laughs)
George, now that's just what I like so much about you.
(pleasantly and smoothly)
George, I'm an old man, and most people hate me. But I don't like
them either, so that makes it all even. You know just as well as
I do that I run practically
everything in this town but the Bailey Building and Loan. You
know, also, that for a number of years I've been trying to get
control of
it . . . or kill it. But I haven't been able to do it. You have
been stopping me. In fact, you have beaten me, George, and as
anyone in this county can tell you, that
takes some doing. Take during the depression, for instance. You
and I were the only ones that kept our heads. You saved the
Building and Loan, and I saved all the
rest.
GEORGE
Yes. Well, most people say you stole all the rest.
POTTER
The envious ones say that, George, the suckers. Now, I have
stated my side very frankly. Now, let's look at your side. Young
man, twenty-seven,
twenty-eight . . . married, making, say . . . forty a week.
GEORGE (indignantly)
Forty-five!
POTTER
Forty-five. Forty-five. Out of which, after supporting your
mother, and paying your bills, you're able to keep, say, ten, if
you skimp. A child or two
comes along, and you won't even be able to save the ten. Now, if
this young man of twenty-eight was a common, ordinary yokel, I'd
say he was doing fine. But
George Bailey is not a common, ordinary yokel. He's an
intelligent, smart, ambitious young man — who hates his job ––
who hates the Building and Loan almost as
much as I do. A young man who's been dying to get out on his own
ever since he was born. A young man . . . the smartest one of the
crowd, mind you, a young
man who has to sit by and watch his friends go places, because
he's trapped. Yes, sir, trapped into frittering his life away
playing nursemaid to a lot of garlic-eaters.
Do I paint a correct picture, or do I exaggerate?
GEORGE (mystified)
Now what's your point, Mr. Potter?
POTTER
My point? My point is, I want to hire you.
GEORGE (dumbfounded)
Hire me?
POTTER
I want you to manage my affairs, run my properties. George, I'll
start you out at twenty thousand dollars a year.
George drops his cigar on his lap. He nervously brushes off the
sparks from his clothes.
GEORGE (flabbergasted)
Twenty thou . . . twenty thousand dollars a year?
POTTER
You wouldn't mind living in the nicest house in town, buying your
wife a lot of fine clothes, a couple of business trips to New
York a year, maybe once in
a while Europe. You wouldn't mind that, would you, George?
GEORGE
Would I?
(looking around skeptically)
You're not talking to somebody else around here, are you? You
know, this is me, you remember me? George Bailey.
POTTER
Oh, yes, George Bailey. Whose ship has just come in –– providing
he has brains enough to climb aboard.
GEORGE
Well, what about the Building and Loan?
POTTER
Oh, confound it, man, are you afraid of success? I'm offering you
a three year contract at twenty thousand dollars a year, starting
today. Is it a deal or
isn't it?
GEORGE
Well, Mr. Potter, I . . . I . . . I know I ought to jump at the
chance, but I . . . I just . . . I wonder if it would be possible
for you to give me twenty-four
hours to think it over?
POTTER
Sure, sure, sure. You go on home and talk about it to your wife.
GEORGE
I'd like to do that.
POTTER
In the meantime, I'll draw up the papers.
GEORGE
All right, sir.
POTTER (offers hand)
Okay, George?
GEORGE (taking his hand)
Okay, Mr. Potter.
As they shake hands, George feels a physical revulsion. Potter's
hand feels like a cold mackerel to him. In that moment of
physical contact he knows he
could never be associated with this man. George drops his hand
with a shudder. He peers intently into Potter's face.
GEORGE (cont'd –– vehemently)
No . . . no . . . no . . . no, now wait a minute, here! I don't
have to talk to anybody! I know right now, and the answer is no!
NO! Doggone it!
(getting madder all the time)
You sit around here and you spin your little webs and you think
the whole world revolves around you and your money. Well, it
doesn't, Mr. Potter! In the . . . in the
whole vast configuration of things, I'd say you were nothing but
a scurvy little spider. You . . .
He turns and shouts at the goon, impassive as ever beside
Potter's wheelchair.
GEORGE (cont'd)
. . . And that goes for you too!
As George opens the office door to exit, he shouts at Mr.
Potter's secretary in the outer office:
GEORGE (cont'd)
And it goes for you too!
WIPE TO:
INTERIOR BEDROOM –– GEORGE AND MARY'S HOUSE –– NIGHT
CLOSE SHOT –– George enters the bedroom. The room is modestly
furnished with just a cheap bed, a chair or two, and a dresser.
Mary is asleep in the
bed. As George comes in, his head is filled with many confusing
thoughts, relating to incidents in his past life.
POTTER'S VOICE
You wouldn't mind living in the nicest house in town. Buying your
wife a lot of fine clothes, going to New York on a business trip
a couple of
times a year. Maybe to Europe once in a while.
George takes off his hat and coat, moves over to the dresser and
stares at his reflection in the mirror.
GEORGE'S VOICE
I know what I'm going to do tomorrow and the next day and next
year and the year after that. I'm shaking the dust of this crummy
little town
off my feet, and I'm going to see the world . . . And I'm going
to build things. I'm going to build air fields. I'm going to
build skyscrapers a hundred stories high. I'm
going to build a bridge a mile long.
While the above thoughts are passing through George's head, his
attention is caught by a picture on the wall near the dresser:
INSERT
Picture on the wall. It is the sketch of George lassoing the moon
that we first saw in Mary's living room. The lettering reads
"George Lassos
The Moon."
GEORGE'S VOICE
What is it you want, Mary? You want the moon? If you do, just say
the word; I'll throw a lasso around it and pull it down for you.
Mary is now awake, and starts singing their theme song:
MARY (singing)
Buffalo Gals, won't you come out tonight, won't you come out
tonight, won't you come out tonight.
George crosses over and sits on the edge of the bed.
GEORGE
Hi.
MARY
Hi.
GEORGE
Mary Hatch, why in the world did you ever marry a guy like me?
MARY
To keep from being an old maid.
GEORGE
You could have married Sam Wainwright or anybody else in town.
MARY
I didn't want to marry anybody else in town. I want my baby to
look like you.
GEORGE
You didn't even have a honeymoon. I promised you . . .
(does a double take)
. . . Your what?
MARY
My baby.
GEORGE (incredulously)
You mean . . . Mary, you on the nest?
MARY
George Bailey lassos stork.
GEORGE
Lassos the stork! You mean you . . . What is it, a boy or a girl?
Mary nods her head happily.
FADE OUT
George and Mary start a family/Harry gets decorated/Uncle Billy
loses the money
FADE IN
MONTAGE SEQUENCE
Over the following SERIES OF SHOTS we hear the voices of Joseph
and Clarence in Heaven.
EXTERIOR MAIN STREET BEDFORD FALLS –– NIGHT
MEDIUM SHOT –– George is crossing the street, heading for the
offices of the Building and Loan.
JOSEPH'S VOICE
Now, you've probably already guessed that George never leaves
Bedford Falls.
CLARENCE'S VOICE
No!
INTERIOR HOSPITAL –– DAY
CLOSE SHOT –– nurse holding newborn baby.
JOSEPH'S VOICE
Mary had her baby, a boy.
INTERIOR SITTING ROOM –– DAY
CLOSE SHOT –– Mary sitting on the floor playing with a baby. A
little boy is in a playpen nearby.
JOSEPH'S VOICE
Then she had another one –– a girl.
INTERIOR GRANVILLE HOUSE –– DAY
CLOSE SHOTS –– Mary is busy hanging wallpaper and painting the
old place.
JOSEPH'S VOICE
Day after day she worked away remaking the old Granville house
into a home.
INTERIOR GRANVILLE HOUSE –– NIGHT
CLOSE SHOT –– George has just come into the hall. He is obviously
tired and discouraged as he starts up the stairs. The knob on the
banister comes off
in his hand.
JOSEPH'S VOICE
Night after night George came back late from the office. Potter
was bearing down hard.
WIPE TO:
EXTERIOR RECRUITING GROUNDS –– DAY
MEDIUM LONG SHOT –– A group of men, obviously just drafted,
marching along in a camp.
JOSEPH'S VOICE
Then came a war.
INTERIOR RED CROSS WORKROOM –– DAY
CLOSE SHOT –– Mrs. Bailey and other women in Red Cross uniforms
busily sewing, etc.
JOSEPH'S VOICE
Ma Bailey and Mrs. Hatch joined the Red Cross and sewed.
EXTERIOR TRAIN IN RAILROAD STATION –– DAY
CLOSE SHOT –– Mary, with portable U.S.O. pushcart, is serving
coffee and doughnuts to men leaning from the train.
JOSEPH'S VOICE
Mary had two more babies, but still found time to run the U.S.O.
INTERIOR FACTORY –– DAY
CLOSE SHOT –– Sam Wainwright showing set of blueprints to two
Army officers.
JOSEPH'S VOICE
Sam Wainwright made a fortune in plastic hoods for planes.
INTERIOR FACTORY –– DAY
CLOSE SHOT –– Potter is wheeled in toward a long table around
which several men are seated.
JOSEPH'S VOICE
Potter became head of the draft board.
POTTER (reading from papers)
One-A . . . One-A . . . One-A . . .
EXTERIOR STREET IN BEDFORD FALLS –– DAY
MEDIUM CLOSE SHOT –– Gower and Uncle Billy are conducting a bond
rally from the top of an Army tank.
JOSEPH'S VOICE
Gower and Uncle Billy sold war bonds.
EXTERIOR BATTLEFIELD –– NIGHT
MEDIUM CLOSEUP –– Bert, in uniform, moving cautiously with fixed
bayonet. Smoke and flashes of gunfire in background.
JOSEPH'S VOICE
Bert the cop was wounded in North Africa. Got the Silver Star.
EXTERIOR SKY –– DAY
LONG SHOT –– Hundreds of planes, flying overhead, with parachutes
dropping from them.
JOSEPH'S VOICE
Ernie, the taxi driver, parachuted into France.
EXTERIOR REMAGEN BRIDGE OVER THE RHINE –– DAY
CLOSE SHOT –– Marty in the foreground, beckoning to soldiers to
come on.
JOSEPH'S VOICE
Marty helped capture the Remagen Bridge.
INTERIOR READY ROOM ON AIRCRAFT CARRIER –– NIGHT
CLOSE SHOT –– Harry is fastening the helmet of his flying
clothes. He waves as he exits through the door.
JOSEPH'S VOICE
Harry . . . Harry Bailey topped them all. A Navy flier, he shot
down fifteen planes.
EXTERIOR OCEAN FROM DECK OF CARRIER –– NIGHT
LONG SHOT –– A flaming plane crashes into the sea.
JOSEPH'S VOICE
. . . two of them as they were about to crash into a transport
full of soldiers.
CLARENCE'S VOICE
Yes, but George . . .
INTERIOR RATION OFFICE –– DAY
CLOSE SHOT –– George, behind the counter, is trying to quiet a
crowd of people all clamoring for more ration points.
GEORGE
George? Four-F on account of his ear, George fought the battle of
Bedford Falls.
George shouts.
GEORGE
Hold on . . . hold on . . . hold on now. Don't you know there's a
war on?
EXTERIOR STRET –– NIGHT
CLOSE SHOT –– George, in the uniform of an air raid warden, is
patrolling his beat.
JOSEPH'S VOICE
Air raid Warden . . .
EXTERIOR HOUSE –– NIGHT
CLOSE SHOT –– man beside lighted window pulls down the shade as
George blows his whistle.
EXTERIOR STREET –– DAY
CLOSE SHOT –– George is helping load his old car with scrap
paper.
JOSEPH'S VOICE
. . . paper drives . . .
EXTERIOR DUMP –– DAY
CLOSE SHOT –– Wheelbarrow full of junk being dumped onto pile.
JOSEPH'S VOICE
. . . Scrap drives . . .
EXTERIOR STREET –– DAY
MEDIUM CLOSE SHOT –– children wheeling old tires.
JOSEPH'S VOICE
. . . Rubber drives . . .
INTERIOR CHURCH –– DAY
MEDIUM SHOT –– People praying in church.
JOSEPH'S VOICE
Like everybody else, on V-E Day he wept and prayed.
EXTERIOR CHURCH –– Another angle.
MEDIUM CLOSE SHOT –– People entering church.
JOSEPH'S VOICE
On V-J Day he wept and prayed again.
FRANKLIN'S VOICE
Joseph, now show him what happened today.
JOSEPH'S VOICE
Yes, sir.
(END OF MONTAGE)
EXTERIOR BEDFORD FALLS STREET –– WINTER –– DAY
George is walking along the sidewalk reading a newspaper. It is a
raw, gusty day, and his overcoat and muffler flap in the breeze.
Draped around one
arm is a large Christmas wreath. Under his other arm are several
more copies of the paper.
JOSEPH'S VOICE
This morning, day before Christmas, about ten A.M. Bedford Falls
time . . .
George comes to where Ernie, the taxi driver, is standing on the
sidewalk.
GEORGE (holding out paper)
Hi, Ernie, look at that.
INSERT
NEWSPAPER. The front page of the paper, the Bedford Falls
Sentinel. The headline reads
PRESIDENT DECORATES HARRY BAILEY ––
LOCAL BOY WINS CONGRESSIONAL MEDAL OF HONOR. The subhead tells of
a plan for a giant jubilee and parade, to be followed by a
banquet, in
honor of Commander Harry Bailey, U.S.N. on his way home from
Washington after receiving the Congressional Medal of Honor.
There's a large picture
of President Truman pinning the coveted medal on Harry's bosom,
in the midst of dignitaries; a picture of the transport which
Harry saved. Practically
the whole front page is devoted to the story.
CLOSE SHOT –– George and Ernie.
ERNIE (kidding)
Gonna snow again.
GEORGE (outraged)
What do you mean –– it's gonna snow again? Look at the headlines.
ERNIE
I know –– I know –– I know. I think it's marvelous.
Gower comes running across the street from his drugstore and
joins them.
GEORGE (reading)
Commander Harry Bailey. Mr. Gower, look at this –– the second
page.
(gives them papers)
Now look, this is for you. This is for you, this is for you.
(as he leaves)
See you again.
EXTERIOR STREET –– DAY
MEDIUM LONG SHOT –– Uncle Billy is walking along the street,
humming happily to himself. He sees some men decorating the Court
House with
banners and bunting –– there is a huge sign reading
Welcome Home Harry Bailey.
UNCLE BILLY (calls out)
Be sure you spell the name right.
INTERIOR OUTER OFFICE BUILDING AND LOAN –– DAY
FULL SHOT –– The offices are unchanged, still small-time and old-
fashioned. The same office force, albeit a few years older
Cousin Tilly and Cousin
Eustace. Seated on a chair is a middle-aged man with a brief
case. The outer door opens and George enters:
GEORGE
Extra! Extra! Read all about it!
Cousin Tilly and Cousin Eustace are talking on the phone.
COUSIN EUSTACE
George! George! It's Harry now on long distance from Washington!
GEORGE
Harry! What do you know about that?
COUSIN EUSTACE
He reversed the charges. It's okay, isn't it?
GEORGE
What do you mean it's okay? For a hero?
(takes the phone)
Harry! Oh, you old seven kinds of a son of a gun.
Congratulations! How's Mother standing it? . . . She did? What do
you know . . .
(to Eustace)
Mother had lunch with the President's wife!
COUSIN TILLY
Wait till Martha hears about this.
COUSIN EUSTACE
What did they have to eat?
GEORGE (on phone)
What did they have to eat? Harry, you should see what they're
cooking up in the town for you . . . Oh, are they?
(to Eustace)
The Navy's going to fly Mother home this afternoon.
COUSIN EUSTACE
In a plane?
GEORGE
What? Uncle Billy?
(to Eustace)
Has Uncle Billy come in yet?
COUSIN TILLY
No, he stopped at the bank first.
GEORGE (on phone)
He's not here right now, Harry.
Cousin Eustace has turned away from George and caught a glimpse
of the man waiting in the chair. This is Carter, the bank
examiner, come for his
annual audit of the books of the Building and Loan.
GEORGE (cont'd)
(on phone) But look . . .
COUSIN EUSTACE (interrupting)
George . . .
GEORGE (on phone)
. . . now tell me about it.
COUSIN EUSTACE (interrupting)
. . . George, that man's here again.
GEORGE
What man?
COUSIN EUSTACE (nervously)
Bank . . . bank examiner.
GEORGE
Oh . . .
(on phone) Talk to Eustace a minute, will you. I'll be right
back.
He gives the phone to Eustace, puts down his wreath and goes over
to Carter.
CLOSE SHOT –– George and Carter. They shake hands.
GEORGE
Good morning, sir.
CARTER
Carter –– bank examiner.
GEORGE
Mr. Carter, Merry Christmas.
CARTER
Merry Christmas.
GEORGE
We're all excited around here.
(shows him paper)
My brother just got the Congressional Medal of Honor. The
President just decorated him.
CARTER
Well, I guess they do those things. Well, I trust you had a good
year.
GEORGE
Good year? Well, between you and me, Mr. Carter, we're broke.
CARTER
Yeah, very funny.
GEORGE
Well . . .
(leading him into office) . . . now, come right in here, Mr.
Carter.
CARTER (as they go)
Although I shouldn't wonder when you okay reverse charges on
personal long distance calls.
COUSIN TILLY
George, shall we hang up?
GEORGE
No, no. He wants to talk to Uncle Billy. You just hold on.
CARTER (in doorway)
Now, if you'll cooperate, I'd like to finish with you by tonight.
I want to spend Christmas in Elmira with my family.
GEORGE
I don't blame you at all, Mr. Carter, Just step right in here.
We'll fix you up.
INTERIOR BANK –– DAY
CLOSE SHOT –– Uncle Billy is filling out a deposit slip at one of
the desks.
UNCLE BILLY (writing)
December twenty-fourth . . .
He takes a thick envelope from his inside pocket and thumbs
through the bills it contains. It is evidently a large sum of
money.
UNCLE BILLY (cont'd)
Eight thousand . . .
MEDIUM SHOT –– door to street. Potter is being wheeled in by his
goon. Various bank officials run over to greet him –– he is
reading a newspaper.
Uncle Billy has finished filling out his slip, and comes over to
taunt Potter, the envelope containing the money in his hand.
UNCLE BILLY
Well, good morning, Mr. Potter. What's the news?
He grabs the paper from Potter's hand.
UNCLE BILLY(cont'd)
Well, well, well, Harry Bailey wins Congressional Medal. That
couldn't be one of the Bailey boys? You just can't keep those
Baileys
down, now, can you, Mr. Potter?
POTTER
How does slacker George feel about that?
UNCLE BILLY
Very jealous, very jealous. He only lost three buttons off his
vest. Of course, slacker George would have gotten two of those
medals if he had
gone.
POTTER
Bad ear.
UNCLE BILLY
Yes.
Uncle Billy folds Potter's paper over the envelope containing his
money, and flings his final taunt at the old man.
UNCLE BILLY (cont'd)
After all, Potter, some people like George had to stay home. Not
every heel was in Germany and Japan!
In a cold rage, Potter grabs his paper and wheels off toward his
office. Uncle Billy smiles triumphantly and goes toward deposit
window with his deposit
slip.
CLOSE SHOT –– Uncle Billy and bank teller at the window.
UNCLE BILLY (still chuckling)
Good morning, Horace.
Uncle Billy hands the bank book over. The teller opens it, starts
to punch it with rubber stamps.
TELLER
I guess you forgot something.
UNCLE BILLY
Huh?
TELLER
You forgot something.
UNCLE BILLY
What?
TELLER
Well, aren't you going to make a deposit?
UNCLE BILLY
Sure, sure I am.
TELLER
Well, then . . it's usually customary to bring the money with
you.
UNCLE BILLY
Oh, shucks . . .
Uncle Billy searches through every pocket he has.
UNCLE BILLY (cont'd)
(looks bewildered)
I know I had . . .
The teller, knowing the old man's vagaries, points to one of the
numerous string tied around his fingers.
TELLER
How about that one there?
UNCLE BILLY
Hmm? Well, I . . .
INTERIOR POTTER'S OFFICE –– DAY
CLOSE SHOT –– Potter is now behind his desk. He spreads the
newspaper out in front of him, muttering as he does so.
POTTER
Bailey . . .
He sees the envelope, looks inside at the money. Then, to his
goon, indicating the office door:
POTTER (cont'd)
Take me back there. Hurry up.
(as they go)
Come on, look sharp.
Potter opens the door just a little, and peers through into the
bank.
INTERIOR BANK –– DAY
CLOSE SHOT –– deposit slip desk. Uncle Billy looks around for the
money envelope. It is not there. He looks puzzled, thinks hard,
then a look of concern
creeps into his eyes. He starts thumping his pockets, with
increasing panic, and looks in the waste paper basket on the
floor. He finally rushes through the
door and out into the street.
INTERIOR POTTER'S OFFICE –– DAY
CLOSE SHOT –– Potter watching through the door.
POTTER (to goon)
Take me back.
The goon wheels him back to his desk. He is deep in thought, with
a crafty expression on his face.
EXTERIOR STREET –– DAY
MEDIUM CLOSE SHOT –– Uncle Billy running across the street in the
direction of the Building and Loan.
INTERIOR OUTER OFFICE –– BUILDING AND LOAN –– DAY
CLOSE SHOT –– George coming from room where he has just left the
bank examiner.
GEORGE
Just make yourself at home, Mr. Carter. I'll get those books for
you.
He sees Violet Bick standing there.
GEORGE (cont'd)
Oh, hello, Vi.
VIOLET
George, can I see you for a second?
GEORGE
Why, of course you can. Come on in the office here.
He hears a noise, and sees Uncle Billy entering the office.
GEORGE (cont'd)
Uncle Billy, talk to Harry. He's on the telephone.
George and Violet enter his private office. Uncle Billy comes
hurrying in.
COUSIN TILLY
Hurry, Uncle Billy, hurry. Long distance, Washington.
COUSIN EUSTACE
Hey, here's Harry on the phone.
COUSIN TILLY
Harry, your nephew, remember?
COUSIN EUSTACE (on phone)
Here he is.
Uncle Billy picks up the phone and speaks distractedly, without
knowing what he is saying.
UNCLE BILLY (on phone)
Hello . . . hello . . . Yes, Harry –– yes . . . everything . . .
everything's fine.
He hang