"IT'S A WONDERFUL LIFE"
By
Frances Goodrich
Albert Hackett
Frank Capra
Jo Swerling
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!
EXT. FROZEN RIVER AND HILL – DAY – 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
EXT. 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
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)
'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. EDWARD MELLINGTON 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.
INT. 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.
INT. 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.
EXT. 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.
INT. 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
CLOSEUP – 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.
INT. 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
hardskulled 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.
INT. 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.
WIPE TO:
BACK TO DRUGSTORE
INT. 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
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.
INT. FRONT ROOM DRUGSTORE – DAY
CLOSE SHOT
Mary is still seated at the soda fountain. Each time she
hears George being slapped, she winces.
INT. 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
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
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.
DISSOLVE TO:
INT. 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.
WIPE TO:
INT. 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
Hot dog!
George shakes Gower's hand vigorously and exits.
EXT. 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.
EXT. 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.
DISSOLVE TO:
INT. 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
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
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:
INT. 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
...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
...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
...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
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
FADE IN:
EXT. 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
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.
EXT. 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.
EXT. 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
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
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
They 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
...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 see her anywhere.
GEORGE
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
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
FADE IN:
EXT. BAILEY BUILDING AND LOAN SIGN OVER ENTRANCE
INT. 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
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
INT. 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
EXT. 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
EXT. 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
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:
EXT. 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:
EXT. 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
Where's my hat? Where's my...
George takes the hat from Uncle Billy's head and hands it to
him.
UNCLE BILLY
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... "
EXT. 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:
EXT. 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.
EXT. 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:
EXT. 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.
INT. 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.
EXT. 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
(to himself)
What do you... went for a walk, that's
all.
INT. 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.
INT. 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