It's a Wonderful Life

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 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.

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 (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.

INT. FRONT ROOM DRUGSTORE – DAY

CLOSE SHOT