It's a Wonderful Life

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 (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.

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 (CONT'D)

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 (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:

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.