IT'S A WONDERFUL LIFE
	La sceneggiatura	I suoni	Jimmy Stewart	La gallery

LA SCENEGGIATURA

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 . . .

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?